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Don’t women already have enough to think about in their lives?
Based off the short film “Piece A’ Cake,” “Audrey is a funny female-drive comedy that takes us in real-time over an hour and half of a young woman’s day as she waits and waits and waits in a restaurant for a man to arrive for their critical third date. As time ticks away and Gene is nowhere to be found, Audrey is swept up through her life as her insecurities and inner demons wreak havoc on her. Forced to face her deepest fears by circumstance — both real and hilariously unreal —Audrey finds the strength and courage she never imagined she had.
The film stars Sybil Darrow (“The Cavern,” “The Sweetest Thing”), Ed Quinn (“The Caller,” “ True Blood”), Charles Shaughnessy (“The Nanny,” “Days Of Our Lives”), Jonathan Chase (“Tyler Perry’s A Madea Christmas,” “Eagle Eye”), Helena Mattsson (“Seven Psychopaths, »
- Gig Patta
Chances are, if you hear the name Michael Bay, you will probably think of a combination of words including 'crap', 'explosions', 'lame' or 'silly hair'.
The big budget filmmaker has risen in the ranks over the past couple of decades to become one of the highest grossing director of all time (sitting alongside Steven Spielberg, James Cameron and company). Clearly, his films are hugely popular. So why all the hate?
Despite the continued box office success, Bay's films are more often than not critically panned, and it's not often that you'll hear people owning up to be a fan, but are his films as bad as everyone makes out?
Several critics, including Film Comment editor Scott Foundas, have labelled Bay as an auteur of his chosen art form. When you watch a Bay movie, you know you're watching a Bay movie. He has his own clear visual style, and that's »
One of my busier movie watching weeks this year with seven movies to the credit of the last seven days, which includes Transformers for the sake of our audio commentary and Michael Bay's The Island for an article ranking Bay's films which became a journal entry instead, since I couldn't find reason to talk about most of his films until yesterday's editorial. I also watched a new Zatoichi film in Zatoichi and the One Armed Swordsman, which I enjoyed, then, of course, Transformers: Age of Extinction (my review). This weekend I ended up watching Werner Herzog's Stroszek, Lars von Trier's Nymphomaniac Volume I and II and the new Roger Ebert documentary Life Itself, all of which I'll be writing much more about soon enough, if not all this week. Coming this week I'll be catching screenings of Tammy and Deliver Us from Evil, the latter of which »
- Brad Brevet
Michael Bay's Transformers: Age of Extinction is a film that continues to confound. As I said in my review it's unlike anything I've seen before and in browsing through some of the film's reviews I can't say I'm a fan of the dismissive approach some have taken in evaluating this behemoth. Take, for example, David Edelstein's review where he describes the script as "incoherent" and then seems to coherently describe everything that happens in the film for the next four paragraphs before saying the film is "basically a shambles". Pardonc But when I came to Richard Corliss's review at Time I found an interesting line in which he seems to have meant as a negative, but I think he's closer to getting at a greater truth than he may realize when he writes, "The final half-hour devolves into a kind of Abstract Expressionist chaos, with commercials." To say »
- Brad Brevet
I was going to write a post ranking the films of Michael Bay, but I couldn't muster the energy or excitement. I would have spent the entire post attempting to justify my decisions for whatever reason or another and justifying why I consider Armageddon to be better than Bad Boys or The Island seemed no better a proposition than punching myself in the face. However, had I ranked them it would have gone like this... restrict paid="true" Armageddon Bad Boys The Rock Bad Boys II Transformers: Age of Extinction Transformers: Dark of the Moon The Island Transformers Pain & Gain Transformers: Revenge of the Fallen Pearl Harbor I know I've said in the recent past, Transformers: Revenge of the Fallen is better than Transformers, but after re-watching Transformers recently I'm convinced that was just me approaching Revenge of the Fallen with expectations it would be terrible. That said, I have »
- Brad Brevet
Michael Bay – excuse me, the proper title is 2-time Criterion Collection released Michael Bay – is like the Kenny Powers of directors. He favors excess and showboating over all forms of thoughtful nuance and subtlety, he isn’t afraid to sell himself out and abandon critical respectability for money and fame, and he doesn’t give a single care to what you think about him. This weekend will see the release of his 4th Transformers movie with Transformers: Age of Extinction. My question is why is Michael Bay still making these films? Believe it or not, Michael Bay actually can do better.
Nobody glorifies America in their films more than Michael Bay does. If Michael Bay could drape himself in an American flag at all times he probably would. Michael Bay is freedom in all caps. Freedom. He’s practically a propaganda filmmaker working at a blockbuster budget level. What Leni »
- Dylan Griffin
This evening I will be sitting down with Michael Bay's Transformers: Age of Extinction. As a member of the press you must show up about 45 minutes before the film starts, which means I'm looking at being in the the theater for about three hours and 30 minutes as a result of this latest bout of Bayhem. No problem, and I would say last night I was actually looking forward to seeing the movie, if only a little bit. Then I watched Bay's The Island as I'm... restrict paid="true" ...preparing to do a ranking of Bay's films for tomorrow after seeing Age of Extinction and I currently feel as if I'll have to treat the first three Transformers films as one as I don't have any plans to rewatch Revenge of the Fallen or Dark of the Moon again, that would mean nearly another five hours just to learn... whatc »
- Brad Brevet
The relationship we have with film is a bit of a rollercoaster, perhaps for me more than a general audience member given the number of films I see, but nevertheless, I think we can all admit to falling into a rut at times. For general audience members, however, you can step away from the weekly noise of the new releases and just sit back with a favorite TV show or an old favorite and find your groove once again until the next new release piques your interest. For me, I'm constantly trying to find that great new movie that I haven't seen as well as watching the occasional favorite I've seen before, or finding the time to completely invest in a television show I enjoy, such as was the case last week with "Hannibal" (speaking of I have a treat for you at the end of this post). Last week, »
- Brad Brevet
They're talented, individual, but could, possibly, do with a bit of editorial guidance. Could these directors use a boss, we wonder?
In truth, we're a bit frightened about this one. Several times in pub/coffee shop/cider drinking in the park conversations, we've chatted about film directors who perhaps have got too powerful, that they seem to be able to get their own way without having someone to call bullshit on them - be it a good boss, or a very good friend that they trust and listen to.
This can be a very good thing. After all, we want film directors to be free to tell their stories. We don't want studio suits calling the shots. And some directors use their independence wondefully well, without losing what bought it to them in the first place (so, Steven Spielberg, Martin Scorsese, Christopher Nolan, Robert Zemeckis and such like).
Michael Bay's all-action Logan's Run-around stars Ewan McGregor and Scarlett Johansson as Lincoln Six Echo and Jordan Two Delta, two residents of a strange, sterile facility that takes intense care of its inhabitants. Apparently they are the last surviving humans after a contamination wiped out civilisation. Their only escape is to win the daily lottery, in which one inmate is whisked off to a paradise known as The Island. »
Before you all panic at the lesser-known directorial name of Roberto Orci, let me put those worries to rest. Roberto Orci is currently in talks to direct Star Trek 3 but you’ve definitely seen his work and know his name, as he wrote J.J. Abrams-directed Star Trek and Star Trek Into Darkness, so the good man knows where it’s at.
Orci was also behind some of Alias, plus the likes of The Amazing Spider-man 2, The Island, Transformers, the magnificent Fringe and has been rumoured for the upcoming Venom movie but, saying that, this would be his directorial debut. You’ll get an idea of his style but if you loved J.J. Abrams first two movies, so we’re pretty sure he’ll follow a similar style.
J.J. won’t be around to direct this third Trek outing because he’s been distracted by Star Wars: Episode VII »
- Dan Bullock
Not much of a surprise this, given that it'd been rumoured for weeks, but Roberto Orci has landed the job of directing Star Trek 3/Star Trek 13. It sees Orci moving across from his previous writing and directing work to the director's chair for the first time. And it just happens to be on a nine figure blockbuster movie.
Orci's writing credits to date have included both films since Star Trek was rebooted, Cowboys & Aliens, Transformers and Transformers: Revenge Of The Fallen, The Amazing Spider-Man 2 and The Island. On the smaller screen, he's been one of the creators of Fringe and Sleepy Hollow. It's been widely reported that he'd been lobbying for the chance to direct the new Star Trek movie, and Variety now reports that Paramount and Skydance have given him the nod. »
At this point, I think your mind is set on whether or not you'll be joining the Autobots on another cinematic adventure. Michael Bay's style has been established over a myriad of action films (The Rock, Bad Boys, The Island) and he seemed like the perfect fit for some machine-on-machine action. So far, the human characters have been the biggest gripe of fans but with Age Of Extinction having a character swap, the fourth installment in the Transformers saga »
- Sean Wist
When it comes to blockbuster filmmaking, writer/producers Alex Kurtzman and Roberto Orci have seemingly always come together as a package deal. First working together in the late 1990s as writers on the TV series Hercules: The Legendary Journeys, they took their act to the big screen in 2005 with Michael Bay's The Island and have been Hollywood mainstays for big-budget summer action ever since. But now it appears that their partnership in features is coming to an end. Variety is reporting news that Kurtzman and Orci are "parting amicably" and will be moving forward in different directions with their future feature efforts. The cause for the split is that both filmmakers want to start pursuing different directing opportunities. Kurtzman has already made his directorial debut, having helmed the family drama People Like Us, and he is currently attached to make the Amazing Spider-Man spin-off movie Venom. Orci, meanwhile, is »
The pair got started writing on TV with "Hercules" and "Alias" before transitioning to film a decade ago. On screen they've mostly been known for their collaborations with J.J. Abrams and Michael Bay.
While most of the films they have written have been big box-office winners, quality wise they've varied considerably. Their strongest work to date has included the "Star Trek" reboot, the first "Transformers," and TV series like "Fringe" and "Sleepy Hollow".
They also penned "Transformers: Revenge of the Fallen," "Star Trek Into Darkness," "The Island," "Cowboys and Aliens," "The Legend of Zorro," "Mission Impossible III" and served as producers on movies like "Now You See Me," "Eagle Eye," "The Proposal" and "Ender's Game".
The parting is said to be amicable and the TV side of their production company K/O Paper Products will remain intact. »
- Garth Franklin
Longtime writing and producing partners Alex Kurtzman and Roberto Orci are parting ways in their filmmaking endeavors after nearly a decade together. The pair have worked on some of Hollywood’s biggest franchise films including “The Amazing Spider-Man 2″ two “Transformers” movies, “Mission Impossible III” and “Star Trek Into Darkness.” They also collaborated on indie titles such as “Now You See Me” and “People Like Us,” which Kurtzman also directed.
Kurtzman and Orci–who will remain in business together on the TV front–are parting amicably, according to sources, and the split will allow them to pursue separate feature careers as directors. The two still have more than a dozen projects in development, including the next two “Spider-Man” films. It is unclear how those projects will be handled or divided between the two men. Their production company, K/O Paper Products, which they launched in 2009, will most likely be reconfigured »
- Alexandra Cheney and Cynthia Littleton
Nope, we haven't gone tabloid on you. Screenwriting duo Alex Kurtzman and Roberto Orci aren't breaking up in the traditional sense, but are breaking up their writing relationship in order to focus on other opportunities. While that may sound insignificant in the grand scheme of things, there's actually some interesting developments as a result. The duo have worked on a number of high-profile projects, beginning with 2006's The Island, Mission: Impossible 3, »
- Paul Shirey
So this weekend we’ve seen Jude Law take a walk on the wild side in the title role of Dom Hemingway. Now, we also get a new film starring a stateside screen beauty, Scarlett Johansson as she takes a walk on the weird side. Very weird. She stars in almost every minute of Under The Skin from director Jonathon Glazer who gave us the enormously entertaining Sexy Beast (Ben Kingley’s character might have been “mates” with Dom!). But Skin is no look at the cockney criminal class. This film is based on a 2000 science fiction novel from Michel Faber. Now we’re used to seeing Ms. J dashing about in CG backdrops in big budget blockbusters like Michael Bay’s The Island and over at Marvel Studios as the sublime Shield agent the Black Widow in, so far, three epics. But this film’s not in the same »
- Jim Batts
This weekend's box office results deliver a few unsettling revelations, not the least of which is that the summer movie season now officially starts while there is still some snow on the ground. The smashing success of "Captain America: The Winter Soldier," which set a new April record with its estimated debut of $96.2 million, means we'll have to look at a lot of things differently, including the month of April (which will forever after remain infested by summer movie season creep), the Marvel Cinematic Universe (truly, "The Avengers" has the longest and strongest coattails ever sewn), and Scarlett Johansson.
Ok, ScarJo wasn't the top-billed star of "Captain America: The Winter Soldier." (Then again, neither was Chris Evans. The star of these Marvel films is the Marvel universe.) Still, Johansson made her third successful appearance as Marvel's Black Widow. And she is a bigger star than Evans, with a longer track record. »
- Gary Susman
For movie-fans, the San Diego Comic Con is where you go get your fix of the latest, exclusive clips and celebrity panels every July, but for theatre owners and professionals, Cinema-Con (formerly ShoWest) is the place to be every March, and this year our friend and writer for Zboneman.com and The Independent, Adam Mast, was out there to bring us this massive, no-holds-barred, and frankly, bloody excellent report.
Take it away…
Cinema-Con is a reminder of why I love movies and more importantly, it’s a reminder of what makes the movie going experience so special. Thrown by Nato (The National Association of Theater Owners), Cinema-Con is an annual convention held in Las Vegas and it was designed to show off the latest in movie theater hardware. More importantly though, Cinema-Con is a perfect place for studios (Paramount, Universal, Lionsgate, Disney, Sony, 20th Century Fox, Warner Brothers, etc.) to »
- Paul Heath
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