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Chicago – December has seen the release of two different Comedy Central shows finally arriving to DVD, “Broad City” and “Kroll Show.” Expressing their comedy in different formats, these shows from rising comedians Abbi Jacobson & Ilana Glazer (“Broad City”) and Nick Kroll (“Kroll Show”) introduce a cable channel’s audience to new talent, while nonetheless presenting a distinct contrast in creativity.
“Broad City: Season 1”
Executive produced by Amy Poehler, “Broad City” is a buddy comedy that settles for trying to own stale jokes, instead of tackling pot, potty, and penis humor with an ambition of reinvention. The series has a distinct inspiration from the urban Millenial hustle, but uses devices like crummy jobs and rare fancy dinners for flat followthrough; when Ilana and Abbi treat themselves to ritzy seafood for Abbi’s birthday, of course the shenanigans involve a secret shellfish allergy (as in season finale “The Last Supper”). Side »
- firstname.lastname@example.org (Adam Fendelman)
Nb: this article contains language and violent video footage which may be considered Nsfw.
Gun battles. Car chases. Explosions. All stuff we've seen in action films before, so what can be done to freshen it up and make it seem new? Enter Hardcore, a sci-fi action film with the first-person viewpoint and demented pace of a videogame.
It's the work-in-progress from Russian filmmaker Ilya Naishuller. You might remember a superbly-shot video that appeared on YouTube last year, which saw an anonymous hero involved in car chases, fights and gun battles - all viewed from his point-of-view. Although intended as a music video for his band Biting Elbows, the film itself got the lion's share of the attention, with over 40m views and praise from director Timur Bekmambetov. If you've never seen it before, you can watch it here. »
Oh boy, what will Lars von Trier say about this? A promotional poster has debuted online for a project in the works by controversial Argentinian director Gaspar Noé, who last challenged audiences with the ambitious film Enter the Void. This time he's going all out sex, in a film called Love that seems to be inspired by Lars von Trier's Nymphomaniac meets Abdellatif Kechiche's Blue is the Warmest Color. Described as a "sexual melodrama" about a boy, and two girls, the film "celebrates sex in a joyous way." But of course, it shouldn't be celebrated any other way! It's a very enticing, raunchy design, I wouldn't expect anything less from Noé. Here's the almost Nsfw poster for Gaspar Noé's Love, which almost sort of debuted out of nowhere today: The one-line synopsis for the project is: "A sexual melodrama about a boy and a girl and another girl. »
- Alex Billington
There's still surprisingly little information available for Irreversible and Enter The Void director Gaspar Noe's upcoming Love - a film the director says will "give guys a hard-on and make girls cry" - but with production reportedly under way since June the first artwork has arrived in advance of the American Film Market. And, yeah, it's about what you'd expect from Noe ... Take a look below....
[Read the whole post on twitchfilm.com...]
For some, movies are occasionally too violent, vulgar or plain boring to sit through. Ryan recalls some memorable cinema walk-outs...
For better or worse, there’s nothing quite like watching a movie in the cinema. There’s the sense that you’re all sharing a new experience. The feeling of expectancy when a movie the whole audience has been looking forward to seeing unfolds on the screen. The enjoyment of laughing in unison at a golden comic moment.
On the flip side, there’s the uniquely unpleasant sensation of a person behind you kicking the back of your seat. Or the horrendous human being who can’t resist checking his phone for the duration of a movie, meaning you end up having to ignore an eerie blue glow emanating from the corner of your eye for about 120 minutes.
Memories like these, whether good or bad, are all part of the cinema-going experience, »
Legend Of Korra is back for its final season. Here's Kaci's review of the first episode...
This review contains spoilers.
4.1 After All These Years
After the shortest hiatus in its history, Legend of Korra is back on our screens with the first episode of its final season. Despite the quick turn around in real life, time on the show has passed very differently: we're now three years along in Republic City, but the Earth Kingdom is still a major point of contention. Namely, the ideas that Zaheer espoused aren't working out too well for its citizens.
Without the protection of a centralized and powerful government, the Earth Kingdom is slowly being torn apart by roving bandits. Or, rather, parts of it is. The rest of it is under the control of Kuvira, one of the Zaofu citizens we met in the previous season. She now commands a powerful army and »
As Above/So Below opens today, and reviews (including mine and Uncle Creepy's) are mixed. Before rendering your own verdict, hear from director/co-writers John Erick Dowdle and Drew Dowdle about their experiences making the film.
Dread Central: When I walked into the screening of As Above/So Below, I was not prepared for a modern twist on an old fashioned archeologist vs. a curse adventure. Then there’s this Satanic element and sort of a body count/slasher vibe, too. How did you manage to put everything in there and still make it very linear?
John Erick Dowdle: You know, we just trusted our intuition. It just felt right to us, more than anything else. It was funny; this movie moved so quickly, which is a rare thing. We had to stay intuitive and maybe a little less intellectual. I think that really served this movie really well. »
- Staci Layne Wilson
[This is a review of The Legend of Korra season 3 finale. There will be Spoilers.]
How do you put something into words that literally takes your breath away? When you think of an “epic conclusion” to a celebrated franchise, one need look no further than The Legend of Korra two-part season 3 (Book 3: Change) finale.
‘Enter the Void’ and ‘Venom of the Red Lotus’ climbed the pedestals of the greatest episodes in Atla franchise history next to the earth-shattering four-part ‘Sozin’s Comet’ masterpiece, which aired over six years ago. If creators Michael Dante Dimartino and Bryan Konietzko were desperately trying to outdo their own brilliance, then they’ve ...
Click to continue reading ‘The Legend of Korra’ Season 3 Finale Review: Empty and Become Wind
- David Griffin
Book three's finale utterly restores Kaci's admiration for, and faith in, The Legend Of Korra. Here's her review...
This review contains spoilers.
3.12 Enter The Void; 3.13 Venom Of The Red Lotus
The season three finale of Legend Of Korra is easily my favorite finale this show has done so far. I had a problem with the finale of season one, you might remember — the last five minutes shoehorned in a happy ending. Korra and Lin got their bending back, Korra and Mako got together, and virtually every other sacrifice that had been made was "fixed." In short, it ignored the realities of violence and war. I bring that up because this finale proves to me that this show is at its best when it doesn't do that — one of the many reasons Korra is so amazing to me and a worthy successor to The Last Airbender is that it peels back the layers of oppression, »
The Universal Soldier films are a strange case of life imitating art. Much like how series protagonist Luc Deveraux is killed in action then resurrected into something post-human, Universal was a pretty standard 90s action film which crashed and burned when it came to sequels, but became something unique and beautiful when it was reanimated for the straight to DVD market.
It’s a hushed secret among genre fans, but Universal Solder 3 and 4 (or possibly 5 and 6, it’s complicated) are some of the most remarkable action sci-fi films of the 21st century so far. Yes, really. I actually watched the series backwards when I first saw them, after being blown away by Universal Solder Day Of Reckoning and deciding to work my way back, and Roland Emmerich’s perfectly acceptable 1992 blockbuster »
Like artful movie posters, opening title sequences have been largely cast aside by an increasingly stats-obsessed studio system that cares little for the long and storied cinematic tradition. Sure, there are a few that still practice and revere the art —hello David Fincher and Edgar Wright— but if a credit sequence is made at all, it’s bumped to the end, as is the case with most blockbusters. A short documentary, “The Film Before The Film,” has been making the rounds online and it serves as both an introduction to and a welcome reminder of the power of opening credits. At just under twelve minutes, the short by Nora Thös and Damian Pérez takes the viewer from Thomas Edison‘s utilitarian use of a text board in 1897 to show his company’s name and copyright note through to Saul Bass’ iconic work and finally ending with Gaspar Noe’s infamous »
- Cain Rodriguez
Distributors in the Us, UK and Germany have bought Drown, an Australian drama which its director Dean Francis describes as confronting and controversial. Adapted from Stephen Davis. play which prompted walk outs when it was staged by the Queensland Theatre Company, the film centres on three surf lifesavers whose big night out is marred by jealousy, homophobic fears, unrequited lust and violence.
The night culminates in a tragic, booze-fuelled episode of bullying. There is a graphic gay sex scene, says Francis, who does not want to speculate on the likely film classification.
The international sales agent, London-based High Point Films & TV, showed a work-in-progress to potential buyers at the Cannes Film Market.
German distributor Salzgeber quickly signed a deal and is planning a national cinema release. Subsequently Strand Releasing bought the rights for the Us, where it will have a niche theatrical release, and Peccadillo Pictures, which specialises in art house, »
- Don Groves
As a celebration of the unprecedented number of Canadian films that competed for the Palme d'Or at the 2014 Cannes International Film Festival, Moviefone Canada is highlighting each of these works.
When Nicholas Winding Refn's "Drive" hit theatres, it startled many moviegoers that had pegged Ryan Gosling as just another in a long line of pretty-boy actors -- sympathetic with clearly defined abs, but a performer who picked relatively safe projects to delve into.
For those paying a closer attention, it was his compelling turn in "Lars And The Real Girl," a tale of a man that falls in love with an anatomically accurate doll, that showed the slightly off-kilter direction that he was heading in.
His previous film with Refn, "Only God Forgives," bowed last Cannes and split the opinion of critics; some lauded it as a masterpiece, some saw it as an indulgent if pretty-to-look-at mess.
Critics were equally split with "Lost River, »
- Jason Gorber
The reviews that are trickling in from la Croisette of Ryan Gosling's directorial debut, "Lost River," are ... mixed, to say the least. But getting your first film booed at Cannes is a rite of passage. It's the cinematic equivalent of a bar or bat mitzvah, you know? So, mazel tov to Ryan Gosling, for now you are a man in the eyes of the film industry!
The official synopsis of "Lost River" sounds pretty bonkers, and is full of tantalizingly overwrought phrases like "the surreal dreamscape of a vanishing city" (read: Detroit) and "a macabre and dark fantasy underworld." There's even an underwater world thrown in for good measure. Plus, if you really want to nerd out about it, the director of photography is Benoît Debie, whose dizzying work can be seen in Gaspar Noé unforgettable movies "Irreversible" and "Enter the Void," and Harmony Korine's "Spring Breakers." We're already reaching for the Benadryl. »
- Jenni Miller
Cannes -- Ryan Gosling has made a concentrated effort to escape his origins in show business, and little wonder. His own personal artistic sensibilities seem to be miles away from the kiddie fare that he appeared in, or "The All-New Mickey Mouse Club." Little by little, as he's been able to pick and choose the roles he wants to play, he has pushed towards darker and moodier work, often collaborating with very strong, challenging filmmakers. Commercial appeal seems to be one of the last things on his mind, and even so, he's built up a dedicated fanbase. His first film as a writer and director, "Lost River," had its premiere this afternoon at the Cannes Film Festival as part of the Un Certain Regard section. There are a number of first time directors in the section this year, and in the years that I've been covering this festival, I've come »
- Drew McWeeny
Director Nicholas Stoller has steadily been rising in the ranks, having worked for many years under Judd Apatow on everything from “Undeclared” to a string of successful studio comedies, including “Forgetting Sarah Marshall” and 2012’s “The Five-Year Engagement.” (He was also involved with both of Disney’s recent Muppets movies.) But Stoller is about to break into the big leagues with this weekend’s gut-busting “Neighbors” (review here), a film that pits Seth Rogen’s new dad against Zac Efron’s rowdy frat leader in a war for suburban supremacy. We recently sat down with Stoller and chatted about the five biggest influences on his new film, most of which will be very surprising (especially for those that have already seen the film).When “Neighbors” premiered at South by Southwest, Stoller openly admitted that one of the biggest influences for the movie was “Enter the Void,” Gaspar Noe’s neon-lit »
- Drew Taylor
Wild Bunch has unveiled its packed slate of films that it will be shopping around Cannes, with new films in store from great European filmmakers like Nicolas Winding Refn ("Drive," "Only God Forgives"), Paul Verhoeven (the original "Robocop" & "Total Recall"), Gaspar Noe ("Irreversible," "Enter the Void"), Abdellatif Kechiche ("Blue is the Warmest Color") and Jean-Francois Richet ("Mesrine").
Refn and William Lustig are set to produce a remake of the 1980s cult classic "Maniac Cop" about the hunt for a New York serial killer. Ed Brubaker ("Captain America: The Winter Soldier") penned the script, while the director will be announced at Cannes.
Untitled Paul Verhoeven Project
Paul Verhoeven's next is an adaptation of French writer Philippe Djian's 2012 novel "Oh!". The story revolves around a psychological game of cat-and-mouse between a businesswoman and a stalker who raped her, a crime for which she is seeking revenge.
- Garth Franklin
If you're a serious film buff, you're a fan of Wild Bunch, the European financiers behind films like Enter The Void, Blue Is The Warmest Color, Holy Motors, Only God Forgives and a number of the most exciting, confrontational foreign films to reach American shores. They serve as backer for these and other arthouse sensations, while distributing some of the more exciting American pictures overseas. And at Cannes, Wild Bunch has prepared an incredibly exciting slate of diverse, unusual, and surprisingly commercial pitches. For example, are you ready for another Spring Breakers? Leading the Wild Bunch Cannes slate is Spring Breakers: The Second Coming according to Screen Daily. The project is seeking funding, and will follow the Spring Breakers as they battle "an extreme militant Christian sect that attempts to convert them." "It's not a direct sequel, although there are allusions to some of the characters in the original, »
Paris-based sales and production powerhouse Wild Bunch has unveiled a packed Cannes slate, featuring future films from Paul Verhoeven, Gaspar Noé and Abdellatif Kechiche as well as Spring Breakers 2 and the remake of Maniac Cop.
The untitled Paul Verhoeven project is an adaptation of French writer Philippe Djian’s 2012 novel Oh!, revolving around a psychological game of cat-and-mouse between a businesswoman and a stalker who raped her, a crime for which she is seeking revenge.
“Casting is being finalised. It’s a very intelligent script but it’s also pure Verhoeven, extremely erotic and perverted, so the actress has to be prepared to take that on,” said Wild Bunch co-chief Vincent Maraval.
Originally titled How to Catch a Monster, Ryan Gosling's directorial debut was just accepted into the Un Certain Regard selection at the 2014 Cannes Film Festival (see the lineup here) under the title Lost River and now we have our first look at two pictures from the upcoming fantasy, which Warner Bros. will release later this year. On top of directing, Gosling also wrote the screenplay, as for the actors, he's cast his Drive co-star Christina Hendricks in the lead role alongside his The Place Beyond the Pines co-stars Ben Mendelsohn and Eva Mendes and Saoirse Ronan, whom he would have starred with if he'd remained in Peter Jackson's The Lovely Bones. Described as a fantasy/thriller, the film centers on a single mother (Hendricks) who's swept into a dark underworld, while her teenage son discovers a road that leads him to a secret underwater town. These images alone »
- Brad Brevet
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