Part of the Sundance NEXT programming, Skate Kitchen is the feature debut of writer/director Crystal Moselle. This tale of a suburban Long Island teenager's descent into New York City's gritty street skateboarding culture poses a stronger first half than second half, with some important character arcs left either unresolved or unrealistically fulfilled. Boasting evocative cinematography, a bass-busting soundtrack, and strong performances, Skate Kitchen is something of an oddball. As a piece of visual storytelling, it's great. As a feature-length story, it doesn't quite work.
SUMMER OF '84
Riding the coattails of Stranger Things and the recent success of the It remake, directors Francois Simard, Anouk Whissell, and Yoann-Karl Whissell (collectively known as "Roadkill Superstar") return to Sundance with a horror-comedy that stands out from its ilk by going all-in on the horror in its final moments. Typically seen in more comedic supporting roles, Rich Sommer (Mad Men, The Devil Wears Prada) emerges with a positively bone-chilling performance that culminates in some of the most genuinely terrifying work this reviewer has ever seen from a horror movie villain. I'm squirming just thinking about it! A cranking synth score from French-Canadian electronic duo Le Matos, assured performances from the young cast, and production design that feels more like a lived-in 1980s than a world focused on chitzy, kitchen-sink pastiche all but solidify Summer of '84's place as a worthy successor to the cult favorites it so obviously admires. Fans of Turbo Kid are in for another treat! Can't wait to see it again.
AMERICAN ANIMALS
American Animals is the dramatic feature debut of documentarian Bart Layton (The Imposter). It follows the true story of four college kids (Evan Peters, Barry Keoghan, Blake Jenner, Jared Abrahamson) who plot to steal some rare books from the private collection in the library at Transylvania University in Lexington, Kentucky. The strong performances and production values aren't what make this comedy-drama stand out. American Animals is different because of its approach to the storytelling. The bulk of the film is told via the dramatization starring Peters, Keoghan, etc. But Layton leans into his sensibilities as a documentary filmmaker by interviewing the actual perpetrators and using them to punctuate the acted drama. It works surprisingly well.
This charming, hilarious documentary from first-time filmmakers Cristina Costantini and Darren Foster follows nine high school students from around the world as they assemble projects and navigate their way to the International Science and Engineering Fair in Los Angeles. Costantini & Fosters' decision to highlight a diverse group of kids accentuates the importance of the sciences for our future as global citizens. The kids are all quirky characters - not exactly the quiet, dweeby-looking nerds from your uncle's high school days. Navigating high school and hormones while stressing out about competing makes for some truly hysterical moments, like when the three boys from DuPont Manual in Louisville fly to L.A. for the big competition the day after prom. Surely you can guess the state they're in. The documentary is also well-structured and builds to a climax that is all the more satisfying because it couldn't be staged. Very entertaining and well worth your time.
RBG
This documentary produced for CNN by directors Julie Cohen and Betsy West chronicles the life and work of Supreme Court Justice Ruth Bader Ginsburg. The film primarily focuses on Ginsburg's unparalleled work for womens' rights but draws engaging parallels to her now somewhat punk-rock reputation as "The Notorious R.B.G." Viewers should learn a lot and come to appreciate the struggles she faced while striving for laws which promote gender equality. The first great superhero film of 2018. If you miss it at Sundance, look for it airing on CNN later this year.
The critically-acclaimed fantasy novel A Monster Calls makes the vivid leap from page to screen courtesy of author/screenwriter Patrick Ness and visionary director J.A. Bayona (The Orphanage, The Impossible, the upcoming Jurassic World sequel). Coming-of-age drama and B-movie homages combine to create a "monster movie" unlike any this reviewer has seen before.
A Monster Calls tells the story of young Connor (newcomer Lewis MacDougall) who has trouble coping with the deteriorating health of his mother (Felicity Jones). His struggle is amplified by school bullies, an overbearing grandmother (Sigourney Weaver), and a father (Toby Kebbell) who has been away for most of the boy's upbringing. Guiding Connor through his grief is a walking, talking yew tree (voiced by Liam Neeson) that looks an awful lot like some freakish evolved form of Groot from Guardians of the Galaxy. The monster ultimately tries to convince Connor that the only way to move on is to "speak the truth" of his feelings.
It's a bit difficult to tell who this film is trying to tell its story to. It's far too cerebral for families, yet most of its big ideas are communicated through gorgeous, "Disney-fied" animated sequences and characters. It's also not violent enough to satisfy the Comic-Con crowd. Having said that, the film makes several nods to B-movie classics such as King Kong and The Invisible Man. When "the Monster" first appears, the score (beautifully composed by Fernando Velasquez) builds to a crescendo that evokes the reveals of many a fearsome Ray Harryhausen beast.Also, both King Kong and The Invisible Man represent crucial motifs that define Connor's grief. Kong and "the Monster" are both literally larger-than-life "protectors," for lack of a better word, and H.G. Wells' character serves as an allegory for how Connor wishes to be perceived by his classmates. He's fed up with being "invisible" to everyone, even eventually to the school bullies.
Another beautifully handled motif is that of "time." "The Monster" always arrives when the clock turns over to 12:07. Connor's grandmother has an old clock that she warns him not to touch because it always tells the correct time. Obviously all of this relates to Connor's mum and her worsening condition. Time is rapidly running out for Connor to, as he originally thinks, "save" her.
So, with its heart in seemingly several different places, and its emotions firmly on its sleeve, it would be safe to call this Monster a bit of a mess. But, in the end, that may be the whole point. The story constantly reminds us that life isn't, and shouldn't always be, squeaky clean. "If you feel the need to break things, then, by God, you break them," says Connor's tearful mum some time after the boy makes mincemeat of his grandmother's sitting room. Heck, the whole crux of the film is about overcoming everything we fear most. That's always tricky business.
It's now two days after the fact, and I still haven't watched Happy Birthday to Me. I got caught up in yesterday's Blair Witch hysterics, so I ended up watching my begrudgingly purchased Blu-ray with the director's commentary that I had been looking forward to. I rather enjoyed it! Wingard and Barrett share something of an endearingly edgy mood since the film made no money at the box office and was critically reviled. They revealed a handful of secrets without sacrificing the film's entire mystique, which is actually pretty awesome.
Moreover, I didn't realize that Happy Birthday to Me was responsible for this scene:
I've seen this image before but never knew where it came from. I love it because not only is it a unique kill, but it also plays into everyone's latent fear of swallowing a toothpick.
Or is that just me..?
Anyways, the big story that got my attention today was that Apple is planning a "Theatre Mode" for iPhones and iPads. I'm rather upset that this was pretty much the second or third headline I read this morning because I haven't been able to quit thinking about what an atrocious idea it is, and in turn, my day hasn't been up to snuff. Cell phone use in movie theaters has always irked me. If you can afford to spend your time at a movie, then there is no text message or godforsaken Twitter update so important that it should tear your attention away from the much larger screen in front of you. If an emergency should arise, it should come in the form of a phone call, at which time it is prudent to walk out of the auditorium before answering. If there truly is a text that's so crucial to you that you must take your phone out and risk ruining the experience for everyone else, likewise, take it out into the lobby. Also, the "Silent" and "Do Not Disturb" buttons are your friends. Learn to use them. Please don't be that person whose ringtone blares in the middle of an important scene. It's extremely embarrassing for you and painfully distracting for everyone else.
If Apple includes this feature, it sets another dangerous precedent for exhibitionists who have a tough time as it is trying to pry people away from their couches. This new feature attempts to normalize aberrant behavior that, by its very nature, devalues the theatrical experience. In all seriousness, why would I continue to drop $10-15 just to watch people with no attention span or respect for art or creativity use their phones for two hours? It truly is that distracting. I pray to the cinema gods that Cincinnati gets an Alamo Drafthouse, where they have a stringent zero-tolerance policy on phone use. Now I hate to be so harsh as to say "Take it outside, shut it off, or don't come at all" because I normally encourage everyone to see as many movies as possible regardless of how good or bad they are. But there is no place for cell phone use inside a movie theater while the film is playing. If you can afford to be there, you can afford to turn your phone off.
Okay, rant over for now. I've got Happy Birthday to Me on finally.
It's been a hot minute since I've written. Christmas is big in my house, and then we left town the next day to visit family in Pennsylvania. After returning home it was nice to just sloth around for a few days, but now it's a new year packed with fresh opportunities for success! As some idiot said, "It's gonna be 'uge."
Okay, well, the first thing I want to get off my chest is my frustration with "rental copies" of home media. I mean, I suppose I understand the logic behind "rental copies." If you were given all the content with a $2 rental, literally nobody would ever buy movies for their personal collection ever again. Warehouses would be piled floor to ceiling with unsold Blu-rays. I get it, but that doesn't make it any less shitty for the consumer looking to save a buck.
I went down to Redbox today to pick up the piss-poor rehash of Blair Witch. That movie is such a letdown, but when I heard that Adam Wingard and Simon Barrett were doing a commentary and an hour of featurettes, my curiosity was piqued. Wingard and Barrett are known for putting together stellar supplemental material for their films, and with so many secrets and mysteries left unresolved in the film, I had to get my hands on the Blu-ray in order to gain some sense of closure. I step up to the kiosk, hand over my $2 plus tax, and head home to my player just to make sure the bonuses are there and that I don't have to spend full-price to get the closure I so desperately have been seeking.
Imagine my frustration when I scroll through the menu to "Special Features," and all that's listed is a collection of trailers marked "Also from Lionsgate" and a tab for "Bookmarks," which are spots in the film that you can mark and go back to at any time without scrubbing through scene selections. Futility be damned, I cursed Lionsgate in that moment. "Now I have to go spend my hard-earned money on your garbage film because I care too much about movies and figuring out the end of the story," I thought to myself. It comes as little consolation that Target is currently running a 15% off coupon through their Cartwheel mobile app, which I highly encourage everyone to download.
Seriously, do not go shopping at Target again until you download Cartwheel. It will change your life.
So now I have Blair Witch on my shelf. I didn't want it to be this way. I could've spent the money on the far-superior Ouija: Origin of Evil in a couple weeks, yet here we are. I'm sure I'll have some thoughts on the bonus material later this week after I watch everything. Don't let me down again, Wingard!
Lastly, Dr. Hollyfield recommended I watch Happy Birthday to Me in honor of my birthday yesterday. It's available on Shudder, so I'll be watching that tonight.
The inherent problem with movies based on video games is that, by the nature of the medium, a movie makes a passive narrative out of an active one. For anyone who's played the Assassin's Creed video games, who can deny the thrill of scaling Renaissance architecture or the sweaty-palmed excitement of your first "leap of faith?" These are seminal moments that have made Assassin's Creed a hallmark of developer Ubisoft's oeuvre. The results of this highly-anticipated, game-to-screen translation are, perhaps unsurprisingly, decidedly average.
Featuring most of the same creative team behind last year's astounding Macbeth, Assassin's Creed seemed to be a surefire hit in the making. Director Justin Kurzel tries too hard to elevate the material to some twisted form of higher art. I found myself growing more and more exhausted as the film went on and thought that its biggest sin was self-seriousness. But then I remembered that the games - aside from some silly dialogue with the Florentines in Assassin's Creed II - are kind of the same way. Going back to the inherent flaw of video game movies, it's one thing to take part in a self-serious slog yourself. It's entirely different to be forced to sit idly as one plays out in front of you. Not even solid acting - of which there is plenty here - can save an absurdist plot that doesn't know when to embrace its silliness.
Michael Fassbender plays Callum Lynch, an entirely new hero in the franchise. He is the direct descendant of Aguilar de Nerha (also Fassbender), a 15th century assassin working to overthrow Templar rule during the first years of the Spanish Inquisition. The connection between Cal and Aguilar is amplified by the Animus, a device that synchronizes his senses and memories with those of his ancestor. Through this connection, Abstergo Industries hopes to find the location of the Apple of Eden - a device that many believe contains the key to free will. Sofia Rikkin (Marion Cotillard) is in charge of the Animus project and hopes to use the Apple of Eden as a cure for violence. Her father Alan (Jeremy Irons) wants it for more nefarious purposes.
Even with a cast of star thespians, the Abstergo scenes are far less interesting than the action sequences with Aguilar. It's no secret that the stunt work on this film has been some of the most ambitious in cinema history. The "leap of faith" sequences alone required the highest controlled free falls ever attempted on a movie set. Kurzel should have given the action more room to breathe, though. Too much of the stunt work is masked by editing save for a climactic confrontation between Aguilar and Templar forces inside a temple. There's an electrifying shot with fellow assassin Maria (Ariane Labed) beating down several enemies with a few quick strikes from her gauntlet blades. Later in the scene, we get a brutal hand-to-hand fight sequence between Aguilar and Ojeda (Hovik Keuchkerian), a Templar henchman. With the games chock full of R-rated content, I was worried that the film's PG-13 rating may ruin it. Thankfully that wasn't the case. Buckets of CGI blood would've contributed nothing of any of the violent sequences.
Another thing I liked very much about the Aguilar scenes were that they were presented entirely in the Spanish language. I've always found the games slightly absurd for their adherence to the English language. In Assassin's Creed II, t's hilarious to listen to Leonardo Da Vinci speak with a British accent in Florence, Italy. Other side characters do the same during the French Revolution in Assassin's Creed: Unity. All characters in the film spoke Spanish when the setting required it, making the action feel more authentic. Great creative decision by the director and screenwriters.
The last fifteen or so minutes of the film present a clever, somewhat full-circle way to marry the Abstergo scenes with the more exciting assassin sequences. Overall though, It's too bad that Assassin's Creed revels in the more laconic aspects of the video game campaigns. Nobody plays the games for those scenes with Kristen Bell.
Okay, so I'm freaking / nerding out a little bit right now. Maybe it's just the coffee kicking in, but within the past 24 hours, I received a package in the mail that I have been waiting a year and a half for.
That's right! THE BARN is finally in my hands! This crowdfunded '80s throwback first came to my attention in August 2015. I blogged about my hype after watching the trailers and exploring the many perks for contributors to the Indiegogo campaign. I've done my best to champion it ever since. I finally watched the film last night, and I am so ecstatic that the wait was worth it! THE BARN has the same look and feel of the cheesy, lo-fi slashers of yesteryear, complete with artificial film grain, dubious acting performances, and homemade gore effects.
Perhaps regrettably, I've become something of a Blu-ray snob over the past couple of years. Ever since I got a proper player and HD television set, I refused to buy or watch any movie on DVD aside from some black & white films and studio comedies that I didn't think necessarily needed the added detail of 1080p. I don't need to count every hair on Owen Wilson's ragamuffin head in WEDDING CRASHERS. For now, THE BARN is only available on DVD and videocassette(!), and after seeing the film on DVD, I'm not sure I'd bother upgrading if writer/director/editor/awesome guy Justin Seaman and Nevermore Production Films ever released a Blu-ray. I think it may tarnish the film's low-rent aesthetic. Furthermore, the DVD I have is exclusive to Indiegogo contributors, and yours truly just happens to have a spot in the credits.
I don't know why I used my full name. I should've told them to put "The Reel Movies Blog." I think my id went crazy in that moment, and thus I briefly indulged my movie producer fantasy. I couldn't be more excited or happy that I finally have my claws on THE BARN and that my name is included on such a fine package that so much love and care went into.
I'm running short on time as I have a screening of ASSASSIN'S CREED to make, but I retweeted a bunch of news today on my Twitter feed. Among the headlines, Denis Villeneuve confirms that BLADE RUNNER 2049 will be rated R, and apparently he is in talks to direct a remake of DUNE. Elsewhere, beloved film critic Leonard Maltin discusses 2016's must-see movies, 336 films qualify for the Best Picture Oscar, voice casting for Wes Anderson's ISLE OF DOGS could include you, and in honor of the Blu-ray release of Rob Zombie's 31, Bloody Disgusting explores what happened to the rumored NC-17 cut. Head over to my Twitter to read on.
I shared my review of PASSENGERSthis morning. Spoiler alert - I did not care for it. I think the film releases Wednesday for anybody who is still interested. ASSASSIN'S CREED also comes out this week, so I hope to see it and post a review soon.
While working today, I pulled up the latest Movie Fight from the folks over at Screen Junkies. They don't do this all the time, but Screen Junkies recently started this new approach to Movie Fights by getting contestants drunk while arguing movies. It's great.
Today we got two new stills from ALIEN: COVENANT. The first trailer is imminent, per the folks at TrailerTrack.
We also got a brand new still from JUSTICE LEAGUE. This one features Ben Affleck as Batman, Gal Gadot as Wonder Woman, and Ezra Miller as The Flash staring pensively at something in the upper right corner.
We did, however, get the first trailer for THE EMOJI MOVIE. It's presented vertically, which means it is optimized for mobile viewing. Nobody will be surprised if the entire movie is shot that way. It's only a tease, but I think this trailer perfectly captures everyone's thoughts about the prospect of a film based on emoji.
There's also another trailer out now for A CURE FOR WELLNESS, which looks like a more stylized version of SHUDDER ISLAND. I'm excited for this one. I wouldn't be surprised if it turned out to be terrible, but I think there's an interesting story and some insane visuals here. And I love haunted asylum horror/psychological thriller movies. This one is out mid-February.
Lastly, my mother is interested in seeing any and all Christmas movies right now, including KRAMPUS. I promised her we'd watch it tonight. We'll see how that goes.
Early previews for Passengers made it look like an intriguing successor to 2001: A Space Odyssey. With "America's sweethearts" Jennifer Lawrence and Chris Pratt leading the cast, and The Imitation Game director Morten Tyldum behind the camera, Sony had all the makings of a crowd-pleasing Oscar contender not unlike last year's The Martian.
The finished product is about as far removed from all of that as possible. Sure, Pratt and Lawrence have chemistry, but the script goes completely off the rails with a third act so contrived that it all but sinks the entire production. In this case, "S.O.S." might as well stand for "Save Our Story."
Pratt stars as Jim Preston, a mechanical engineer who awakes 90 years prematurely on a mission to colonize a distant, earth-like planet called Homestead II. He spends a year playing basketball, setting high scores on a space-age version of the "Just Dance" video game, and confiding in Arthur (Martin Sheen), an android bartender and the only friendly face Jim has to interact with. After all that time in solitude, and a brush with death, Jim decides that he needs human company.
Lawrence stars as Aurora Lane, a writer from New York City. Together, she and Jim must find and fix a malfunction that threatens to destroy their spaceship and take the lives of 5,000 colonists.
For about ninety minutes of its barely-two-hour run time, Passengers is a perfectly passable movie. It's neither flashy enough to measure up with a blockbuster like Rogue One, nor is it intimate enough to pass for an indie in the vein of Duncan Jones's Moon. Pratt proves that he has the charisma to carry a film on his own; the first 30 to 45 minutes or so are arguably the film's best. From this point, Passengers continues to skate by based on the chemistry that he and Lawrence share. Then something happens to remind you that there's actually a plot at work. The solution to the central conflict is literally placed in the protagonists' hands, and the rest of the film plays out as safely and predictably as one could imagine. By the end, you'll feel as though you've just sat through the ultimate male fantasy, and then you'll ask yourself how in God's name a certain actor received billing for his role in this film.
I think the overall message of the film is something along the lines of "love the one you're with." That may be clear, but there has got to be a better story to tell with this concept. To be totally honest, Michael Bay's The Island comes to mind as something of a favorable example of the his & hers "fish-out-of-water" tale. Pratt and Lawrence remain as likable as ever, but they need a vehicle that doesn't pander to the lowest common denominator.
I'm sorry that it's been a couple of days since I've written. 'Twas a busy weekend! I tried to keep up by tweeting and retweeting a lot of cool things I noticed online. I saw ROGUE ONE for a second time, yet it did not change my initial feelings towards the film as a whole.
This morning, I finished this season's viewing of the perennial cult classic SILENT NIGHT, DEADLY NIGHT. Based on the poster, you can probably guess what this movie is about. A traumatized young man dressed as Santa Claus goes on a Christmas Eve rampage across his town, snuffing out any and all semblances of naughtiness. SILENT NIGHT, DEADLY NIGHT is most famous for the controversy surrounding it. Upon its release in 1984, no horror film had made a villain out of Santa Claus. That, combined with the film's graphic death scenes, prompted critics, politicians and concerned parents across the country to call for the film's swift ban, as well as the heads of both producer Ira Barmak and director Chuck Sellier, Jr. Among horror aficionados, SILENT NIGHT, DEADLY NIGHT is most famous for containing one of the all-time great slasher movie deaths - a topless Linnea Quigley impaled on a mounted buck's antlers. Earlier this year, I picked up Anchor Bay's "30th Anniversary Edition" Blu-ray for an extremely low price. This is the complete uncut version of the film and is the only copy I've ever seen. Apparently, the master used for this Blu-ray disc was compiled from both an incomplete HD master and a VHS composite. At several moments, the "high-def" footage gives way to early-VHS-quality video. It's a bit jarring, and one could argue that it ruins the impact of one or two kills, but for me, it reinforces the film's low-budget charm. I can see why this is a cult classic, and just this year, it's become a fun guilty pleasure for me. Not recommended for children, the squeamish, or concerned mothers.
Industry news I saw today noted that ROGUE ONE made about $150 million in North America over the weekend. Worldwide cumulative estimates were just above $290 million. Perhaps unsurprisingly, COLLATERAL BEAUTY, the ensemble melodrama led by Will Smith, struggled to hit pay dirt. Read more about the weekend's box office totals at BoxOfficeMojo.com.
Speaking of ROGUE ONE, director Gareth Edwards spilled to Radio Times that he found some unused footage from A NEW HOPE that made it into the final cut of the new film. Industrial Light & Magic cleaned up the aging celluloid, and Edwards then used it hoping that eagle-eyed fans would appreciate it and that less discerning audiences wouldn't notice. I won't post spoilers for ROGUE ONE on this blog, so if you want to find out exactly which footage was used, read here.
We also got a couple of insanely awesome new teaser trailers today! These two sub-2-minute clips may have singlehandedly rescued me from my cynicism towards the just-passable trailers of the past several weeks, including THE MUMMY and WAR FOR THE PLANET OF THE APES.
First we got an all-new look at JOHN WICK: CHAPTER 2, and it looks terrific. The last film was a pleasant surprise with franchise potential that nobody saw coming, and the sequel looks to build on that in a valuable way. I can't wait!
Then we got our very first look at BLADE RUNNER 2049! I was skeptical at the idea of a sequel to BLADE RUNNER, but once Warner Brothers confirmed all the talent involved, I grew more receptive to it. This teaser damns skepticism to hell and may just be the best of this year. It shows just enough to make us excited but not so much that any aspects of the plot are given away. I could watch it a million times.
As I wrote this post and finished some other work for the day, I put on Criterion's disc of Terence Malick's THE THIN RED LINE. This is one that's been sitting on my shelf for several months, and I finally got around to it. Such a magnificent film.
Lastly, I'm ending my day with a screening of the new sci-fi romance film PASSENGERS. Jennifer Lawrence and Chris Pratt have been tearing it up on the press junket for this movie, so hopefully it lives up to the hype.
It's here folks. It's finally here, which means 2016 can officially end. Rogue One is out there now, and all can be right with the world...
Rogue One represents the first of Disney's attempts to milk the traditional Star Wars timeline for everything it's worth, hence the subtitle "A Star Wars Story" rather than "Episode VII" or even "Episode III.V." As such, the film is also the first in the franchise to begin without an opening crawl. The audience in my screening was so confused when John Williams' classic theme wasn't the first thing they heard. Don't let that ruin the experience for you. Despite several dubious creative choices that may have completely collapsed a non-Star Wars film, Rogue One is still themovie that fans have been waiting nearly 35 years to see.
In the grand scheme of things, Rogue One really serves no worthwhile narrative purpose to the franchise. It's a 2.5 hour movie about the team of rebels that stole the structural plans to the Death Star, as hinted at in the original film's opening crawl.
In truth, it's a 2.5-hour movie about the reason why the Death Star had but one structural flaw that could be exploited with a perfectly placed torpedo from an X-Wing. By the nature of this film attempting to fit into a pre-existing timeline, its stakes are diminished. We've been watching its "sequel" for 40 years; we know how the story of Rogue One ends.
Ironically, it's this film's final thirty minutes that are the most exciting.
Director Gareth Edwards (2014's Godzilla) stages some of the most harrowing set pieces that the franchise has ever seen. The confrontation between Rebel and Imperial forces on the beach planet Scarif has Saving Private Ryan vibes. The Stormtroopers still have terrible aim, but the violence manages to be visceral on a level not seen in a Star Wars movie before. I hesitate to say any more about it so as to avoid spoilers. I'll just say that Dunkirk may be the perfect trailer to show before this film.
To be completely honest, other than the stellar climax, the narrative has astonishingly little else going for it. The film's opening looks and feels like something out of a David Lean film, courtesy of Greig Fraser's franchise-best cinematography. For the following hour and a half, the film grinds almost to a complete halt. Star Wars hasn't been this dry since Hayden Christensen's monologue about sand in Attack of the Clones. There are some shootouts peppered here and there to try and spice things up, but it doesn't really matter when you have trouble finding a reason to care for many of the main characters. The only ones who saved it for me were Donnie Yen as the blind master Chirrut Imwe, Ben Mendelsohn as the villainous Imperial general Orson Krennic, and Alan Tudyk as K-2SO, a reprogrammed Imperial escort droid. Think of him as Chewbacca in droid form if Chewy could crack wise in English. Yen is the character with the strongest Force powers and thus the movie's greatest badass. Seeing his blind character walk through a no-man's-land of blaster fire and kick the crap out of Stormtroopers with his staff never gets old. As for Mendelsohn as Krennic, well, this is Ben Mendelsohn we're talking about. He's a worthy addition to the canon of Star Wars bad guys.
Speaking of which, yes, HE returns and, out of a couple appearances, has one of his coolest, most terrifying moments ever. The moment in question is easily one of the film's best sequences. Hopefully you'll recognize it when you see it.
I thought Felicity Jones and Diego Luna were an absolute bore. They lead the film as Jyn Erso and Captain Cassian Andor respectively. They have almost zero chemistry, and their dialogue, rarely ever spoken above a whisper, has all the urgency of drying paint.
Perhaps Rogue One's most egregious sin, however, is Edwards' decision to use CGI for a couple of important supporting characters so as to shoehorn their place into this quasi-"prequel" narrative. If this wasn't a Star Wars film, I would have walked out. It nearly turns Star Wars into Who Framed Roger Rabbit? One character has far too much screen time while the other only makes a fleeting appearance. If you're a fan, you'll probably geek out for a second and then cringe. These characters look incomplete and totally unpolished, as though their scenes were re-shot and added to the finished product no earlier than a week before release. In the pantheon of Star Wars's kooky CG creations, I know where I'd rank them. I'll leave it to you, dear viewer, to decide which side of Jar Jar Binks to place them on.
In the end, Rogue One proves to be yet another journey to a galaxy far, far away that's worth taking. It's more in-sync with the original films than The Force Awakens and earns major points for being a distinctly original Star Wars narrative that still fits into the same timeline. Some of Edwards' creative decisions are dubious to the brink of catastrophe, but the film never totally crosses that line. If you were disappointed by Episode VII last year, and the word "prequels" makes you vomit in your mouth a little bit, then Rogue One may just be the Star Wars movie for you.
Since I last wrote, the first full trailer for Chris Nolan's DUNKIRK arrived online! It looks pretty awesome.
Is that Harry Styles I see in there? He actually looks like a human being! And Tom Hardy as an attack pilot?! Way cool. Allegedly, some IMAX screenings of ROGUE ONE around the country get to see the prologue of DUNKIRK projected from 70mm film. Unfortunately none of the theaters near me are lucky enough to have that.
Also since writing yesterday, I saw that Alan Thicke died tragically at the age of 69. I heard he was out playing hockey with his son and had a heart attack. My thoughts and prayers are with his family and with anyone else who was close to him. I used to love GROWING PAINS. With only about two weeks left, it'd be cool if 2016 could spare the rest of the greats.
In the gym earlier this afternoon, I heard "Shake Ya Tailfeather" from the BAD BOYS II soundtrack over the PA system. I nearly forgot how hard that song is. Instantaneously cranked my workout to the next level.
Then after my workout I went to see OFFICE CHRISTMAS PARTY. Some of the antics rival PROJECT X from a couple of years ago, but overall it isn't quite as memorable. It would've been a hoot to see the all-star cast go totally off-the-wall to deliver something as gleefully unhinged as PROJECT X or the first HANGOVER. They come close but never quite get there. Perhaps the saddest thing of all is that the movie just isn't that funny. Jason Bateman, Jennifer Aniston, T.J. Miller, Olivia Munn, and Kate McKinnon have all delivered sidesplitting work in the past. I can't believe they couldn't push the envelope just a little bit more with this cast. There's a loose plot involving the Chicago branch of a data security company getting the sack unless they find a way to secure a big contract before everyone leaves for the holidays. So, they invite an important client (THE PEOPLE VS. O.J. SIMPSON's Courtney B. Vance) to their office Christmas party with the hope that he'll experience their culture firsthand and choose to work with them over the likes of Dell and Oracle. Holiday hijinks ensue. If you haven't seen this one yet, wait until next Christmas after it hits Redbox.
I saw on Twitter today were that the nominees for this year's SAG (that's "Screen Actors Guild) Awards were announced. You can check the list out courtesy of Variety. The big surprises that everyone's buzzing about are Viggo Mortensen's well-deserved inclusion in the race for Best Actor race for his turn in CAPTAIN FANTASTIC and Emily Blunt's Best Actress nomination for THE GIRL ON THE TRAIN. Many are calling Blunt's nomination "the shock of the year" as she beat out the likes of ELLE's Isabelle Huppert and 20TH CENTURY WOMEN's Annette Bening who, up to this point, were two favorites to contend for the Oscar. I've yet to see ELLE or 20TH CENTURY WOMEN, but they can't be any worse than THE GIRL ON THE TRAIN. Blunt's performance is okay but certainly not worthy of any major awards.
Another big thing I saw was that the first trailer for BLADE RUNNER 2049 is imminent. It will run exactly 98 seconds (the significance of that number, I'm not sure) and could be online as early as Sunday or Monday. If you ask me, it'd be smart for Warner Brothers to piggyback on ROGUE ONE. Aside from DUNKIRK I'm unaware of any other major blockbuster teases for opening weekend. BLADE RUNNER appeals to the same general demographic as STAR WARS, so why not? Maybe the hype of everything mushed together - DUNKIRK, STAR WARS, AND BLADE RUNNER - would just be too much. We'll see.
The last two news stories I noticed were that ORANGE IS THE NEW BLACK's Ruby Rose is in talks to join PITCH PERFECT 3,and DOCTOR STRANGE was the highest grossing film in America during the month of November, raking in an estimated $222 million. According to Box Office Mojo, Marvel's latest has earned just under $650 million worldwide so far.
I'm concluding my day with a very special digital IMAX 3D screening of ROGUE ONE. I couldn't be more stoked! I watched A NEW HOPE and part of THE FORCE AWAKENS last night because the hype was just too real. I also wanted the context and nuances of the original fresh in my mind before going into this one. Hopefully I'll get even more out of it that way. I wanted to play more STAR WARS: BATTLEFRONT beforehand because there's new DLC that just came out, and I've played maybe five minutes of it. It's got maps and heroes inspired by the new film. Maybe I'll play a game or two after I get home.
I will type up my full review and share it tomorrow so that anyone going to the first shows can be informed. I promise to be as spoiler-free as possible!
The big news story of the day is that the embargo lifted on reviews for ROGUE ONE and COLLATERAL BEAUTY. Everyone around the internet is scrambling to either avoid spoilers or find out as much as they can before going in. Why on Earth would you do that??
I got some words down about Will Smith's latest which can be read here. Thoughts on ROGUE ONE will be coming this week after I see it. I should have something out in time for everyone planning to attend screenings over the weekend.
As I sat down to write my thoughts about COLLATERAL BEAUTY, I also thought about when I should review MANCHESTER BY THE SEA now that I've seen it. I don't think I'm going to on the blog, and here's why:
Full disclosure - I've had a bit of a hard time this year finding a steady job. I've been a college graduate for a year now, and I'm still trying to carve out a direction for myself going forward. If I could make a living writing about movies and podcasting all day, I'd do it in a heartbeat. That's part of what I hoped to accomplish with these daily diary entries. I believe, and other people around me have said (unless they're just being nice), that I have a unique perspective, and people have gravitated towards that. My audience, however big or small, is still an audience, and I love all of you for reading, listening to and supporting me over the past couple of years. I am going to continue writing as much as I can, but I need to buckle in and focus on starting a career. That said, I don't think I'll be reviewing anything aside from brand-new or early releases. That is, if I can have something available to you during the first weekend of release, I'll do it. Otherwise I'm going to focus my attention elsewhere.
The Reel Movies Podcast will continue, and I should have the last episode of 2016 out next week. I'm not giving up; just simply shifting priorities.
I will simply say that MANCHESTER BY THE SEA is magnificent and, I think, one of the finest American-made dramas of the past 20 years. Casey Affleck is as good as you've heard playing a man stuck in arrested development who suddenly finds himself as the guardian to his nephew after the boy's father dies. Michelle Williams has a small, relatively thankless role that doesn't blossom into anything particularly memorable until she confronts Affleck's character one last time before the ending. The kid, Lucas Hedges, deserves every "Breakout performance" award coming his way for his role as young Patrick. I'll probably have more to say on a future podcast episode, so stay tuned, or feel free to discuss with me on social media.
The next big thing I've seen today is a new poster for TRANSFORMERS: THE LAST KNIGHT, courtesy of Michael Bay and Paramount Pictures.
Apparently last week's trailer debut was one of the most successful of the social media era, garnering over 200 million views in under 7 days. It's pretty impressive that half of those views happened within the first 36 hours of the trailer's release.
It seems that as much as everyone loves to shit on Michael Bay and the TRANSFORMERS movies, the market for them is insatiable.
Collateral Beauty comes from an original screenplay written by Allan Loeb (21, Here Comes the Boom). Based on the trailers, you'd think this was inspired by some Dickensian novel ripe for favorable comparisons to A Christmas Carol or even, at the very least, to Frank Capra's It's A Wonderful Life. Director David Frankel (The Devil Wears Prada) helms a tear-jerking soap opera of a film about coping with loss that is well beneath the abilities of its talented cast. Collateral Beauty is so corny and so blatantly Oscar-baity that even the third act twist does little to rescue it from insipidity.
Having said this, Will Smith hands in what may be his finest performance to date as Howard, an advertising executive struggling to get over the death of his six-year-old daughter. His personal relationships have withered as a result, threatening his stake in his business and leaving his colleagues (Edward Norton, Kate Winslet, Michael Pena) scrambling to find a solution. Howard copes by writing and mailing letters to what he claims are life's three most crucial absolutes - Love, Death and Time. "We long for love, we wish we had more time, and we fear death," he says.
To pull Howard out of this funk, Whit (Norton), Claire (Winslet) and Simon (Pena) hire three struggling stage actors - Brigitte (Helen Mirren, as a struggling stage actor? Seriously?), Amy (Keira Knightley) and Raffi (Jacob Latimore) - to portray Death, Love and Time respectively. They are tasked with confronting Howard and coaching him through the grieving process, trying to get him to see the beauty of life's gifts. But the one who finally gets Howard over the hump is Madeleine (Naomi Harris), a counselor who heads a support group for parents of deceased children.
All this sounds fine and fun and innocent enough until you figure out that all the characters only speak to each other in platitudes. Every line of dialogue in Loeb's script feels like either an empty quip or some emotional speech. The film tries to say poignant things, but it just comes off cloying. Real people don't talk this way, and that, to me, feels like the wrong way to approach a film with a subject as sensitive as the death of a child. Michael Pena works in a handful of funny moments, but they're not enough to save the movie.
Collateral Beauty is designed to make you cry in the same mindlessly cornball way as beach literature. One way or another you'll feel drained by the end - either of emotion or sanity. In this case, it may be both.
I woke up this morning and scrolled through my Twitter feed, as I do just about every day. Turns out, today is when the Golden Globe nominations are announced! You can check out the full list of nominees here courtesy of The Hollywood Reporter. To the shock of no one, LA LA LAND and MOONLIGHT lead with the most nominations. However, I was surprised to see DEADPOOL land two(!) nominations: one for Best Picture - Comedy or Musical and another for Best Actor in a Comedy or Musical for Ryan Reynolds. How well this bodes for the film's Oscar chances remains to be seen. Wouldn't that be something?
Also curiously absent from the list of Best Picture nominees are Denzel Washington's FENCES and Denis Villenueve's ARRIVAL. Personally I'm most surprised about Martin Scorsese's SILENCE being snubbed entirely. Was it not eligible? This is why I do what I do so that one day, when I grow up, I can be an insider and find out how these awards shows work.
I'd also like to know why nobody is seriously considering THE SHALLOWS or WIENER-DOG in every category. MOONLIGHT is overrated af.
Next I happened to watch the first trailer for THE FATE OF THE FURIOUS (a.k.a. FAST 8 or FAST & FURIOUS 8). Man, there is about to be some bat-shit craziness going on in this movie. If you're like me and have followed the series from the very beginning to where it stands currently, this trailer is probably going to mess with your head big time.
I dig it. I dig it a lot actually. I don't much care for the fact that they've essentially spoiled no less than two major plot twists, but still, I'm sold. I'm one of those people who couldn't be happier that this franchise finally embraced its absurdity. Since FAST FIVE, these films have found their sense of identity and have stuck to it. This has translated to billions of dollars at the box office. Few, if any, Hollywood franchises can claim that. I never thought I'd see the day that I'd be excited to line up for the eighth sequel for anything, yet here we are.
In other news, we got the first poster for Christopher Nolan's DUNKIRK, as well as the first set photo from THE GREATEST SHOWMAN courtesy of Hugh Jackman himself.
DUNKIRK's poster isn't terribly special if you ask me. It joins a long list of films whose posters use the cliche of having the main character's back turned as they brood over a hopeless, half-destroyed background.
I still have high hopes for the film, though.
Now if it wasn't clear from this next photo, Hugh Jackman's next movie after LOGAN, THE GREATEST SHOWMAN, is about P.T. Barnum and the start of the Ringling Brothers Circus.
Jackman is playing Barnum in this musical-biopic alongside Zac Efron, Michelle Williams, and Zendaya. Sounds interesting enough.
After watching the Critics' Choice Awards last night, my mother is interested in seeing LA LA LAND and MANCHESTER BY THE SEA*. Since LA LA LAND isn't yet playing in our area, MANCHESTER BY THE SEA it is.
(*We just got back. It's amazing. Full review to follow.)
Today I watched two films at home that I rented from Redbox - MIKE & DAVE NEED WEDDING DATES and HELL OR HIGH WATER. What can I say? I have diverse taste.
MIKE & DAVE was a truly terrible movie. Anna Kendrick is the only reason this unfunny mess was tolerable. HELL OR HIGH WATER has been getting loads of Oscar buzz, and I just saw it for the first time. It's a solid western crime drama, but there's nothing particularly special about it. Not a bad film by any stretch, just certainly not worthy of consideration for awards that are supposed to go to the most outstanding cinematic work of the year.
I reviewed NOCTURNAL ANIMALS today too. You can read that piece here.
Honestly, after this week full of movie trailers and news, I don't mind a day where my interactions with the world of cinema are limited.
Might watch a Christmas movie tonight. I can't decide between THE NIGHT BEFORE or SILENT NIGHT, DEADLY NIGHT.
Nocturnal Animals is the second feature film from fashion designer Tom Ford (A Single Man). It's based on a novel called "Tony & Susan" by Austin Wright, who was professor emeritus of English at the University of Cincinnati. The movie is about a troubled art gallery owner named Susan (Amy Adams). Her relationship with her husband (Armie Hammer) isn't so great, and the tension between them is exacerbated by their careers. One day, Susan receives a transcript for a novel written by her ex-husband Edward (Jake Gyllenhaal). Although Susan left him in a horrible way twenty years prior, Edward still seeks her feedback. The novel's violent, emotional story is played out on-screen with Gyllenhaal as the main character Tony, Isla Fisher as his wife Laura, Aaron Taylor-Johnson as the troublemaking Ray, and Michael Shannon as the scene-stealing Detective Bobby Andes. As Susan is drawn deeper into the novel, she begins to perceive it as a symbolic tale of revenge against her.
Walking out of this film afterwards, I felt stymied to a fault. Several scenes in this film are conceived and executed with all the skill of a film school freshman. The moments that Susan inhabits also feel like an extended advertisement for Ford's fashion line. He seeks to shock the audience right out of the gate with a provocative living art display and then proceeds to drench the ensuing scenes in ego and pretension. It isn't until Susan starts reading the novel that the film gets interesting. "Nocturnal Animals" is played out for most of the running time as a manifestation of Susan's mind as she reads. This part of the film delivers a taut, suspenseful crime thriller that stands out from most of what I've seen this year despite, again, Ford's "film school" execution. A movie only needs so many scenes where the sound is removed and replaced by heavy breathing or voiceover.
This is a very bleak story of love and revenge and violence, so I welcomed Shannon's surprising performance as Detective Andes, the cop assigned to Tony's case after Ray and his buddies terrorize Tony's family on the highway. Andes is a man with nothing to lose; he's at the end of his career, dying of lung cancer, and clinching to his sanity by a thread. Shannon nails all these beats and manages to deliver a turn that's endearing, intense and unexpectedly funny - often all at once. Out of every movie I've seen this year, Shannon as Andes might be my favorite performance by an actor in a supporting role.
I've heard some criticisms about the ending of the film which is part of why I said I left "stymied." At first you think it ends in a very odd place, and you curse Ford for supposedly curtailing the emotional climax of the film. Then you sit and think about it a few different ways until it hits you, and it's amazing. Still, there are some unanswered questions regarding Susan and Edward's daughter that would be spoiled if I got into. Perhaps I need to see it again.
Overall I enjoyed Nocturnal Animals. It's saved by Michael Shannon and the story he inhabits. The rest of it is just extremely stylish and nothing more. Gyllenhaal and Adams turn in solid work, though neither operate at as high a caliber as we've seen from them before. This year alone, Adams is ten times better in Arrival. I think the film is worth seeing if you're into crime and revenge thrillers. Ford's style is unique in and of itself, and thus Nocturnal Animals stands out from many other films of its ilk. The man just needs to dial back his ego next time.
Almost all the feelings I've had towards cinema over the last two weeks have stemmed from movie trailers. There have been so many! I started the day, or rather ended it late last night, with the trailer for SPIDER-MAN: HOMECOMING.
This looks fun enough for a Marvel movie. The wingsuit finally makes its big screen debut, and Michael Keaton looks incredible as the Vulture! He may be Spider-Man's best movie villain yet. However, I was sucked out of the whole thing immediately when I saw Peter in class watching footage of the airport scene from CAPTAIN AMERICA: CIVIL WAR on YouTube. Who on earth was filming it??? Giant W.T.F. there. I'm also wary of the relationship Peter has with Tony Stark (Robert Downey, Jr.). Past SPIDER-MAN films have been interesting character studies because they're as much about how a young man grapples with both his personal relationships and his call to a higher duty as they are about action scenes. The whole allure of Peter Parker / Spider-Man is that he's forced to navigate the trials of young adulthood without a father figure. This iteration of the character - especially based on what we've seen in Civil War - feels like its beholden to a babysitter. I appreciate that they've skewed age-appropriate with the new casting, but I don't know if I'm entirely sold just yet. I am looking forward to seeing the finished product for Keaton's Vulture, if nothing else.
Then as I checked into Twitter this morning, I watched part of a live stream featuring the cast of ROGUE ONE. I guess they held some sort of event and Q&A at Lucasfilm, and then stars Alan Tudyk & Riz Ahmed and director Gareth Edwards took a tour of the Industrial Light & Magic offices. It was so cool to see all the different props and artwork in the halls from previous ILM features!
Later I saw even more new movie trailers! Can you believe it?? We got the first full trailer for WAR FOR THE PLANET OF THE APES today and without a stupid fucking 15-second teaser days beforehand too!!!!
I've enjoyed this PLANET OF THE APES prequel series so far, and there's no reason to think WAR will be any different. I'm fascinated by Woody Harrelson's presence as much as I am eager to see Andy Serkis evolve the character of Caesar even further.
I've written before about how much I hate those "teasers for the teasers." Just give me the full two minutes. Universal did it late last week with THE MUMMY, and they're at it again with the first reveal of the next FAST & FURIOUS movie.
FAST 8 is officially titled THE FATE OF THE FURIOUS, and the full trailer will be available online sometime this coming Sunday. This is just another absurd superhero franchise anymore, but I've had a blast with the past few entries. I enjoyed some of the "behind-the-scenes" clips that the cast posted on Instagram during filming. Based on those alone, I'm excited to see what's in store for us next April.
In other news, /Film shared an insider report saying that James Franco has a role in the upcoming ALIEN: COVENANT. The report is a bit spoilery, so I'll leave you to explore further if you wish.
Warner Brothers officially announced the Blu-ray release of Ben Affleck's recent thriller THE ACCOUNTANT. It streets on January 10th.
I enjoyed this movie as much as anybody, but the superlatives they picked are just absurd. How can an acting performance be "action-packed?" That's literally impossible. The story has to be "action-packed." Stupid. Maybe I'm just irritated that Warner didn't contact The Reel for my superlative. A kid can dream.
I watched GANGSTER SQUAD this afternoon. I think it's massively underrated and that it features Sean Penn's best performance in over a decade. I'm sure I'm the only one on the planet who thinks so, but that's fine. I actually saw GANGSTER SQUAD for the first time in the theater as a double bill with ZERO DARK THIRTY. Guess which one I had more fun with?
I reviewedLA LA LAND today, so be sure to check that out!
Lastly, I've got plans to go see Tom Ford's Nocturnal Animals tonight which has been drawing lots of critical acclaim. I also reserved HELL OR HIGH WATER and MIKE AND DAVE NEED WEDDING DATES at Redbox. That reminds me, I need to go pick them up!
You often hear people criticize films by saying "They don't make 'em like they used to." Well, I think Damien Chazelle (Whiplash) just filled that void.
La La Land is a musical-comedy-romance-drama about coming to terms with your dreams. It shares DNA with many of the classic Hollywood musicals, specifically Singin' In the Rain and Meet Me In St. Louis. Anyone who has ever been in love, aspired to something great, or felt the pain of defeat should experience a deep connection to this film.
Ryan Gosling and Emma Stone play aspiring artists; he, a jazz musician named Sebastian who dreams of opening his own club and she, an actress named Mia who dreams of hitting it big. They are drawn to each other by their passion for their respective endeavors. As success begins to mount for them both, ensuing circumstances threaten to tear Seb and Mia apart.
One of the best things about La La Land is that it has its feet planted firmly in nostalgia while also delivering something that feels fresh. By its very nature, La La Land isn't as white-knuckle engaging as Chazelle's prior effort, Whiplash. I think Whiplash is the superior film, but that doesn't mean that La La Land isn't something special. From the opening musical number - "Another Day of Sun," in which commuting Angelinos relieve their road rage by dancing and singing all over a gridlocked freeway - you can tell this movie is going to be something special. The story doesn't boil down to an easy, familiar resolution either. I won't spoil anything, but if you come out of this movie feeling depressed, you need to go back to the box office, buy a ticket to the very next show, and watch the whole thing again. You missed the point.
Stone and Gosling deliver performances that all but secure Oscar nominations, if not wins. They're no Astaire and Rogers; "A Lovely Night" feels like two average people took one dance class and decided to go shoot a big tap-dance number. Having said that, Gosling and Stone's chemistry is as close as Hollywood currently has to those classic duos of yesteryear.
The production design by David Wasco is also quite wonderful. With so many iPhones and Toyota Priuses used by characters throughout the production, (there's a great gag at the valet kiosk when Seb and Mia leave a party in the Hollywood Hills) it's clear that the story takes place in the present day. However the sets and costumes maintain that vintage "Hollywood" feel at the heart of Chazelle's story.
Lastly, I have to mention the incredible original soundtrack by Justin Hurwitz. The marquee tracks "City of Stars" and "Audition" are likely to go neck-and-neck for all the Best Original Song awards this year. "Another Day of Sun" and "Someone In the Crowd" are peppy, toe-tapping ensemble numbers while "A Lovely Night" is reminiscent of classic Broadway duets. "My Time of Day" from Guys & Dolls immediately comes to mind.
You'll have done yourself a disservice if you miss out on La La Land this year. I'm not certain that it's the best film of 2016, but it's up there and is all but assured multiple Oscar wins - including Best Picture.
I got through THE REVENANT late last night. It was my first time re-watching it since seeing it in the theater. I feel like if I ever want to watch that movie again, I need to rent out a movie theater. My 32-inch Vizio doesn't cut it. The visual experience of that film is just too good for an average home display.
I feel like there's been nothing to report on but movie trailers in the past two weeks. Today we've got full looks at the BAYWATCH reboot and THE WALL, a war thriller from Doug Liman (THE BOURNE IDENTITY) starring Aaron Taylor-Johnson and John Cena.
If you ask me, BAYWATCH looks like a trainwreck in the making. I understand the commercial appeal of Dwayne Johnson and the cast of insanely attractive people, but, my God, Zac Efron is comedic cancer. He singlehandedly ruins this trailer for me. The script also sounds abysmal from the sound bites included here. As a fan of Alexandra Daddario's (*ahem*) body of work and the likely scene-stealing turn by comedian Jon Bass, I'll probably see this anyway. Expectations couldn't be lower though.
THE WALL could be solid. Liman is a director with marvelous control of action and suspense, which look to be delivered in spades here. If you think this seems like an interesting premise, go watch Mickey Keating's CARNAGE PARK on Netflix. Imagine the concept of THE WALL crossed with THE TEXAS CHAINSAW MASSACRE, and you'll have a modest idea of what to expect.
In other news, Bloomberg reports that Fox, Universal, and Warner Brothers have entered into negotiations with Apple to offer first-run theatrical releases to iTunes & AppleTV users at a premium price point. It was really only a matter of time before something like this happened. The theatrical release window is only going to shrink with the rise of digital platforms. This move really only benefits families who would pay around $100 for a night out at the movie theater. I, for one, would not pay to watch JUSTICE LEAGUE at home for $50 on release day. Now if the studios agreed to release films on AppleTV a week or two before their theatrical run, that might be a different story. Only time will tell.
Paramount announced today that the next film in the CLOVERFIELD universe has been moved from March to October of next year. It's rumored that the film will be titled "GOD PARTICLE," about a team of astronauts who are forced to reckon with a shocking discovery. Sounds like an ALIEN reboot to me. J.J. Abrams would do that to us too. It sounds awesome though, especially with the cast of David Oyelowo, Gugu Mbatha-Raw, Elizabeth Debicki, Daniel Bruhl, Chris O'Dowd, John Ortiz and Ziyi Zhang.
Kodak also launched a new website and mobile app today called "Reel Film." It shows you locations where you can watch movies projected from actual film, as well as where you can see movies that were shot on film stock. I'd have to go to Columbus in order to see IT'S A WONDERFUL LIFE on 35mm, but still, that's pretty rad. Check it out for yourself.
I got an email yesterday updating me on the status of an Indiegogo campaign I contributed to for this new '80s-style horror film called THE BARN. I've been following this thing closely for about a year and a half, and I contributed enough money to the campaign in order to receive a DVD. Allegedly, the DVDs had some printing and formatting issues which is why they're now over a month late on delivery. I've heard great things about the movie, and I cannot wait to see it! I'm disappointed it wasn't in my hands in time for Halloween this year, but I'd much rather have a quality product at the end of the day. Tom Holland's Terror Time got an inside scoop on what exactly this DVD will look like, and I couldn't be more stoked.
Indiegogo contributors get first dibs and then the remaining stock will go on sale to the general public. Visit TheBarnMerch.com for all the goods!
Speaking of DVDs, I went to Best Buy today looking for Seth Rogen's Christmas movie THE NIGHT BEFORE. I found it and then some.
I've never seen MUNICH, but I've heard that it's arguably Steven Spielberg's best film. MIDNIGHT SPECIAL was an interesting sci-fi thriller from earlier this spring that I've been eager to revisit. CROUCHING TIGER, HIDDEN DRAGON just got a 4K remaster for its 15th anniversary and was re-released with a bunch of new bonus material. For the price, it was a wonderful pickup.
I'm going to see FANTASTIC BEASTS AND WHERE TO FIND THEM with my sister tonight. It will be my second time seeing it and her first. She's writing a report / review on it for extra credit for a mythology class.
Okay, I think that about covers everything today. By the end of the night, though, who knows? It's a lifestyle.
I'll leave you with this badass photo of Josh Brolin and Paul Thomas Anderson on the set of INHERENT VICE. (Courtesy of @TheFilmStage)
