“Tomorrowland” begins shooting today in Vancouver, BC. The details about this movie began to be teased out this January, going under the code name, “1952.” As this synopsis indicates, there’s an interesting story here with a lot of potential for an excellent stand-alone or maybe another franchise:
Tomorrowland is a place where science has surpassed the world we live in now, where it has become the future. Frank Walker (George Clooney) has seen this Promised Land once, as an 11-year-old. But he was thrown out of it by the great inventor Frank Nix (Hugh Laurie). Before his removal, however, the young Frank was able to learn that the girl he had fallen in love with was actually a robot.
Now, as a broken man, Frank has to team up with a young girl named Casey to understand what happened at Tomorrowland in order to save the world.
And then there’s this other synopsis that is considered the official synopsis. Whether it’s a continuation of previous ideas or a whole different turn, who knows. It remains intriguing:
Bound by a shared destiny, a bright, optimistic teen bursting with scientific curiosity and a former boy-genius inventor jaded by disillusionment embark on a danger-filled mission to unearth the secrets of an enigmatic place somewhere in time and space that exists in their collective memory as “Tomorrowland.”
“Be careful, Charley. Romania can be a very dangerous place.” That’s the bit of advice Charley (Will Payne) gets from his prof, Gerri Dandridge (Jaime Murray) right after she threatened to kill him. All must go hush-hush for the time being since another student, and Charley’s love interest, Amy (Sacha Parkinson) somehow wandered onto the scene. It’s a game of cat and mouse for a good while as Charley and his prof must make time to go over whether or not he should die. Maybe he could stop by after lunch?
This is a stylish sort of scary. It’s actually not that easy to get it right and “Fright Night 2: New Blood” gets it right. It comes out on DVD and Blu-ray on October 1. It’s light horror with high production value. Like “Buffy the Vampire Slayer,” it has its own sense of humor but it knows to respect the scary stuff.
Samuel L. Jackson stars in Spike Lee’s reinterpretation of OLDBOY. Photo credit: Hilary Bronwyn Gayle
Check out Samuel L. Jackson’s new look in Spike Lee’s upcoming OLDBOY. A unique reinterpretation of the 2003 Korean film, OLDBOY is written by Mark Protosevich and directed by Spike Lee. OLDBOY will open November 27, 2013 in theatres.
OLDBOY is a provocative, visceral thriller that follows the story of an advertising executive (Josh Brolin) who is abruptly kidnapped and held hostage for 20 years in solitary confinement. When he is inexplicably released, he embarks on an obsessive mission to discover who orchestrated his bizarre and torturous punishment only to find he is still trapped in a web of conspiracy and torment . Co-starring Elizabeth Olsen and Sharlto Copley, OLDBOY was directed by Spike Lee, from a script by Mark Protosevich (I Am Legend, The Cell, Thor). The film was produced by Roy Lee, Doug Davison and Nathan Kahane.
Distributor: FilmDistrict
Release Date: November 27, 2013
Director: Spike Lee
Writer: Mark Protosevich
Starring: Josh Brolin, Elizabeth Olsen, and Sharlto Copley.
Visit the OLDBOY website here. Visit on Facebook here. Film District is on Twitter here.
NEW TATTOO is a quirky comic prequel inspired by the critically acclaimed film AIN’T THEM BODIES SAINTS, starring Rooney Mara, Casey Affleck and Ben Foster. The graphic novel was created by Criterion Collection artist Eric Skillman and comic book artist Matthew Southworth. You can view the comic here.
Written and directed by David Lowery, AIN’T THEM BODIES SAINTS is currently in select theaters.
Set against the backdrop of 1970’s Texas Hill Country, AIN’T THEM BODIES SAINTS is a romantic American story that follows three characters on various sides of the law – outlaw Bob Muldoon (Casey Affleck), his wife Ruth Guthrie (Rooney Mara), and a local sheriff named Patrick Wheeler (Ben Foster), who gets caught in their crosshairs. The film, which is the second feature from writer-director David Lowery, was developed at the Sundance Institute’s Writing and Producing Labs and also stars Nate Parker and Keith Carradine.
Distributor: IFC Films
Release Date: August 16, 2013
Writer/Director: David Lowery
Starring: Rooney Mara, Casey Affleck and Ben Foster
“Ender’s Game” is a controversial movie for all the wrong reasons. As Jergen Hemlock reports, it is at risk of losing at the box office because the work it originates from is by Orson Scott Card, known as much for his science fiction as for his anti-gay comments.
If you’re looking for a great double feature, you should try two sci-fi blockbuster action flicks with a lot in common, “Elysium,” in theaters now, and “Oblivion,” new to home entertainment. Director Neill Blomkamp has come a long way since his hit, “District 9.” For the bean counters monitoring the box office, it may seem like Blomkamp still has a way to go but whatever. The heart and soul of this movie is in the right place. It is an accomplishment when you can entertain and provide some sort of message.
You’ve got such an intense activist like Matt Damon as your star, and you throw in power-to-the people red meat for him to devour, and it works! Something similar is going on with “Oblivion.” Another promising director, Joseph Kosinski, is coming into his own. And he also throws in red meat at another intense actor, Tom Cruise, and that works too! Comparing the two movies is understandable given the renewed interest from Hollywood in sci-fi. You can just imagine the boardroom meetings: “Star Wars is going to eat our lunch!” And so sci-fi projects are getting the green light left and right. These two are similar movies but with different enough temperaments to keep us hopeful about big budget sci-fi.
There is a parallel reality at play in both movies. “Oblivion” is shrouded in mystery but the two worlds of “Elysium” are very clear. It’s 2154 and what’s left of Earth is for the poor to fight over. The one percent have set up nicely in a space station that houses a luxury version of Earth. It will be up to Max (Matt Damon) to save all of humanity. In “Oblivion,” it’s 2077 and Jack Harper (Tom Cruise) is part of the elite, as far as he knows, at the start of the movie. He and is partner/lover, Victoria Olsen (Andrea Riseborough), take orders from a central command back on Titan, one of Saturn’s moons, while they act as the final clean-up crew before they too must depart for Titan. It will only be after digging around, and nearly getting killed, that Jack discovers what’s really going on.
“Elysium” proves to be the more clear-cut cat and mouse game. Max is way over his head attempting to confront the very powers of Elysium but he’s the man to do it. “Oblivion” is a great case of trying to figure out who exactly is who and who or what is in charge. In both cases, the hero is attempting to save his fellow humans. One movie takes a more hot direction. The other takes a more cool direction. Do it now or wait until later, but together they make for one great double feature.
“In the Land of Retinal Delights,” oil on canvas, 1968, by Robert Williams
ROBERT WILLIAMS MR. BITCHIN’ is now available on DVD and VOD. It is a unique documentary, distributed by Cinema Libre Studio, on Robert Williams, a significant artist that has done a lot to usher in the zeitgeist as the leader of the Lowbrow art, or Pop Surrealism, movement.
We take for granted today the mash-up of high and low culture. It is considered common knowledge that we do this mashing up. Everything is oh so “mashable.” Media empires rely upon it. How cute and comforting it all may sound now but there was a time when the lines between the art world establishment and the outsider were far more clearly drawn. Never mind the myth of such bad boy artists as Jackson Pollock or even Andy Warhol. It was the art world, taking its orders from a closely knit New York elite made up of a handful of blue chip galleries and high end art magazines that decided which bad boys, with the occasional bad girl thrown in, would go on to be crowned art royalty. It was something that artist Robert Williams could hardly not notice since, during his early career, his art was on the wrong side of the established line. As the years progressed, Mr. Williams would find the whole line not only switching in his favor but becoming blurred. This, in no small part, was due to him.
A new documentary, “Robert Williams Mr. Bitchin,” provides us insight into this process of becoming acknowledged as a professional fine artist as well as what it takes to make groundbreaking art, to really make art history. This is the highest achievement an artist can seek and that is what we see Mr. Williams set out to do and ultimately achieve. It is truly an inspiring story that clearly shows you how the mysterious art world climate can change despite itself. It is an argument that lead director Mary C. Reese and co-director/writer Nancye Ferguson are more than happy to make a case for with Mr. Williams as their prime example. And Mr. Williams, an amiable person, is quite adept at helping connect the dots to his own career.
The whole style of this documentary seems to suit its subject’s nonconformity well. It’s not a high end production, per se, and is ready to practice what it preaches as it presents a more casual shaggy dog presentation as opposed to your typical “art” documentary that can be restrained and clinical. There are no polished dramatic pauses, for instance. Design is pretty basic. But, at the same time, that is not really a problem at all. There is more of an honest blue collar approach that undercuts any need for too much in the way of heightened experience. The interviews, archival footage, and art speak for themselves quite nicely. And, where the budget allowed, you see some nice additional touches as in the multi-layered observation of the actual artwork.
You can tell that the filmmakers were going for a more familiar feel in many of the exchanges between Mr. Williams and the camera. At one point, he jokes that, as far as he understands from Werner Herzog, cinéma vérité is passé, implying he’s not so sure he wants to be followed too closely. The response behind the camera is a good-natured shrug and, “It’s Okay.” Mr. Williams shrugs back with a wink, “Okay.” In another scene, he sort of mocks concern over his interviewer’s lack of knowledge in anthropology. He is also quick to say he is more than happy to defer to his wife, Suzanne, and her expertise. This all adds up to showing Mr. Williams in a relaxed and trusting mood. We even see the couple riding unicycles.
Back to art history, the documentary does well with its facts and there are inspired moments as when we are swept away to the greener pastures of post-war Los Angeles. Everything cool, from Betty Page to hot rods, is happening out there. It was some pretty heady stuff decades ahead of its time, particularly for the East Coast establishment. This was the culture that Mr. Williams knew and loved. This is what Mr. Williams drew and painted. Along the way, he created iconic work, including naked women lounging on top of giant tacos, and inspired a new generation of artists.
We follow his career from his work with Big Daddy Roth through to his falling onto the general public’s radar with his painting, “Appetite for Destruction,” becoming the album art for the legendary rock band Guns N’ Roses. And onward to Mr. Williams’s answer to Art News and the like, his creation of the influential art magazine, Juxtapoz, and his own work being recognized by today’s art world establishment. “Robert Williams Mr. Bitchin'” proves to be the right mix of respectful tribute and irreverent fun.
Tuesday, July 30 – Screening at 7:30pm at The American Cinematheque (Egyptian Theatre, 6712 Hollywood Boulevard, Hollywood, CA 90028). Q&A to follow with Robert Williams, Suzanne Williams and filmmakers Nancye Ferguson, Stephen Nemeth, Mary C. Reese, Doug Blake, Michael LaFetra and special guests! Details: http://www.americancinemathequecalendar.com/content/robert-williams-mr-bitchin%E2%80%99-0
DVD and VOD street date – July 30th available at major retail outlets and digital platforms (Hulu, Amazon Instant and more!)
ABOUT CINEMA LIBRE: Cinema Libre Studio is a leader in distributing social-issue documentaries and features by passionate filmmakers. Headquartered in Los Angeles, the Cinema Libre team has released over one hundred films including the Sundance Audience Award‐Winning FUEL, THE END OF POVERTY?, Rachid Bouchareb’s LONDON RIVER and Oliver Stone’s SOUTH OF THE BORDER. The studio is developing John Perkins’ best‐selling memoirs, CONFESSIONS OF AN ECONOMIC HIT MAN, into a major motion picture. For more information and updates, please visit: http://www.cinemalibrestudio.com and follow on Facebook and Twitter.
“Doctor Strangelove” Movie Poster. Artwork by Tomi Ungerer.
FAR OUT ISN’T FAR ENOUGH: THE TOMI UNGERER STORY is a masterfully created documentary that will hit you on many levels. It is eligible for an Academy Award nomination for Best Documentary and deserves that level of recognition for being so careful to detail with its subject, artist Tomi Ungerer.
I had the honor of speaking with both Brad Bernstein, the film’s director and writer, and Rick Cikowski, the film’s lead editor and lead animator. Both men expressed their love for Tomi Ungerer and provide insight into the making of this impressive documentary, distributed by First Run Features.
For me, I can appreciate what happened to Tomi Ungerer when I look at the iconic poster he created for “Doctor Strangelove.” That poster, much like his “Black Power, White Power” poster are forever part of one’s psyche. And yet, in America, Ungerer’s work in children’s books is not widely known today. That work is just as powerful and was just as well known in its day, as anything else he has created. Thanks to Phaidon, we have many of his great works being reprinted in the United States. But, for decades, it was as if he’d been wiped out of memory in America. How could that be? That is a big part of the fascinating story that unfolds in this documentary.
Tomi Ungerer is a great talent and, for a man who has had a lifelong battle with fear, he is a most courageous man. For someone who grew up under the horror of the Nazis, and went on to conquer the world of illustration in its heydey in New York City, that alone is remarkable. But going that far out, wasn’t far enough for Ungerer.
“Far Out Isn’t Far Enough” brings together a seamless narrative boiling down numerous hours of interviews with Tomi Ungerer, Jules Feiffer, the late great Maurice Sendak, as well as other notable figures like art director and critic Steven Heller. Throughout the film you are treated to very deftly purposed animation that strikes the right cord, whether humorous or somber.
As Brad Bernstein explains, the initial attraction to Tomi Ungerer was his spirited expressions like, “Far Out Isn’t Far Enough.” That really says it all. Ungerer is a man who speaks his mind and does it quite well. His life and work are a testament to a strong will and this documentary honors that spirit very well.
You can listen to the interview with Brad Bernstein and Rick Cikowski by clicking the link below:
And, as the say, tell your friends and spread the word about this documentary. You can visit the official site here and also follow on Facebook and Twitter.
“The Incredible Burt Wonderstone” reminded me a bit of another comedy about another delusional magician, 2008’s “The Great Buck Howard,” starring John Malkovich. That is a case of a drama with a touch of comedy. “Wonderstone” falls into a special brand of comedy, high on irony, with touches of drama. It stars Steve Carell, Steve Buscemi, and Jim Carrey, all masters of that form, in this hilarious, and heartfelt, movie.
This is a buddy movie. It’s the story of two partners in magic, Burt Wonderstone (played by Steve Carell) and Anton Marvelton (played by Steve Buscemi). We follow them into the spotlight and a long run at a major Las Vegas casino. It turns out to be a much too long run, as far as the casino tycoon Doug Munny (played by the late James Gandolfini) is concerned and he’s ready to end his contract with the guys. The act has become a caricature of itself, beyond stale, with the same lame old stunts played out to Steve Miller Band’s “Abracadabra.”
It wasn’t always so sad. The first scenes with the kid versions of the leads, Mason Cook as teen Burt and Luke Vanek as teen Anton, are pretty moving. Back when “Abracadabra” was a hit, everything was so fresh and full of promise. It was magical! When Burt, after suffering yet another thrashing from bullies, is given a magic kit as a birthday gift, his future suddenly seems brighter. He pops in the VHS tape and there’s Rance Holloway (played by Alan Arkin) ready to sweep him away from his worries and open up a whole new world of magic. He shares his new insights with his best pal, Anton, and they’re off and running.
Over the years, we’ve had some very successful comedies, from Mel Brooks to Judd Apatow, that have had us pull back from traditional sentiments and yet still invest something in the characters. When all the stars are in alignment and the story is properly synchronized, it can make for some surprisingly good results. Who would have thought that “The 40 Year Old Virgin” would have gotten to you on more than the most superficial level? Well, comedy is a very funny thing. Director Don Scardino (2 Broke Girls, 30 Rock) should know. And screenwriters Johnathan Goldstein (The Adventures of Old Christine) and John Daley (Bones) also know. If one buys into a premise, no matter how full of silly jokes, it is possible to create something meaningful.
For a comedy that you’d think should not be taken seriously, it packs some good lofty thinking. There’s quite a bit of angst and searching for meaning going on here. Burt and Anton are at a major crossroads. Their whole existence is being called into question. They are in the throes of an identity crisis. And to add to it, an ominous figure emerges, Steve Gray (played by Jim Carrey), who taunts Burt and Anton by having them doubt their very purpose in life. Steve Gray represents the new breed of illusionist who mocks the traditional craft of magic tricks and has become famous for his stunts, like going a week without urinating. He is supposed to be the future. And Burt and Anton are supposed to be the past.
Things only get worse before there’s any hope of them getting better. Just as Burt appears to have suffered through all possible humiliation, he crosses paths with his old mentor, Rance Holloway. Alan Arkin, a legend in comedy, is quite up to the task of providing the heart and soul that could makes things right. Add to that, there is Burt’s mistreated assistant, a sexy young woman, Jane (played by Olivia Wilde) who, by all rights, shouldn’t even be anywhere near Burt. But, as if my luck and magic, Jane remains nearby doing her part to provide incentive for Burt to fully redeem himself.
Comedy and magic share a lot in common. They can both be very direct pure entertainment. They can both have the quality of being very unreal while affecting us in a very real way. This story about magic is handled with love, and the right amount of irreverence, to keep it relevant and magical. It’s impressive how artful this movie really is. When you stop and think about it, Steve Gray, the flashy illusionist, is there, despite himself, to push Burt. He’s delusional to a toxic level but he’s also, inadvertently, confronting the whole purpose and intent of entertainment in general. Does the public only want spectacle? Wow. The talent behind “The Incredible Burt Wonderstone” has got some answers for that and they will also make you laugh.
By the way, if you have caught the magic bug, you’ll want to check out Market Magic Shop here. And, if you’re in Seattle, you can visit them at Seattle’s Pike Place Market. Since I’m in Seattle, I get to visit whenever I want. My last visit inspired me to write this movie review. Here’s a look at me dabbling with a little magic:
And be sure to visit “The Incredible Burt Wonderstone” official website here.
Phase 4 and the Kevin Smith Movie Club are proud to present THE DIRTIES. Winner of the 2013 Slamdance Grand Jury Prize for Best Narrative Film.
Kevin Smith premiered a trailer for the film this weekend at Comic-Con in Hall H.
Synopsis: When two best friends team up to film a comedy about getting revenge on bullies, the exercise takes a devastating turn when one of them begins to think of it as more than a joke.
Director: Matt Johnson
Starring: Matt Johnson, Owen Williams
Screenplay: Matt Johnson, Evan Morgan
Available In Theaters and On Demand October 4, 2013
Follow “The Dirties” at its official site here and on Facebook here.
‘Ender’s Game’ Facing Boycotts Following Author’s Anti-Gay Views
Photo by 91st™ Shawn via Flickr
“Ender’s Game” is a controversial movie for all the wrong reasons. As Jergen Hemlock reports, it is at risk of losing at the box office because the work it originates from is by Orson Scott Card, known as much for his science fiction as for his anti-gay comments.
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Filed under Commentary, Entertainment, LGBT, movies, news, Orson Scott Card, Sci-Fi, science fiction
Tagged as Entertainment, Movies, Science Fiction, Social Justice