TV Review: AMC’s ‘The Walking Dead’ Continues Network’s Pattern of Creative Success

CHICAGO – AMC has become a major player on the television scene thanks to the multiple awards won by “Mad Men” and “Breaking Bad.” As they expanded this year with “Rubicon” and this weekend’s “The Walking Dead,” the question was whether or not the pool would be diluted as it got bigger. With the involvement of director Frank Darabont and the highly-acclaimed source material, we had reason to hope that “The Walking Dead” would continue the network’s pattern of success. It has turned out even better than we could have hoped.

Television Rating: 4.5/5.0

“The Walking Dead” is based on a remarkable comic series by Robert Kirkman that plays off common themes and imagery of the zombie genre while also keeping the focus clearly on the characters and their drama. The title may refer to the cannibal undead that have now taken over the Earth or the small group of survivors learning what’s important and barely surviving themselves. It’s a fantastic series that you should read if you haven’t done so already.


The Walking Dead
Photo credit: AMC
An over-done genre moving to the often-neutered wasteland of basic cable television with the potential to destroy a beloved source material? Sounds like a recipe for disaster. From the very opening scenes, you’ll know that “The Walking Dead” is far from a disaster. With Frank Darabont’s (“The Shawshank Redemption,” “Stephen King’s The Mist”) restrained skill behind the camera, “The Walking Dead” feels more like a film than a TV show; not unlike “Mad Men” or the best programming on Showtime or HBO. AMC continues to surprise with their production values that look more like theatrical film than basic cable television.

The Walking Dead Photo credit: AMC

The makeup effects in “The Walking Dead” are impressive but Darabont’s amazing adaptation abilities along with the rest of the writing team is the key to the success of this show — they keep it about the living more than the dead. Andrew Lincoln gives a spectacular performance as Officer Rick Grimes, a man we meet after the zombie apocalypse as he shoots a zombie girl in the opening scene. The premiere episode then flashes back to a shoot-out with Rick and his partner Shane (Jon Bernthal) in which Officer Grimes is critically injured. Not unlike the opening act of “28 Days Later…,” Rick wakes up in a hospital and realizes that things have gone very, very badly in the world outside. In a wonderful series of reveals, Rick makes his way out of the hospital and into a much-more-dangerous world.
Now is the time where it becomes difficult for a critic to even continue talking about “The Walking Dead” without serious spoiler warnings. The less you know about the plot arc of the first two episodes, the better. And those of you who know Kirkman’s book by heart will be shocked at the pace that Darabont and his team are taking with the show. Typically, film races through fiction, as they regularly have to skip sections or alter others to get a story into a movie running time. That is NOT the case with “The Walking Dead.” Darabont actually takes sections from the book that Kirkman sped through and expands on them instead of rushing by or cutting them altogether. If you’ve read the books, you’ll be amazed at how little of them has been covered by the end of episode two.
And what’s been expanded on is brilliant. The great Lennie James (“Jericho”) co-stars as Morgan, a character protecting his son who we barely met in the book but made a significant impact. Darabont dedicates nearly half of the first 90-minute episode to this cameo-sized character and brilliantly expands his tragic arc. Those of you have read the books will constantly marvel at how Darabont has dug deeper into them instead of merely using them as an outline. He’s done what people who adapt from one medium to another should do: Created a companion piece that completely works on its own while also deepening its source.

The Walking Dead Photo credit: AMC

Of course, those of you looking for intense zombie action on Halloween shouldn’t be too turned away by all this talk of depth. Darabont clearly knows how to stage an action sequence and there are truly chilling moments on “The Walking Dead” premiere (and even more in the second episode, “Guts”). The show has been obviously inspired by works like “Dawn of the Dead,” “28 Days Later…,” “I Am Legend,” and many more but it never feels overly derivative. Like Kirkman’s series, it uses its inspirations instead of merely exploiting them.
Fans of intense drama like “Mad Men” or “Breaking Bad,” may wonder how “The Walking Dead” fits on the schedule. The focus on character over action and a strong ensemble help, but it’s the way in which Darabont and his team brilliantly make the saga of Officer Grimes and the other survivors universal that allows “The Walking Dead” to stand out. How do we handle tragedy? How do we live when the tools we’re used to living with like gas and food have been taken away from us? And when our very survival is constantly threatened how do our morals change? “The Walking Dead” raises all of these questions and more.
It’s been a rough month for horror fans with junk like “My Soul to Take” and “Saw 3D” filling up the multiplex. There hasn’t been a truly notable horror property that plays to both the intellect and the gut this season (well, except for “Let Me In” but none of you saw that one). Who would have guessed that one of the best genre offerings would come from the network that once played nothing but old movies? AMC continues to surprise. And impress.

‘The Walking Dead,’ which airs on AMC, stars Andrew Lincoln, Jon Bernthal, Sarah Wayne Callies, Laurie Holden, Jeffrey DeMunn, Steven Yeun, Emma Bell, and Chandler Riggs. The premiere was written and directed by Frank Darabont and executive produced by Gale Anne Hurd. The series premiere airs on Sunday, Octover 31st, 2010 at 9PM CST.

Source : hollywoodchicago.com

Film Reviews : Let Me In, Hits Theatres November 5th

Creating the Americanised version of the Swedish vampire story LET THE RIGHT ONE IN was never going to be a simple feat for CLOVERFIELD director Matt Reeves.  His remake, LET ME IN is set for release across the UK November 5th. The film was produced as a hybrid juncture from Overture and Hammer films who, after a relentless battle for rights to make the film in the US, opted for joint funding. Hammer’s involvement in the project has thrilled horror fans across the globe. In a sense, the company were the original luminaries of the vampire story.

It was Hammer’s 1958 production of DRACULA, staring Chrisopher Lee, which first explored the sensual nature of the Count, an exploration which changed the face of the horror genre. The 2008 Swedish subtitled adaptation of John Ajvide Lindqvist’s best selling novel, Lat den Ratte Komme In (LET THE RIGHT ONE IN) was the most celebrated film of the year. The film’s atypical slant on the vampire story is one which explores innocence and rejects the lustrous fixation of previous vampire narratives. For world cinema to capture Hollywood’s short attention span is no easy task.Despite the film having a limited release in the US, Matt Reeves was discussing his plans for the American remake as early as November 2008.
Lindqvist’s novel explores the enigmatic period of pre-teen youth, following the path of a 12 year old boy named Oskar who has been pushed to the brink by sadistic bullies. His life changes when Eli, a secretive girl next door slowly enters his life, becoming his only friend. The novel explores the darker side of humanity as Oskar discovers that Eli is no ordinary girl, in fact, she is not a girl at all-she is an immortal who feeds on the blood of others for survival. In a frantic bid to allow her survival, Eli’s ‘father’, a near-mute character, acts as a malevolent dogs body, roving the peaceful Stockholm town to perform brutal exsanguinations on her behalf. In Lindqvist’s  original story, this character is offered even stranger depths and is billed as a paedohphile, explaining his relentless dedication to Eli. However, in both the Swedish and American film adaptations, this part of the tale is omitted to focus on other areas of darkness.

Reeves version is utterly faithful to the original film in many respects but he adopts a few tactics which give the story a distinctly ‘American’ feel. LET ME IN’S opening scene presents us with a distorted focus of melodrama. A man known only as ‘The Father’, (Richard Jenkins) is being rushed to hospital having disfigured himself with acid after attempting to murder a teenager. This opening, and the a dizzying car chase which leads to ‘The Fathers’ injuries, are two of the few departures from the original film.

Frame by frame, LET ME IN is near- identical to its Swedish counterpart. Reeves version is housed an isolated New Mexico mountains. The sad thing is, those mountains are blanketed in fake studio snow which makes almost every outdoor scene appear contrived. When watching LET THE RIGHT ONE IN, you could almost feel your joints aching as the Eli and Oskar walked through the frozen Stockholm landscape. The effect made it all the more terrifying as a lone character crunched their last footsteps in the snow.

The main characters of LET ME IN are renamed Owen (Kodi Smit-Mcphee) the pained young loner, and Abby, our vampire misfit (Chloe Moretz, fresh from her revered role as Hit Girl in KICK ASS). Both offer enchanting performances which surpass their years, however, the films rushed pace lets them down in terms of character development. In LET THE RIGHT ONE IN, we are offered an insight into Oskar’s fixation on the occult as he hoards newspaper cuttings about gruesome murders. This is absent in the remake, affecting the audience’s perception of the relationship between the two. Chloe Moretz does sorrow better than most but lacks the troubling soulfulness of Lina Leandersson (Eli). The one thing that does feel genuine is the gentle romance between Abby and Owen letting us relive those touching lines of 2008, “Abby, will you be my girlfriend”, to which she replies “Owen…I’m not a girl”.

The main disappointment of LET ME IN is its use of unconvincing CGI for Abby’s gruesome action scenes. When we see first her first attack on a local, Abby becomes a computerised, manic figure that is reminiscent of Gollum from LORD OF THE RINGS. When Eli feeds from her victims in the original film, her face adopts a malicious hunger but still, her expression manages hold a sense of real pain and regret. When  Abby bares her dark side, her look is demonic, like a zombie from 28 days later-her eyes say nothing but gore. This approach makes it difficult to connect with Abby, to remember the innocence we have already seen and so it begins to feel affected.
Reeves adopts an interesting slant on the films chronology, making a point of the 1980’s setting, one which is housed in Reagan’s America when the Cold War was at its height. Reeves allows clever placement of Reagan’s ’Evil Empire’ speech, the  focus on the Soviets as the evil outside, a creeping resonance to Abby’s presence in the town, the evil and unknown attacking the good. Reeves persists with this metaphor, and to an extent it enriches the film, what does not, is the constant injection of 80s kitsch. The Boy George look-alike behind the shop counter, the Bowie music the sweatbands-it all begins to feel forced.
This is by no means is a bad movie, the plot is  near flawless and despite a few pitfalls, the two main characters develop an on screen relationship which holds real poignancy. As with LET THE RIGHT ONE IN, you are left asking the question, how far will one person go to be loved?

As can be expected, it does not surpass the genuine originality of Tomas Alfredson’s LET THE RIGHT ONE IN. Sadly, in monetary terms, it probably will. If you have never seen the original, then this film is for you. For the rest of us, let just hope the original sees a well deserved re-release someday soon.

 

Source : thehollywoodnews.com

Film Reviews : Due Date

THE HANGOVER was possibly one of the funniest comedies of last year. In fact, the film was probably one of the best comedies of the first ten years of the 21st century; it certainly was one of the most successful, raking in a whopping $277.3 million in North America alone, and that from a budget of around $35 million. Director Todd Phillips could have his pick of any screenplay in Hollywood, and whilst already agreeing to do a sequel to THE HANGOVER for Warner Brothers, DUE DATE, which opens in cinemas in the UK and the US on November 5th, was the project that he chose to do next, sandwiched right between Hangover flicks.
It’s always difficult to follow up such a successful movie with a film both critics and fans will equally love, and at the same time rake in some major coin for your studio backer. DUE DATE was always going to be that film for Todd Phillips. That difficult second movie – the one that you HAVE to do after you have a major success, but the one that you fear the most as public anticipation and expecation will be, very, very high.
Before I continue, I just want to fill you in with how I felt about his previous efforts.
I absolutely LOVED last year’s THE HANGOVER. Just about every piece of the puzzle fitted; great cast, great script, great pace, right length, laugh out loud hilarious and worthy of repeat viewings. Before that came along, I was head over heels for OLD SCHOOL, a movie that my friends and I would throw on after a heavy drinking session, and on one occasion after watching (randomly) the STAR WARS trilogy (the better one; the only one) on a boozy Sunday. It’s such an easy watch with jokes that never, ever tire, something that it also has in common with THE HANGOVER. I enjoyed STARSKY AND HUTCH, and although not enjoying it as much as the two aforementioned movies, thought it was a different, and very brave approach to remaking such an iconic TV series. And then there’s ROAD TRIP, seen as almost an AMERICAN PIE rip off from the tail end of the 1990′s, that did actually bring something else to the table, albeit gaining an audience wanting more from Universal’s hugely successful franchise. I guess you could say that I am a fan of Todd Phillips. So, what about DUE DATE?

I saw the movie just this very evening in a very, very busy auditorium in a very, very busy Leicester Square as Danny Boyle‘s 127 HOURS played out this year’s London Film Festival. Crowds amassed earlier on in the evening for a glimpse of perhaps one of the UK’s most successful modern filmmakers, hot off the Oscar success of SLUMDOG MILLIONAIRE. Or were they there to see James Franco? Anyway, just across the way, a couple of hundred hardened film critics were waiting for a late evening first showing of DUE DATE. Firstly, I think that the best way to watch a movie like this, is to watch it with its intended audience – that way you can guage reaction to the funny set pieces, the dirty gross out bits and the emotional parts – if any. A film critic filled audience watching the film at one of the very first UK screenings is possibly not that place, as they will be analysing the film, but to be honest, tonight it felt like everyone was there for a great time, and just a couple of minutes into the film, Phillips had us once again, just like he did a year ago.
The biggest asset that THE HANGOVER had was Zach Galifianakis, and his character Alan Garner. We can all agree on that.  Let’s face facts; the film would not be half as good without him, and his spot-on pitch perfect performance. Just like Will Ferrell’s Frank The Tank in OLD SCHOOL; it was their performances that helped make the movie work so well. In DUE DATE, it’s down to Galifianakis once again. His character of Ethan Trembley is very similar to that of Alan in THE HANGOVER. His childlike manner, way of being and ‘social issues’  are almost identical, and Galifianakis plays him very similar to his last role, but this time amps it up just a notch to create someone who I would go as far to say is a MORE entertaining character to watch on screen, and that says a lot. Tremblay is funnyman to Robert Downey Jr’s straight man, and the chemistry between the two works very well. It has to, as the whole movie is indeed resting on their shoulders. Downey Jr. is, as always, excellent, but this isn’t his movie. We’re here to see Galifianakis.
I always try and judge a comedy with how many times I laugh out loud uncontrollably, and to be honest it happens once or twice in a decent funny flick. Sitting here writing this review, I can think of three stand out scenes off of the top of my head, and I am smiling to myself even now recollecting them. From the masterbating dog, and indeed Tremblay’s own ‘special’ way of getting to sleep, to the opening scene on the airplane and the spaced out drug fuelled escape from Mexico (I thought it said Texaco -We’re low on gas), there are some great moments too enjoyable for you not to watch for the first time knowing what happens and definitely not for a reviewer to spoil for you.
The film is laced with the fast becoming Phillips trademark on-screen cameos. Phillips himself turns up in a slighly longer appearance than usual, as does Phillips alumni Julliette Lewis, Jamie Foxx, Michelle Monaghan and even Danny McBride and the Wu Tang Clan’s RZA. All put in solid, but very brief spots.
To sum it up and try to answer that obvious question – is it better than THE HANGOVER. Well, despite me believing that Galifianakis really nails it here, and that I enjoyed watching him more than I did in THE HANGOVER, I will have to say no. THE HANGOVER‘s story is slightly more slick, the ensemble cast is stronger and the pace slightly better, but that’s not to sat DUE DATE isn’t any of that. To replicate the success, the joy and surprise of THE HANGOVER is  a very big ask, and DUE DATE does fall short, but I had a great time watching the movie, and I haven’t laughed this much for a good while.
You’ll have a great time at the movies if you choose to watch DUE DATE come release day, and I for one highly recommend it.
Grade: B+
DUE DATE is released in cinemas on November 5th, 2010.
Visit the official UK Facebook page here.
(c) 2010 Warner Bros Ent.  All Rights Reserved.

Film Reviews : Get your gag reflexes in gear cause Jackass is back!

Sitting, waiting for JACKASS 3D to start and watching people filter in, the first thing I noticed was that they were mainly men. No big surprises there I guess. The second thing that caught my eye was they were nearly all holding a plastic cup of lager. I started to worry that my Robinsons Fruit Shoot and Mars Bar wasn’t going to cut it and that I needed alcohol to make it watchable. Luckily this movie didn’t need liquid lubrication, although I don’t doubt it may have added extra levels of fun.
I should add a disclaimer to this review and say I’m not a crazy Jackass fan. Nor am I particular enamoured with slapstick comedy (unless it’s Charlie Chaplin) or puerile humour (unless it’s The Inbetweeners). Suffice it to say, I had a few reservations about the movie; particularly how it would affect my stomach. But I decided to let my reservations slide right out the auditorium (along with my morals) in the hope that I might be able to squeeze out a laugh or two.
As grotesque, disgusting, and literally vomit-inducing as some of it was. I sort of… Kind of… Liked it.
As soon as the first skit, ‘High Five’, got underway I knew that I could settle into the Jackass comedy mindset. This introductory prank consisted of a giant hand on an elastic lever. Wait for it… The leader of the man-child pack, Johnny Knoxville, pulls the hand back behind a door and when an unsuspecting victim walks through the frame, he says ‘High Five’ and simply let’s go. I defy anyone not to grin at that. Pranks like ‘Ram Jam’, where two jackasses go into a ram’s pen with a couple of wind instruments and see if they can tame the wild beast (Guess what? They can’t) and ‘Bee Tetherball’, in which two of the guys hit a hive filled with mad-as-hell stinging insects, showcase the Jackass ethic at its best. Create a well thought out prank, and then watch it go hilariously wrong. Unfortunately some of the jokes fall much flatter than others.
There were some moments that just didn’t work for me; mostly it involved the candid camera stunts. The odd skits of Knoxville dressed as a lairy old granddad fooling innocent bystanders didn’t hold their own, but I’d be lying if I said even the duds didn’t raise the slightest of smirks. One joke that included a fake gorilla and an apparently unaware couple arriving at the hotel to find it wrecking their room, really didn’t work. It was just too obvious a gag to actually make them crap their pants (as one of them noisily did on-screen). Another fakery seemed to be the laughter of the gruesome group, at times it seemed Wee Man, Steve-O, Bam Margera and co. were putting it on purely for the audience’s benefit. Though there’s no doubt that this was done on purpose, because the harder they laugh at the sheer stupidity of their antics, the more we do.
I wouldn’t say I run screaming at the sight of bodily fluids, but at least two of the stunts had me almost gagging on my king-size Mars Bar (in hindsight, the chocolate was a bad idea). Aptly named ‘sweat cocktail’ and ‘poo cocktail extreme’, I’ll leave the details to your imagination. Titles like this give a good warning to all those thinking of watching: disgust levels remain pretty high throughout the movie and that’s where they like to keep them. If you retch violently at the sight of faeces, vomit, sweat, and/or urine, take your jacket off and sit down to watch a re-run of Friends, because this isn’t for you.
Was the 3D necessary? No, probably not. But it caught me by surprise that rather than it being a cash-making gimmick, it actually did enhance the comedy in parts. The beginning and end sections used it to great effect, and throughout the movie, director Jeff Tremaine, added in slow motion 3D re-runs of some of the most wince-inducing stunts. And seriously, can you think of anything funnier than seeing a three-dimensional dildo flying through the air in slow motion and hitting a well-placed person square in the face? Nope, me either.
Dedicated fans of the show may have a tear in their eye (not just from laughing) watching the nostalgic videos that linger over the end credits. Truly it is awe-inspiring to think that these guys have been living in the face of dangerous stupidity for ten years, and are still alive to show us the goodies. Watching Knoxville come close to breaking his neck after being charged by an angry bull makes you realise either these guys are the luckiest idiots in the world, or they are extremely clever and talented stunt men. I know which one of those I think is true.
You could say this film is socially irresponsible. You could say it’s morally inept. Or you could just read the disclaimers, crack open a brewski and let the testosterone-driven madness take over. Don’t expect a storyline, there isn’t one. This is like watching YouTube videos of your mates putting together montages of idiocy purely for yours and their amusement. Don’t go thinking it’s going to be something it’s not. Like intelligent. Or wholesome. Or fluffy (well there are some “fluffy” elements in there, but I won’t get into that).
It’s not big, it’s not clever, but it is hilariously sick fun.
C+

Hollywood News : Del Toro offered Godzilla reboot… says no

Who knows what we should make of this little nugget. Formerly attached to THE HOBBIT, Guillermo Del Toro has been offered and rejected the director’s chair on the 2012 GODZILLA reboot.

Del Toro claims that no formal offer was made by Legendary Pictures, the company now helming the project.
“I am not involved in GODZILLA at all,” Guillermo says  “I haven’t read it or plan to read it.  Nor have I been approached to direct it.” So I’d say thats pretty definitive news folks unless major Hollywood organisations do their business via emails and the postal service.
Presumably, the company need to find a director before the end of the year for the movie to still hit it’s Summer 2012 date otherwise we could be looking at Christmas 2012 which is usually a grave yard for the movies. Del Toro is currently busy working on his long-time love project THE MOUNTAINS OF MADNESS.

Hollywood News : Disney Speaks: Keith Richards Is Not Getting Cut!

Fans of Keith Richards, there’s no need to take off that over-the-top eye make-up in a melancholy fashion. The man is staying put!
A few days ago there were some heinous rumours circulating the globe that the Rolling Stones guitarist, who is re-donning the pirate hat as Captain Jack Sparrow’s father in PIRATES OF THE CARIBBEAN: ON STRANGER TIDES, would have all his scenes cut from the final movie.
Shock Horror!
However, there’s now no reason to paint it black (I thank you) because Disney have updated their Facebook page with this happy news

“Fear not Pirates fans, we are happy to confirm that Keith Richards will be returning as Captain Teague in Pirates of the Caribbean: On Stranger Tides, setting sail May 2011!”

Phewy!
Get more information on the film here

Hollywood News : Pirates of the Caribbean – On Stranger Tides (2011)

Genre: Comedy-Adventure
Rating: TBD
U.K. Release Date: May 20, 2011
Cast: Johnny Depp, Geoffrey Rush, Penelope Cruz, Ian McShane, Kevin R. McNally, Astrid Berges-Frisbey and Sam Claflin
Director: Rob Marshall
Producer: Jerry Bruckheimer
Executive Producers: Mike Stenson, Chad Oman, Barry Waldman, Ted Elliott, Terry Rossio, John DeLuca
Writers: Ted Elliott & Terry Rossio
Plot: Produced by Jerry Bruckheimer and directed by Rob Marshall, “Pirates of the Caribbean: On Stranger Tides” captures the fun, adventure and humor that ignited the hit franchise-this time in Disney Digital 3D(tm). Johnny Depp returns to his iconic role of Captain Jack Sparrow in an action-packed tale of truth, betrayal, youth and demise.  When Jack crosses paths with a woman from his past (Penelope Cruz), he’s not sure if it’s love-or if she’s a ruthless con artist who’s using him to find the fabled Fountain of Youth. When she forces him aboard the Queen Anne’s Revenge, the ship of the formidable pirate Blackbeard (Ian McShane), Jack finds himself on an unexpected adventure in which he doesn’t know who to fear more: Blackbeard or the woman from his past.
The international cast includes franchise vets Geoffrey Rush as the vengeful Captain Hector Barbossa, and Kevin R. McNally as Captain Jack’s longtime comrade Joshamee Gibbs, plus Sam Claflin as a stalwart missionary and Astrid Berges-Frisbey as a mysterious mermaid.
Images:



Source : thehollywoodnews.com

Hollywood News : A trailer for Rare Exports: A Christmas Tale

I love Christmas movies. Perhaps my favourite is NATIONAL LAMPOON’S CHRISTMAS VACATION, or GREMLINS. Hmm, or maybe even DIE HARD. Anyway, this holiday season season sees the release of a new ‘alternative’ Christmas movie, in the form of RARE EXPORTS: A CHRISTMAS TALE, for which we have just received the new trailer.
It’s the eve of Christmas in northern Finland and an “archeological” dig has just unearthed the real Santa Claus. But this particular Santa isn’t the one you want coming to town. When all the local children begin mysteriously disappearing, young Pietari and his father Rauno, a reindeer hunter by trade, capture the mythological being and attempt to sell Santa to the misguided leader of the multinational corporation sponsoring the dig. Santa’s elves, however, will stop at nothing to free their fearless leader from captivity. What ensues is a wildly humorous nightmare – a fantastically bizarre polemic on modern day morality. RARE EXPORTS: A CHRISTMAS TALE is a re-imagining of the most classic of all childhood fantasies, and is a darkly comic gem soon to be required perennial holiday viewing.
The film stars  Onni Tommila, Jorma Tommila, Per Christian Ellefsen, Tommi Korpela, Rauno Juvonen, Ilmari Järvenpää and Peeter Jakobi, and is directed by a filmmaker named Jalmari Helander.
Take a look at the trailer below at tell us what you think of it.

Source : thehollywoodnews.com

Hollywood News : Writer Damon Lindelof says that STAR TREK 2 will be “awesome”

Since the announcement of a sequel to last summer’s frankly smashing blockbuster STAR TREK, the internet has been literally alive with speculation, debate and discussion.

There was originally talk that 2 would see the return of Kahn to the TREK franchise however this has recently (and officially) been ruled out. From my very comfy swivelling armchair in leafy England I can feel the collective sigh of discontent as it rolls out speedily across the bandwidths of the world. I must also confess that before STAR TREK (2009) I wasn’t really a fan but that I am a new convert. *runs and hides from the die hards*.
 Anyway, STAR TREK had the unique quality that it successfully did what so many reboots have tried and failed to do in cinema history; it pleased almost everybody. It was funny, it was sensitive and most importantly it respected that which had gone before.
A movie for the fans by the fans…
 Lovely.
So moving swiftly back to the now, STAR TREK 2 writer Damon Lindelof confesses that the STAR TREK universe is not about villains. The second movie, he says, will tell the story of the crew of the USS Enterprise. “We’re obviously aware of what people are saying on the web and we’re interested in it but at the same time TREK is not about villains, it’s about the crew and their relationship with eachother; that family”.  I
Discussing the progress of the script, Lindelof was quoted as saying that it will be “awesome”. Encouraging words there Damon and thank you again for those pearls of intergalactic wisdom, I’m sure the DVD commentary will be both inspiring and degrading for you in equal measure. I truly can’t wait.
Returning to the possibility of villains, Bad Ass Digest (not a euphamism) reports that the villain is definitely one of the following.  Harry Mudd, Trelance, Gary Mitchell, The Talosians or the Horta. So, if we’re totally honest, they probably have no idea either… I’m guessing that it will probably be a little out of left field and they’ll tackle the audience head on with a villain that works both psycologically and cinematically. Your guess is as good as mine on who, or what, that ends up being.
Please though make sure JJ Abrams is sitting in the Director’s chair because between this and SUPER 8, I may just let out a little bit of wee.

Source : thehollywoodnews.com

Hollywood News : Danny Boyle says that hope is the message behind his latest film

Everybody knew how awesome Danny Boyle was years before the Academy decided it was time for him to be recognised for his work behind the movie camera. Eventually winning for SLUMDOG MILLIONAIRE, Boyle has enjoyed a long and fairly illustrious career. Starting way back when with the short film STRUMPET and ending up with 127 HOURS, Boyle’s career output has been consistently brilliant.
He also made 28 DAYS LATER and SUNSHINE… oh and TRAINSPOTTING by the way. Didn’t know that? Shame on you… you know what to do…
On the eve of the release of his latest project 127 HOURS, Boyle has been forced to defend the content of the film. Starring James Franco, 127 HOURS tells the story of a mountaineer forced to amputate his arm after it became trapped under a boulder in a remote canyon in Utah. Boyle says that the story is one of rebirth.
The film is a true story; probably one of the reasons why the gory scenes have been a little tough for some to swallow. For five days, or 127 hours, the climber tried desperately to free the trapped arm, knowing he had not brought a mobile phone on the trip and had failed to tell anyone where he was. I won’t say told you so but kids, please, if you’re reading… always take a mobile phone with you and make sure that it is charged!
Reduced to drinking his own urine, the climber recorded a series of diary-like video messages with the intent that they may be viewed by his friends and family after the discovery of his body before apparently coming to the terrible conclusion that his only hope of survival was to cut off his lower arm. Without a penknife he was forced to hack away at the limb with only the contents of a portable toolkit. This scene is apparently the offender; causing several people to faint during test screenings.
Speaking ahead of the European premiere in London, Boyle argued that anyone would have done the same in the same situation.”It’s very disturbing but it’s worth so much more. Life is given back to him. It’s about childbirth.”
Screenwriter Simon Beaufoy, who has worked with Boyle before said the filmmakers “had a responsibility to stick to what he actually lived”.
Speaking about his experiences on the project James Franco said that “Aron accepted his own death and he didn’t know there was going to be a happy ending,” Critics have praised the performance by Franco as a potential Oscar winner. Only time will tell if lightning may strike twice for Boyle and company.
127 HOURS opens in the United States on November 5 and in Britain on January 7.

Hollywood News : Downey Jnr may quit GRAVITY

Robert Downey Jr may quit Alfonso Cuarons GRAVITY. He was meant to shoot the project before moving on to the sequel to 2009′s SHERLOCK HOLMES but a long casting process for the lead actress has delayed the production. Downey is currently filming HOLMES.

According to Deadline.com, these delays “have taken their toll on Downey, who needs to focus soon on THE AVENGERS and then IRON MAN 3“. As previously reported on here, Downey has also been roped in to star in OZ THE GREAT AND POWERFUL.

Warner Bros is currently denying reports that Downey may exit the project, claiming that they expect to work out the scheduling conflicts in order to keep him. I’d imagine, just a tip, that a stonking pay day may well just give them a helping hand in securing the man himself.  You can see why they are nervous, currently the film has guaranteed Box Office with him attached but should he disappear, the studio risk losing a lot of that interest…

Apparently even the lead actress Sandra Bullock hasn’t been able to work her charms on him to persuade him to stay… time will tell with this one but whatever happens, Downey is coming to ALOT of screens near you.

Hollywood News : Review: Due Date

THE HANGOVER was possibly one of the funniest comedies of last year. In fact, the film was probably one of the best comedies of the first ten years of the 21st century; it certainly was one of the most successful, raking in a whopping $277.3 million in North America alone, and that from a budget of around $35 million. Director Todd Phillips could have his pick of any screenplay in Hollywood, and whilst already agreeing to do a sequel to THE HANGOVER for Warner Brothers, DUE DATE, which opens in cinemas in the UK and the US on November 5th, was the project that he chose to do next, sandwiched right between Hangover flicks.
It’s always difficult to follow up such a successful movie with a film both critics and fans will equally love, and at the same time rake in some major coin for your studio backer. DUE DATE was always going to be that film for Todd Phillips. That difficult second movie – the one that you HAVE to do after you have a major success, but the one that you fear the most as public anticipation and expecation will be, very, very high.
Before I continue, I just want to fill you in with how I felt about his previous efforts.
I absolutely LOVED last year’s THE HANGOVER. Just about every piece of the puzzle fitted; great cast, great script, great pace, right length, laugh out loud hilarious and worthy of repeat viewings. Before that came along, I was head over heels for OLD SCHOOL, a movie that my friends and I would throw on after a heavy drinking session, and on one occasion after watching (randomly) the STAR WARS trilogy (the better one; the only one) on a boozy Sunday. It’s such an easy watch with jokes that never, ever tire, something that it also has in common with THE HANGOVER. I enjoyed STARSKY AND HUTCH, and although not enjoying it as much as the two aforementioned movies, thought it was a different, and very brave approach to remaking such an iconic TV series. And then there’s ROAD TRIP, seen as almost an AMERICAN PIE rip off from the tail end of the 1990′s, that did actually bring something else to the table, albeit gaining an audience wanting more from Universal’s hugely successful franchise. I guess you could say that I am a fan of Todd Phillips. So, what about DUE DATE?

I saw the movie just this very evening in a very, very busy auditorium in a very, very busy Leicester Square as Danny Boyle‘s 127 HOURS played out this year’s London Film Festival. Crowds amassed earlier on in the evening for a glimpse of perhaps one of the UK’s most successful modern filmmakers, hot off the Oscar success of SLUMDOG MILLIONAIRE. Or were they there to see James Franco? Anyway, just across the way, a couple of hundred hardened film critics were waiting for a late evening first showing of DUE DATE. Firstly, I think that the best way to watch a movie like this, is to watch it with its intended audience – that way you can guage reaction to the funny set pieces, the dirty gross out bits and the emotional parts – if any. A film critic filled audience watching the film at one of the very first UK screenings is possibly not that place, as they will be analysing the film, but to be honest, tonight it felt like everyone was there for a great time, and just a couple of minutes into the film, Phillips had us once again, just like he did a year ago.
The biggest asset that THE HANGOVER had was Zach Galifianakis, and his character Alan Garner. We can all agree on that.  Let’s face facts; the film would not be half as good without him, and his spot-on pitch perfect performance. Just like Will Ferrell’s Frank The Tank in OLD SCHOOL; it was their performances that helped make the movie work so well. In DUE DATE, it’s down to Galifianakis once again. His character of Ethan Trembley is very similar to that of Alan in THE HANGOVER. His childlike manner, way of being and ‘social issues’  are almost identical, and Galifianakis plays him very similar to his last role, but this time amps it up just a notch to create someone who I would go as far to say is a MORE entertaining character to watch on screen, and that says a lot. Tremblay is funnyman to Robert Downey Jr’s straight man, and the chemistry between the two works very well. It has to, as the whole movie is indeed resting on their shoulders. Downey Jr. is, as always, excellent, but this isn’t his movie. We’re here to see Galifianakis.
I always try and judge a comedy with how many times I laugh out loud uncontrollably, and to be honest it happens once or twice in a decent funny flick. Sitting here writing this review, I can think of three stand out scenes off of the top of my head, and I am smiling to myself even now recollecting them. From the masterbating dog, and indeed Tremblay’s own ‘special’ way of getting to sleep, to the opening scene on the airplane and the spaced out drug fuelled escape from Mexico (I thought it said Texaco -We’re low on gas), there are some great moments too enjoyable for you not to watch for the first time knowing what happens and definitely not for a reviewer to spoil for you.
The film is laced with the fast becoming Phillips trademark on-screen cameos. Phillips himself turns up in a slighly longer appearance than usual, as does Phillips alumni Julliette Lewis, Jamie Foxx, Michelle Monaghan and even Danny McBride and the Wu Tang Clan’s RZA. All put in solid, but very brief spots.
To sum it up and try to answer that obvious question – is it better than THE HANGOVER. Well, despite me believing that Galifianakis really nails it here, and that I enjoyed watching him more than I did in THE HANGOVER, I will have to say no. THE HANGOVER‘s story is slightly more slick, the ensemble cast is stronger and the pace slightly better, but that’s not to sat DUE DATE isn’t any of that. To replicate the success, the joy and surprise of THE HANGOVER is  a very big ask, and DUE DATE does fall short, but I had a great time watching the movie, and I haven’t laughed this much for a good while.
You’ll have a great time at the movies if you choose to watch DUE DATE come release day, and I for one highly recommend it.
Grade: B+
DUE DATE is released in cinemas on November 5th, 2010.
Visit the official UK Facebook page here.
(c) 2010 Warner Bros Ent.  All Rights Reserved.

Hollywood News : Watch: Two new clips from Tony Scott’s Unstoppable

20th Century Fox have just sent over two new clips from Tony Scott‘s upcoming action gfest UNSTOPPABLE.

Inspired by actual events, the film is an adrenaline rush fueled by director Tony Scott’s signature mark of propulsive action rooted in the reality of ordinary people placed in extraordinary circumstances.  A veteran train engineer (Denzel Washington) and a young conductor (Chris Pine) race the clock to stop an unmanned runaway train – effectively a missile the size of a skyscraper — and prevent disaster in a heavily populated area.
UNSTOPPABLE is released in cinemas on November 24th.
Check out the two new clips below.

Source : thehollywoodnews.com

Hollywood News : Lionsgate pick up Demi Moore/ Miley Cyrus pic LOL

Lionsgate has picked up the rights for the comedy remake LOL, from writer/ director Liza Azuelos.
The coming of age film stars Miley Cyrus, Demi Moore and Ashley Greene, is based on the 2008 French film LAUGHING OUT LOUD, which starred Sophie Marceau.

LOL focuses on what happens after a mother (Moore) reads her daughter’s racy journal. Cyrus plays the daughter.
The film is scheduled to be released on April 22, 2011.

Hollywood News : New Transformers 3 video shows off new logo, and Bay blowing up Chicago

An interesting new behind-the-scenes video featurette from Entertainment Tonight for TRANSFORMERS: DARK OF THE MOON, filmed directly on the Chicago set, has appeared online. The near seven minute long video also gives us our very first look at the film’s logo.

The featurette features all of the main stars from the film, including Shia LaBeouf, Rosing Huntington Whitely, Patrick Dempsey, Josh Duhamel, Tyrese Gibson and director Michael Bay. It’s quite awesome. Watch it below.

Source : thehollywoodnews.com

Hollywood News : Career Retrospective: Matt Reeves

Matt Reeves is just about to rock the horror world with his Hollywood remake of the Swedish flick LET THE RIGHT ONE IN. The film is entitled LET ME IN, and will arrive in cinemas across the UK on Friday 5th November. The movie revolves around a bullied young boy who befriends a young female vampire, who live is secrecy with her guardian. We’re going to have a review of the film up on the site within the next few days, but for now, let’s take a look at the career of it’s director… so far.
LET ME IN is Reeves’ third feature, following his success with the 2008 mock-doc CLOVERFIELD – you know, the movie that saw the Statue of Liberty’s head being tossed down a New York street in one of it’s early trailer previews, and his debut, THE PALLBEARER. Reeves is from the JJ Abrams stable. I say, that, but in fact their relationship dates back to when they were just 13 years old.  Reeves, who has been making short films since he was just eight, met Abrams while their movies were being aired on a local cable access channel in Los Angeles, and the pair hit it off. The two remained friends, and Reeves went off to the University of Southern California to attend film school. When there, he gained acclaim with his short film “Mr. Petrified Forest,” which eventually got him signed to a talent agency. Work started to come in, and Reeves bagged the job co-writing the Steven Seagal sequel UNDER SIEGE 2: DARK TERRITORY, along with Richard Hatem, a decent-ish film released in 1995.

A year later, Reeves made his own directorial debut with his self-penned THE PALLBEARER, a romantic comedy starring then hot property David Schwimmer (fresh from his FRIENDS success) and Gwyneth Paltrow. The film revolved around Schwimmer’s character , whose life is turned upside down after being asked to be a pallbearer for the funeral of a classmate he doesn’t remember. When attending said funeral, his old high school crush temporarily returns to town…
In 1998 co-created the TV show FELICITY with his old mate JJ Abrams, a series produced by Touchstone Television and Imagine Television that ran until 2002 about a high school girl who follows her high school crush to college to be near him.
Following, and indeed during the run of FELICITY on The WB Network, Reeves embraced projects like a co-writing/ producing gig on THE YARDS (2000), and a spot of guest directing on TV shows RELATIVITY, HOMICIDE: LIFE ON THE STREET and a pilot for CONVICTION, but it was in 2008 where his career really took off with CLOVERFIELD.
Obviously taking inspiration from films like THE BLAIR WITCH PROJECT and REC, CLOVERFIELD saw Reeves team with his pal JJ Abrams, who assumed the role of producer.
The film, which revolves around a monster attack in New York as told from the point of view of a small group of people, was an international success and secured Reeves’ future in Hollywood. The film grossed a massive $80 million + at the US box-office from a budget of $25 million. It also garnered rave reviews from critics and fans a like, and now a sequel is in the work, and could be Reeves’ next project.

Before that, LET ME IN will play out in cinemas in the UK from November 5th. Here’s the synopsis. The film tells a terrifying tale about an alienated 12-year old boy named Owen (Kodi Smit-McPhee) who is viciously bullied by his classmates and neglected by his divorcing parents. Achingly lonely, Owen spends his days plotting revenge on his middle school tormentors and his evenings spying on the other inhabitants of his apartment complex. His only friend is his new neighbor Abby (Chloe Moretz), an eerily self-possessed young girl who lives next door with her silent father (Oscar nominee Richard Jenkins). A frail, troubled child about Owen’s age, Abby emerges from her heavily curtained apartment only at night and always barefoot, seemingly immune to the bitter winter elements. Recognizing a fellow outcast, Owen opens up to her and before long, the two have formed a unique bond.

We’re amped to see what Reeves has done with the big-budget remake of LET THE RIGHT ONE IN with LET ME IN. In fact, our own Katie McCabe saw the movie this week, and will be hitting us with a review in the next few days.
What is for sure, is that Reeves is certainly a filmmaker to look out for in the future, and I for one cannot wait to see a sequel to the marvellous CLOVERFIELD.
LET ME IN opens in UK cinemas on November 5th, 2010.
Visit the official Facebook page online here.

Hollywood News : Tron Night sells out across the world! Watch a new clip featuring Quorra

TRON: LEGACY mania swept IMAX and conventional cinemas across the globe last night as 20 minutes from the December 17 released movie was screened to fans for the first time. The screenings sold out in the US and Canada (see release below) as expection is high for the Walt Disney sequel.

For fans that were not able to attend the screening, we have a clip from the movie to share with you, which was part of the 20 minutes of footage seen last night. The clip is based around the character of Quorra (played by Olivia Wilde), and you can check it out using our player below.

Walt Disney Studios and IMAX Corporation announced today that tickets for TRON Night: An IMAX 3D Experience, featuring an exclusive 20-plus minute sneak-peek of their highly anticipated film “TRON: Legacy,” sold out rapidly after going on sale October 12th for the October 28th screenings in 120 IMAX theaters across the United States and Canada.
Fans rushed to get the free tickets for a chance to step into the cutting-edge, 3D digital world of Walt Disney Pictures’ high-tech adventure. “The response to TRON Night has been truly remarkable,” said Greg Foster, Chairman and President of IMAX Filmed Entertainment. “Over 70 percent of the available TRON Night tickets sold out in just a few hours, with some locations selling out in five minutes. Fans came out in unprecedented numbers, which reaffirms our excitement and commitment to this worldwide event. ‘TRON: Legacy,’ Disney and IMAX are the perfect fit and this occasion only marks the beginning of what’s to come on December 17th with the launch of this event movie.”
Although tickets to TRON Night events in the US and Canada are now completely sold out, tickets to select IMAX 3D midnight screenings of the feature “TRON: Legacy” are on sale now and may be purchased at all participating IMAX locations and online at Disney.com/TRON.

Hollywood News : Alright Stop, Collaborate and Listen! Sam Neil’s “Ice” Trailer Is Out

*Yes the title does contain a few choice words from Vanilla Ice’s ‘Ice Ice Baby’, I just couldn’t help myself.*
If you liked THE DAY AFTER TOMORROW, ICE this is the British version you’ve been waiting for… If were ever on the edge of your seat waiting for a London based version.
Whether it’s a goer or not is up for debate. The trailer contains a strange mixture blockbuster and straight to DVD scenes.
Directed by Nick Corpus, this thriller of a disaster movie (or disaster of a thriller movie) is based on the novel by James Follett. Starring Richard Roxburgh (of MISSION IMPOSSIBLE 2 fame) as environmental scientist Professor Thom Archer, the story follows him as he tries to find out what’s causing the Greenland Glacier to melt. His betting is a corporate energy company called Halo. After he heads to the Artic to get some evidence he finds that things are even worse than first thought, and guess what? The whole world’s in danger.
Also on the ICE team is Stephen Moyer (TRUE BLOOD), and of course, Sam Neill. Will anyone be breaking down the cinema doors to see this? Unlikely.
Check out the trailer to decide for yourself!

Source : thehollywoodnews.com

Hollywood News : Trailer for James Cameron produced “Sanctum”

We all know James Cameron and 3D go together like M&M’s and ice cream, so it should come as no surprise that his latest movie takes the technology to the next step on the three dimensional ladder.
SANCTUM is based on the story of a team of cave divers who are unlucky enough to be in the largest cave in the world when a cyclone hits. The place begins to flood as they try desperately to escape, and pandemonium ensues.
Directed by Alister Grierson, the $30 million film was co-scripted by Andrew Wight, the man who led the dive expedition and suffered a near death experience.
Looks like it’s going to be a good’un
What do you think?

Hollywood News : Bratt sues over film money

The former Law & Order star appears in the movie - written and directed by his brother Peter - as a father who struggles to come to terms with his son's homosexuality.
Bratt claims he signed a contract with the movie's distribution company, Screen Media Ventures, which would give him and production company 5 Stick Films two bonus payments if the picture did well at the box office.
The movie earned more than $1 million (£666,667) following its release in May (10), but Bratt claims the first payment of $200,000 (£133,333) was late and the company has yet to hand over the second installment of the same amount.
He has now filed a lawsuit at Los Angeles Superior Court in a bid to recoup the cash.
Joseph Kovacs, president of Screen Media, tells Reuters, "There's a disagreement on the guidelines on how to interpret when the film reached certain results."