If you’re a fan of DC Comics, especially if you’re an ardent fan of Wonder Woman, you may want to take a seat… at least, assuming there’s any meat to this slice of comic book movie news pie.
According to ComicBookMovie.com, the website recently Beyonce speak at a press conference about some of her upcoming projects and amongst them was Wonder Woman. She stated she had met with writers Stuart Beatti and David Elliot (GI JOE: RISE OF COBRA) and director John Moore (MAX PAYNE) and that they plan to start production by mid-2010 with a release expected for late 2011.
As I said, there’s not a lot of meat to this, but it’s curious that she appears to have some inside info. Perhaps the powers that be feel that Wonder Woman would make a great platform for diversifying the comic book movie audiences, who knows? I’m less concerned with the actresses ethnicity that I am with her talent on screen.
Beyonce’s resume as an actress hasn’t been impressive. Her last outing was the under-achieving OBSESSED. Prior to that, she’s been cast in singing roles for THE FIGHTING TEMPTATIONS, DREAMGIRLS and CADILLAC RECORDS. Her break-out role, so to speak, was as Foxxy Cleopatra in AUSTIN POWERS IN GOLDMEMBER. There won’t be any singing in WONDER WOMAN (Oh God, I hope not!) so, what do we think? Does she have what it takes or is this just simply blasphemy?
By show of hands, how many of you watched the VOLTRON cartoon religiously, each and every episode, anticipating the next big evil robot monster that the evil witch Haggar would send out to destroy the lions and their pilot? Don’t be shy. Apparently it’s vogue again to love Voltron, although I’m not sure it every really went out of style.
Add UTA as another agency on the list of companies entering the toy market, cross-bred with various forms of the entertainment media business. UTA will work with Saint Louis-based World Events prods, holder of the U.S. rights to VOLTRON, to expand the property into multiple areas.
The master plan includes a new animated television series, a video game and a new line of toys. Oh yeah, and what about that feature film that has been discussed for so long? Well, UTA is working to bring a writer onto the project and begin pitching the idea to studios.
I felt only moderate enthusiasm towards this film going in, expecting a satisfyingly funny but run-of-the-mill comedy. Instead, what I experienced was was a surprisingly creative (and funny) experiment with a very simple concept. What would society be like if the human race had never discovered how to lie? This is the premise that THE INVENTION OF LYING throws us into upon the very opening of the film.
Ricky Gervais narrates the film in the beginning, setting the audience up for an altogether foreign experience of a world where everyone speaks the truth and reveals without hesitation whatever is on their minds. Witnessing this “what if” version of a potential alternate universe to our own is appealing because we know it could never occur in “our” world. In that sense, the film is brutally honest and unflinching, resulting in laughter overshadowing the realization that we’re watching what we’re all thinking but rarely reveal.
The story follows Mark Bellison (Gervais) through one day when everything goes wrong. Bellison is a screenwriter for a major film studio, except in this world movies consist of one guy sitting in a chair reading from a teleprompter about period in history… sort of like sitting through a high school social studies class. Sound exciting? Not really, but this is a great parallel to the idea of a completely truthful world. Movies, as we know them, do not exist in this world because on some level, all movies are a lie. Keep in mind, even exaggerations are lies… there’s no bending the truth.
After a long day of enduring one disappointment after another, including the loss of his job and a failed attempt at impressing his date with Anna McDoogles (Jennifer Garner, JUNO), Bellison goes to the bank to extract the mere $300 he has left to pay for a truck to move out after being evicted. During this crucial moment in Bellison’s life and human history he discovers something entirely new about himself… he can speak what never was. [aka – He lied, but the very word “lie” does not exist in this world.]
Bellison pays his $800 rent and his mind begins racing as to the significance of what just occurred. Once he wraps his head around it all, he begins changing his life one piece at a time based on strategically invented lies to assist him in the areas he has previously failed. Money and his career are no longer an issue, but Bellison finds out some things aren’t so easy to fix, even with being the only person on the planet who can say something that is not true.
THE INVENTION OF LYING was written and directed by Ricky Gervais (GHOST TOWN) and newcomer Matthew Robinson. The story begins as a fairly straight-forward comedy, but gradually evolves into an intelligent allegorical parody of mankind’s unique connection to morality, faith and religion. For this reason alone, I predict the movie is going to have to very distinctly polarized audiences… those who love the film and those who hate the film. In between, we’ll find the open-minded and easygoing members of the audience who accept the film for what it is, a comedy that makes an observation about ourselves. Like it or not, that’s what this movie offers.
Personally, I felt the film went slightly deeper than just playing the religion card. Just below the surface, I felt the movie tries to say something about our own personal struggle struggle between doing what we truly want in life and the often unbearably heavy burden of doing what we feel is expected of us, from friends, family and society in general. This is most clearly apparent in the development of Bellison’s relationship with Anna, which goes through a few different stages before both characters finally experience an epiphany during a scene clearly inspired by THE GRADUATE.
Gervais is very funny and audiences can expect the same style and level of comedy presented in GHOST TOWN. His sharp, cutting delivery of sarcastic dialogue and his ability to subtly stick tiny little spoken daggers into other characters has the same appeal as Hugh Laurie’s portrayal of Gregory House, MD. Jennifer Garner was well cast as the athletically-toned, sexy, long-legged beauty for which Bellison yearns. She’s got the special look that combines “I’m incredibly hot and I know it” with “I’m really nice and innocent” that keeps her from falling into any conventional stereotype of a stuck-up woman.
What makes THE INVENTION OF LYING even more enjoyable is the jaw-dropping ensemble cast sprinkled throughout the film. Louis C.K. (ROLE MODELS) plays Bellison’s alcoholic best friend Greg, Jeffrey Tambor (THE HANGOVER) plays his non-confrontational boss Anthony, Jonah Hill (SUPERBAD) plays his depressed, nearly suicidal neighbor Frank, Rob Lowe (THANK YOU FOR SMOKING) plays the egotistical rival screenwriter Brad who hates everything about Bellison, Tina Fey (MEAN GIRLS) plays his stuck-up, disrespectful secretary who can’t wait for him to get fired, but this is just the beginning.
Cameos appear from other popular stars, including one from another star of JUNO, one from a master character actor and director who prefers to turn things up to 11, and another from an actor, well… I can’t bring myself to give this one away. So, I’ll just recommend paying close attention to the actor who plays the motorcycle cop.
Overall, THE INVENTION OF LYING is a worthwhile comedy that is sure to make audiences laugh. Some will chuckle and some will cachinnate (he he, big word!) but I honestly believe that anyone who doesn’t find some enjoyment in this movie simply has no funny bone. If a comedy that’s not dumbed down and will make you laugh unexpectedly is what you want, THE INVENTION OF LYING will surely hold true to those expectations.
I’m a HUGE fan of LET THE RIGHT ONE IN and, at least until recently, I have been a HUGE critic of the remake. Surprisingly, perhaps to myself more than anyone, the idea is start to grow on me… just a tiny bit. Granted, I would still rather it not be remade, but if it’s gonna happen, at least the seem to be signs that it may actually get a decent remake. The film is being directed by Matt Reeves, who does earn some brownie points from me for directing CLOVERFIELD and writing THE YARDS.
That is… so long as it’s not going to be titled FISHHEAD!
Why am I starting to soften up a bit to the inevitable prospect of a remake? Two words… the cast! OK, sure… two of the three are child actors, but that’s the story. Kodi Smit-McPhee (ROMULUS, MY FATHER and the soon to be released THE ROAD) will play Owen, the character formerly known as Oskar in the original. Chloe Moretz (500 DAYS OF SUMMER and the soon to be released KICK-ASS) will play Abby, the character formerly known as Eli in the original. And, of course, my favorite of the three being Richard Jenkins (SIX FEET UNDER, THE VISITOR) being cast to play the yet unnamed equivalent character to Hakan from the original. Jenkins has experienced a late-blooming popularity, which is much-deserved.
This is good stuff, man, even if it is in Italian. Quentin Tarantino, speaking on an Italian television talk show, reveals some tasty bits about his future plans, the most alluring of which is his desire to bring KILL BILL 3 to the screens, stating “The Bride will fight again.” His does, however, stipulate that he wants to wait ten years after KILL BILL, PART 2 before he makes the third volume. In addition, Tarantino also eludes to the slight possibility of a follow-up to INGLOURIOUS BASTERDS.
Dennis Hopper, the 73-year old actor and cultural icon, was rushed to a Manhattan emergency room by ambulance. No details on what spurred the medical emergency, or the level of severity, but we all hope Mr. Hopper is well and recovers fully.
DE REPENTE, LA PELICULA (roughly translated as “Suddenly, The Movie”) is a a dark-burlesque pharse, which just recently finished shooting in Caracas, Venezuela. The film stars Carlos Leon (SHADOWLAND) as John Loveland, a Venezuelan filmmaker who is hired by an American producer for movie being made in the Venezuelan jungle. The producer has an ulterior motive and uses the movie as a cover for his more criminal goals. John Loveland is oblivious to these darker intentions of the producer, taking on the adventure which leads to hilarious madness. The film also co-stars Enrique Dorantes and Luke Grande.
Venezuelan press calls DE REPENTE, LA PELICULA… “a fine mess!”
DE REPENTE, LA PELICULA is written and directed by the prominent South American filmmaker Luis Armando Roche. The movie is co-produced by Arsiete and Alfareria Cinematografica. The expected release date for DE REPENTE, LA PELICULA is sometime in 2010, with plans to hit cinemas and festivals around the world. The film is currently in post-production, so be on the lookout for a trailer soon!
Here’s a few exclusive set pics from DE REPENTE, LA PELICULA:
Hands down, ZOMBIELAND is the best 81 minutes of pure, unadulterated violent, bloody laugh-your-ass-off fun that $9 (on average) can buy you this year. If you’re a fan of horror-comedy, then ZOMBIELAND is a must-see movie. Furthermore, you’ve really got to try seeing it at your local movie theatre to fully enjoy this rowdy romp. This is one of those films that is meant to be seen in a theatre, crowded with other genre-loving fans, whereas your own laughter is exponentially heightened by the laughter of everyone else around you.
ZOMBIELAND begins with Columbus (Jesse Eisenberg) narrating the brief history and current state of the land once known as America, now overrun with flesh-eating zombies. For the few surviving humans, life is hard, but survival is possible with a little preparation, common sense and of course, cardio. Columbus ends up meeting Tallahassee (Woody Harrelson) by chance during his long journey home to Ohio. Despite their obvious differences in personality and intended geographical destinations, the two pair up and travel together, resulting in cleverly executed zombie executions and plenty of laughs.
Columbus learns a lot about zombie-killing from Tallahassee and Tallahassee in turn reluctantly learns a little from Columbus, but it’s their encounters with Wichita (Emma Stone) and her 12 year-old sister Little Rock (Abigail Breslin) that will teach them both the most. While Tallahassee sees this as being the most fun of his life, Wichita and Little Rock are more focused on surviving at any and all costs, making Columbus’ immediate infatuation with Wichita that much more complicated.
Many have been calling ZOMBIELAND America’s answer to SHAUN OF THE DEAD. To this, I say neigh, neigh! Yes, it has it’s similarities (in a good way) but it’s not quite as good as SHAUN OF THE DEAD. Of course, it’s also not the same kind of movie. Sure, they both deal with average people struggling to survive in a world suddenly struck by a zombie plague, but there are major key differences. For example, SHAUN OF THE DEAD honors the traditional definition of what makes a zombie, whereas ZOMBIELAND employs the more modern hyper-raging zombie concept.
Ignoring all the raging zombie haters for a moment, this direction works well for ZOMBIELAND. The slow, clumsy zombies wouldn’t mesh with Fleischer’s fast-paced, action-driven style. The raging flesh-eaters of ZOMBIELAND are mindless killing machines driven by an instinctual drive for food. This fact is illustrated wonderfully in the film. One of my favorite scenes depicting this point is early on when Columbus finds himself stricken with one of his inconveniently common IBS attacks while being chased by two hungry, growling corpses. His relatively clear-headed response to this danger is a direct result of his long and specific list of survival rules and very funny, even though it takes a moment (by design) for the audience to figure out what he’s doing.
Ruben Fleischer (GUMBALL 3000: 6 DAYS IN MAY) directed this zombie-killing masterpiece and he did so with great flair and enthusiasm. ZOMBIELAND is not a long movie, but it’s length is perfect, as is the comedic timing and writing. Woody Harrelson is hilarious, giving one of his funniest performances since playing Roy Munson in KINGPIN. He’s a redneck with only one thing in life he’s good at… killing zombies. At the same time, he reveals a bit of sadness in his heart (which, although this sounds mean, is also hilarious) for a loved one lost.
Jesse Eisenberg (ADVENTURELAND) is also surprisingly good, taking his same type of comedic character up a notch with a more polished approach. His sarcasm is spot on and his chemistry with Harrelson is unexpectedly brilliant. The two actors play off of each other very well, being extreme opposites and creating a sort of Abbot and Costello type of relationship. Tallahassee and Columbus “dislike” each other, but they also seem to click, complimenting each other in ways they’re not willing to acknowledge.
Emma Stone (SUPERBAD, THE ROCKER) is both cute and cunning. She’s not the most demanding presence as an actress, but she’s got the icy, hard-to-get survivor role pegged fairly well in ZOMBIELAND. She has Columbus wrapped around her little finger and easily out-smarts Tallahassee at the drop of a hat, but she also has a soft side to her that Columbus eventually is able to apply just enough pressure to cause Wichita to let down her guard.
ZOMBIELAND is a high-energy experience, integrating on-screen graphical text (a la FRINGE) to accompany Columbus’ list of rules and their application during the small group’s journey. The cinematography and editing also exhibit this same caffeine-induced, hyperactive style. The soundtrack is eclectic, kick-ass and funny, including the brilliant use of Metallica’s “For Whom the Bells Toll” during the opening title sequence, which is simply and easily one of the coolest and best of the year. Finally, without giving anything away, Bill Murray’s performance in the film is abso-freaking-lutely awesome and certainly my favorite part of the film
Overall, fans of this type of movie should not be disappointed. However, a few quick precautions… those who fear clowns, beware! Those who think this movie’s all fun and no gore, beware! Those who absolutely despise and loathe the anti-traditional fast-moving zombies with unhealthy levels of Hulk-smashing anger, beware! Otherwise, prepare yourself for one helluva undead-head crushing, car door-bashing, baseball bat-wielding, all-out creative zombie-killing party!
SURROGATES is the newest addition to the “true” genre of science-fiction, which is something we see less often anymore. More likely we’re led to believe a film is sci=fi when it really turns out to be an action or horror flick marketed as science-fiction. The film is based on the 2005-06 comic book series (now a graphic novel) called THE SURROGATES, written by Robert Venditti and illustrated by Brett Weldele.
One of the very first things I noticed about SURROGATES is that it immediately pulled me into the story, creating the mystery and intrigue often necessary to tell a good sci-fi story of this nature. The film blends a sci-fi story with mystery, action and a bit of film noir (although its certainly not visually a film noir) as the main character is sort of an anti-hero law enforcer working outside the box, bending the rules to solve a crime.
The story follows Agent Greer, played by Bruce Willis, who takes what appears at first to be another case of reckless surrogate usage, but turns out to be the first human homicide in many years. The film takes place 14 years in the future, when the invention of high-tech humanoid robots have all but replaced us in society. Humans are still in control, but these surrogates enable humans to link their minds to them as to experience life however they choose through their robots without the risk of disease or injury.
As Greer and his partner Agent Peters (Radha Mitchell) gradually uncover the truth, they discover the existence of a powerful and dangerous weapon that somehow allows the destruction of a surrogate to cause the death of its human controller. The race is then on, as Greer is forced to leave his surrogate comfort zone and pursue this mystery killer in his own flesh and blood body. A small but extremist group of humans opposed to the use of surrogates is led by The Prophet (Ving Rhames) and Greer must figure out what he and the inventor of the surrogates (James Cromwell) have to do with this conspiracy that threatens the very state of human existence.
SURROGATES was directed by Jonathan Mostow (TERMINATOR 3: RISE OF THE MACHINES) and is, for the most part, an entertaining and successful venture into the science-fiction genre. The film has its share of action and, while its not the best you’ll ever see, the special effects and choreography of the action works well. In particular, the scene with Greer’s surrogate chasing down a suspect through the unfriendly sovereign territory of the Human Coalition is exciting but its clear the budget for this level of special effects had its limits.
The beef of the science-fiction elements in the story take hold most fruitfully in the latter half of the film, but its the type of story where it has to build. For the die-hard comic book fans out there, I was informed by someone who has read the graphic novel that some liberties were taken from the film’s source material and that the ending, well… you’ll have to see for yourself. It wouldn’t be fair for me to ruin the ending even by stating its relevance to the original story.
Bruce Willis was as good as he usually is, love him or hate him, he always delivers a relatively acceptable and predictable caliber in all of his performances. There’s a 50/50 mix that usually emerges from Willis, part of him is always there in the same form, but he always adds an additional level that makes each of his characters unique. Regardless, Willis will never be Daniel Day-Lewis. Aside from this, none of the other characters really had a large enough role in the film for the supporting cast to shine.
The look and feel of SURROGATES was an interesting experience as well. While the story blends concepts similar to both STRANGE DAYS and I ROBOT, the visual style and the tone reminded me a little of TOTAL RECALL. One of the story elements that I really appreciated was that it didn’t bog itself down with getting all technical with the science behind the surrogates, but focused more on the human-to-human relationships, or lack thereof, that the whole moral of the story is built upon.
I was particularly pleased with the score by Richard Marvin (SIX FEET UNDER) and was surprised to see Elizabeth banks as an Executive Producer. While I found it somewhat surprising that she be attached in this way, I hand her kudos for supporting a movie outside of her native comedic genre. Overall, the film will definitely appeal more to the general viewing audience than the die-hard sci-fi buffs, but if the genre fanboys give the film a chance, I think there’s plenty that SURROGATES can offer them as well, but recommend the skeptics save a few bucks and take in a matinee showing.
BIG FAN, originally reviewed from Sundance by Scott here at WAMG, is a movie that’s been getting a lot of praise from various critics, which made me curious as to why people have been enjoying it so much. Inherently, it’s this curiosity that has led me to see the film for myself and find out “why all the fuss?”
The film, written and directed by Robert D. Siegel, is his first directorial outing. Prior to BIG FAN, Siegel has written THE ONION MOVIE and most importantly, THE WRESTLER, which was one helluva great film, directed by Darren Aronofsky. So, this leads me to my first inclination… would certain films be better if they weren’t directed by the writer? After seeing BIG FAN, I am inclined to believe this, in some cases, it may be true. THE WRESTLER would not have been as good, in theory, ifSiegel had directed it himself.
With that said, I cannot write BIG FAN off as a total bust. It’s not. On the other hand, it’s not an easy film to watch either, which ultimately becomes part of it’s success. The story follows New York Giants super-fan Paul, played by comedian PattonOswalt (THE KING OF QUEENS, OBSERVE AND REPORT). Paul is obsessed with his team, and especially his hero Quantrell Bishop. He lives at home with his mother, works a crumby job collecting fees for a parking garage and has one friend and fellow fan named Sal (KevinCorrigan) whom he watches games and debates football with.
That’s Paul’s life. Nothing fancy, no ambitions and he likes it that way. His family can’t stand that he’s a loser and that he seems to be OK with that. Everything changes suddenly when Paul and Sal spot Bishop at a gas station and follow him to a Manhattan high-rolling strip club and things get “complicated” from there. After his encounter with Bishop, Paul has to struggle with the choice between doing what’s “right” by everyoneelse’s standards, or doing what’s best for “his” team which is what’s right by his standards.
BIG FAN is a dark, uneasy and altogether uncomfortable movie to watch. I love sports, even if football’s not my main preference, but anyone who sees this film, super-fan or otherwise, should know that you’ll be in for 86 minutes of discomfort. That doesn’t mean it’s a poorly made movie, but rather that I believeSiegel wants us to be uncomfortable. Paul is not a very likable guy, but it’s not because he’s a jerk or a psycho… it’s because few of us will be able to truly relate to him.
Despite the various flaws in the film’s production, including an overly video-esque visual quality to the film, Siegel does a great job of setting the audience up for an entirely unpredictable and satisfying end to this progressively dark story. Watching BIG FAN is equivalent to driving past a gruesome, brutal and bloody train wreck in which you know you shouldn’t look at and you try not to look at, but inherently end up gawking at with an almost hypnotic inability to pull your eyes away from.
Siegel has written the film in such a way that the suspense and intensity draw the viewer in, pulling at our innate morbid curiosity. We do not consciously wish any harm upon poor Paul, but at the same time we can’t help but wonder what his seemingly alien lifestyle will lead to, actively imagining the worst that may happen to him at every step of the journey.
Overall, after the not-always-enjoyable rounds of head-shaking, seat-squirming and jaw-dropping that I experienced watching BIG FAN, I can honestly say it’s not perfect, but it is ultimately an awkwardly enjoyable film.
BIG FAN opens in Saint Louis at the Plaza Frontenac cinema on Friday, September 25, 2009.
