We Are Movie Geeks

John Williams To Appear At The Academy’s ‘Behind the Score: The Art of the Film Composer’ Program on July 21

Composers Gustavo Dudamel, Gustavo Santaolalla and John Williams will gather at the Academy for “Behind the Score: The Art of the Film Composer,” on Monday, July 21, at 7:30 p.m. at the Bing Theater in Los Angeles.

In a conversation hosted by Tavis Smiley, the illustrious trio will discuss significant musical moments in film that have inspired their work as they examine the art and process of creating a film score as well as the director-composer collaboration.

Dudamel, now entering his sixth season as music director of the Los Angeles Philharmonic, made his first foray into composing for motion pictures with “THE LIBERATOR (Libertador),” a biopic about Simón Bolívar that screened at the Los Angeles Film Festival earlier this month. The score for this film, as well as a CD on Deutsche Grammophon, was recorded with the Simón Bolívar Symphony Orchestra of Venezuela, of which Dudamel is music director. Dudamel also appears as a guest conductor with many of the world’s greatest musical institutions.

A renowned singer, guitarist, music producer and composer, Santaolalla earned consecutive Oscars® for Original Score for “Brokeback Mountain” and “Babel.” His other feature credits include “Amores Perros,” “21 Grams,” “The Motorcycle Diaries,” “North Country,” “Biutiful” and “On the Road.” Long before he won the first of his 16 Grammy® Awards, Santaolalla was a creative force in the Argentine rock nacionalmovement in the early 1970s.

Williams, whose career spans six decades, has written scores for more than 100 films, including “Lincoln,” “Memoirs of a Geisha,” the first three “Harry Potter” films, the “Indiana Jones” films, and “The Book Thief,” and has won Academy Awards® for five films: “Fiddler on the Roof,” “Jaws,” “Star Wars,” “E.T. The Extra-Terrestrial” and “Schindler’s List.” With 49 Oscar® nominations, he holds the nominations record for any living person.

Prior to the 86th Oscars earlier this year, the composer was part of the first-ever Oscar Concert hosted by actor Common and film critic Elvis Mitchell at UCLA’s Royce Hall in Los Angeles. Williams discussed his Oscar nominated score for THE BOOK THIEF, followed by conducting a suite from the movie with the Academy’s 80-piece orchestra.

Smiley is currently the host of the late-night television talk show Tavis Smiley on PBS and the weekly radio broadcast “The Tavis Smiley Show” from Public Radio International. He also has authored or co-authored 16 books, including his forthcoming Death of a King: The Real Story of Dr. Martin Luther King Jr.’s Final Year to be published this September.

Behind the Score: The Art of the Film Composer is supported by The New York Times, a founding supporter of the Academy Museum of Motion Pictures, scheduled to open in Los Angeles in 2017.

Tickets for Behind the Score are $5 for general admission and $3 for Academy members, LACMA Film Club members and students with a valid ID. Tickets may be purchased online at www.oscars.org. The Bing Theater is located at 5905 Wilshire Boulevard in Los Angeles. For more information, call (310) 247-3600 or visit www.oscars.org.

BEYOND THE LIGHTS Trailer Features Gugu Mbatha-Raw

Check out this new trailer for BEYOND THE LIGHTS, from the writer and director of LOVE & BASKETBALL, Gina Prince-Bythewood.

BEYOND THE LIGHTS is the story of Noni Jean, a hot new award-winning artist who is primed for superstardom. But not all is what it seems,and the pressures cause Noni to nearly fall apart – until she meets Kaz Nicol, a promising young cop and aspiring politician who’s been assigned to her detail.

Drawn to each other, Noni and Kaz fall fast and hard, despite the protests of those around them to put their career ambitions ahead of their romance. But can Kaz’s love give Noni the courage to find her own voice and break free to become the artist she was meant to be?

Written and directed by Gina Prince-Bythewood, BEYOND THE LIGHTS stars Gugu Mbatha-Raw, Nate Parker, Minnie Driver, Richard Colson Baker (“MGK”) and Danny Glover.

Look out for BEYOND THE LIGHTS when it hits theaters nationwide on November 14th.

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Win Tickets To The Advance Screening Of DAWN OF THE PLANET OF THE APES In St. Louis

Critics are going Ape over 20th Century Fox’s hugely anticipated DAWN OF THE PLANET OF THE APES. Check out the early reviews HERE.

The Geeks have your tickets to the advance screening in the St. Louis area!

The screening is on July 8th at 7pm.

For a chance to win 2 passes, click here to enter:

http://l.gofobo.us/kN0tCTBD

Winners will be chosen on July 7th.

Rated PG-13: Parents Strongly Cautioned

NO PURCHASE NECESSARY

A decade has passed since apes and man have come face-to-face. Now the two societies face a difficult choice between working together to co-exist or battle to become the dominant species.

A growing nation of genetically evolved apes led by Caesar is threatened by a band of human survivors of the devastating virus unleashed a decade earlier. They reach a fragile peace, but it proves short-lived, as both sides are brought to the brink of a war that will determine who will emerge as Earth’s dominant species.

The film’s screenplay is by Mark Bomback and Rick Jaffa & Amanda Silver, and based on characters created by Rick Jaffa & Amanda Silver. The film’s score is by Michael Giacchino.

The film stars Andy Serkis, Jason Clarke, Gary Oldman, Keri Russell, Toby Kebbell, Kodi Smit-McPhee, Enrique Murciano, Kirk Acevedo, Karin Konoval, and Judy Greer.

DAWN OF THE PLANET OF THE APES hits theaters on July 11th.

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Watch The First Trailer For THE SKELETON TWINS – Stars Kristen Wiig And Bill Hader

Poet Maya Angelou writes “I don’t believe accident of birth makes people sisters or brothers. Sisterhood and brotherhood is a condition people have to work at.”

As children, Maggie and Milo Dean seemed inseparable. But tragedy hit their family as teenagers when their father died, sending them on different paths, and ultimately leading to a decade-long estrangement. Now in their thirties, another set of near-tragedies brings them together. Melancholic Milo (Bill Hader), a frustrated actor with no prospects, decides to accept his sister’s offer to return to their hometown in bucolic upstate New York. However, he’s unaware that Maggie (Kristen Wiig) herself is barely holding it together, secretly unhappy despite her loving husband Lance (Luke Wilson).

Having had it’s premiere in the US Dramatic Competition at the 2014 Sundance Film Festival, here’s your first look at director Craig Johnson’s THE SKELETON TWINS.

At first, the bond between the twins is tentative: A surprise visit from their mother (Joanna Gleason), a new-age practitioner who refuses to recognize her children’s pain, only seems to amplify just how little Maggie and Milo have recovered from the events of their childhood. Secretly Maggie and Milo separately seek out relationships that are destined to go nowhere. Maggie enjoys the flirtatious attention of her hunky Australian SCUBA instructor (Boyd Holbrook) a little too much, sabotaging her interest in having a baby with Lance.

Meanwhile, Milo meets up with his first love, Rich (Ty Burrell). After their father’s death, Milo (as an older teenager) had an affair with Rich, his high-school English teacher – a scandal that drove brother and sister apart. At first, Rich is seemingly happy with a girlfriend and grown son and resents Milo’s sudden return. Desperate to get his former lover’s attention, Milo pretends to be successful and happy, which is enough to get Rich to consider rekindling their romance.

With painful wounds that only the other can understand, Milo and Maggie grow closer as they try to guide each other through this newest set of secrets. But as the hurt from the past catches up to the confusion in the present, their special bond is put to the test once again. They bring out not only the best in each other, but also the worst, and they are each desperate to avoid owning their own mistakes.

Eventually Milo and Maggie grow to understand that living truthfully and sharing their lives with each other, pain and all, is the only way they can move forward and reclaim the happiness they once enjoyed together.

Director’s Statement

The Skeleton Twins is about a brother and sister and their strange, messy, beautiful, funny, volatile relationship. At its core, it’s a love story: Maggie and Milo meet essentially as strangers and then discover, or, in this case, re-discover their love for each other. But what interested me most about this story were the small ways in which brothers and sisters interact, reflect each other and connect – specifically through humor.

I am very close to my sister and, even though we are wildly different people, we share an offbeat sense of humor. My sister can make me laugh in almost any situation, light or dark, and I wanted that sensibility to infuse Maggie and Milo’s relationship. More than their common history, more than the mutual feeling that they’ve screwed up their lives, more than their shared taste in 80s music, it is their ability to crack each other up, often in the face of tragic circumstances, that bonds them together.

This bittersweet dynamic is key to the tone of the film. I wanted the The Skeleton Twins to feel like real life in all its messiness and unpredictability. That means it needed to be both funny and sad, often within the same scene. These kinds of contradictions help to humanize the characters and create a film world that is recognizable – perhaps painfully so.

Maggie and Milo are damaged, prickly, sardonic, and self-obsessed. But they are also passionate, generous, hopeful, and full of love. And, most of all, they’re funny. The moment we are about to judge them, they come through with acts of grace and humor that disarm us – and remind us not only of our own brothers and sisters, but of ourselves. We’re all struggling against life in our own ways, and if you can’t face the darkness and chuckle, you’re done for.

Winner of the Waldo Salt Screenwriting Award at the 2014 Sundance Film Festival, THE SKELETON TWINS hits theaters on September 19.

http://SkeletonTwinsMovie.com
http://facebook.com/TheSkeletonTwins
https://twitter.com/skeltwins

Photos – Courtesy of Roadside Attractions

CONTEST: Play WAMG’s 2014 Summer Box Office Challenge Part 2 & Win Movie Swag!

The hot temperatures of summer are here and the blockbuster season is in full swing.

With the July 4th weekend looming, Part Two of the 1st Annual We Are Movie Geeks Summer Box-Office Challenge begins on Wednesday.

We have a special 5-day, head to head match-up between Tammy and Deliver Us From Evil. Make your prediction for the Wednesday thru Sunday, 5-day period. It’s possible they will have Tuesday night shows so you might want to add a few bucks in case that happens.

Predictions due Wednesday by midnight, central time.

Part 1 Results:
1 Spencer, 2 Ronald, 3 Michelle, 4 Gary, 5 Jim, 6 Michael, 7 Melissa

Jim and Gary are super close so the standings could be revised after the actuals are posted!

So you can keep track of your estimates, click HERE for a printable PDF version

Below is the second part that you can play for a try at a Prize Pack!

(1) one Grand Prize winner will win official TAMMY, EARTH TO ECHO and DELIVER US FROM EVIL movie T-shirts as well as other surprises.
(1) Runner-up will win an AMC Theater giftcard and movie swag from the summer season.

Ready fellow Movie Geeks?

INSTRUCTIONS:

1. Along with your guesses, cut and paste below:

July 2

TAMMY –
DELIVER US FROM EVIL

July 11 DAWN OF THE PLANET OF THE APES –

July 18

THE PURGE: ANARCHY –
SEX TAPE –

July 25

HERCULES
LUCY

August 1 GUARDIANS OF THE GALAXY

August 8 TEENAGE MUTANT NINJA TURTLES

August 15 THE EXPENDABLES 3

August 22 SIN CITY: A DAME TO KILL FOR –

2. Include the Thursday night box-office in your predictions and round to one decimal point.

3. The person with overall lowest score, meaning closest to actual box-office wins. You can be above or below actual box-office.

4. ENTER YOUR NAME, E-MAIL and ESTIMATES IN OUR COMMENTS SECTION BELOW. WE WILL CONTACT YOU IF YOU ARE A WINNER.

OFFICIAL RULES:

1. YOU MUST BE A US RESIDENT. PRIZE WILL ONLY BE SHIPPED TO US ADDRESSES. NO P.O. BOXES. NO DUPLICATE ADDRESSES.

2. ONE WINNER WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES. NO PURCHASE NECESSARY. PRIZES WILL NOT BE SUBSTITUTED OR EXCHANGED.

Good Luck!

IDA – The Review

The new drama IDA concerns a young woman seemingly eager and prepared to forge ahead and continue on her life’s journey, a trip she has been certain of for most of her existence. But, as is often the case, one must first re-trace your steps in a way to see the beginning of the road, n order to continue on with no qualms or regrets. As the film opens we meet a girl on the verge of adulthood living in a convent in Poland at the beginning of the 1960’s. Anna (Agata Trzebuchowska) will soon be taking her vows and fully join the sisterhood, but first the Mother Superior sends her on a task. Anna was raised at the church-run orphanage since she was an infant. Anna’s only living relative, an aunt, has not responded to invitations to visit her niece. Before the ceremony, Anna will board a bus for a nearby city and meet her only kin. When she arrives at her aunt’s apartment building the next morning, Anna is nearly brushed aside by a man hurriedly leaving the place. That man was the previous evening’s entertainment for Wanda (Agata Kulesza), a hard-drinking, chain-smoking local court judge. Wanda informs Anna that her birth name is Ida, and her parents were Jewish (and killed during the occupation of World War II)! The surly Wanda dismisses her visitor and tells her to head back to the convent. But after a day hearing cases and a look through the old photos, Wander changes her mind and races down to the bus station. Seeing the young woman waiting on a bench, Wanda tells Ida that she will drive her to her birth village where they will find out what exactly happened to her parents and locate their grave site. They hit the road for a journey that will be one of discovery for Ida and of regrets and past horrors for Wanda.

So, basically this is a two-person road trip drama with the oddest of couples. The beautiful Trzebuchowska pratically glows on screen with her headpiece making her look as if she just stepped out of a Vermeer painting. Her face is nearly a blank slate that acts as a screen for the people she encounters to project their feelings and fears upon. For some she’s scorned for her simplistic beliefs while others plead to be given a blessing from her. It’s the more passive role which aids in magnifying the bravado work of Kulesza as Judge Wanda, who enters a scene like a bull in a china shop. No tip-toeing around for her, she interrogates with the ferocity of a pitbull, with each question a bludgeon to get at her prize, the truth. But it seems the more she learns, the more vulnerable this force of nature becomes, oozing her life-force as she re-opens old, scarred-over wounds. Wanda never completely opens up to her niece as she saves her smiles for those men hovering around her at the bar. Yes, it is the flashier of the two roles and Kulesza knows it. She brings an urgency, a vitality, to every scene and is the film’s fiercely beating heart.

Director Pawel Pawlikowski guides these women expertly through the dreary cold landscape, made even more bleak by the superb, stark black and white cinematography and lack of music score. He composes the scenes like an illustrator with the actors often occupying the bottom third of the screen, dwarfed by the run-down buildings and barren trees, the fates staring down at these mere mortals. Despite the somewhat downbeat subject, the film is briskly paced at a taut mere 80 minutes with no padding or fluff. The end of the journey and its aftermath will surprise and stun. For some of the characters, the truth does not set them free. A powerful and engaging drama, IDA is a haunting tale sure to linger long after you return to the Technicolor world.

4 Out of 5

IDA opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

TRANSFORMERS: AGE OF EXTINCTION Has $100 Million Box Office Weekend

The box office estimates are in for the final weekend of June 2014.

Rentrak’s Senior Media Analyst Paul Dergarabedian commented, “The world was Optimus-Primed and ready for the release of the fourth film in the “Transformers” franchise as “Age of Extinction” posted massive global numbers with $201.3 million from just 37 international territories and $100 million in North America for an astonishing $301.3 million worldwide debut. China contributed nearly half of the international total with a $90 million representing a record for the largest opening weekend for a foreign film.”

“Notably, “X-Men: Days of Future Past” has taken the worldwide box office for X-Men franchise beyond $3 billion.”

The upcoming 4th of July weekend will see the opening of TAMMY, EARTH TO ECHO and DELIVER US FROM EVIL.

The top-12 domestic weekend box office estimates listed in descending order, per data collected as of Sunday, June 29, 2014, are below.

1. Transformers: Age Of Extinction – Paramount – $100.0M review
2. 22 Jump Street – Sony – $15.4M
3. How To Train Your Dragon 2 – 20th Century Fox – $13.1M
4. Think Like A Man Too – Sony – $10.4M
5. Maleficent – Disney – $8.2M
6. Jersey Boys – Warner Bros. – $7.6M
7. Edge Of Tomorrow – Warner Bros. – $5.2M
8. Fault In Our Stars, The – 20th Century Fox – $4.8M
9. X-Men: Days Of Future Past – 20th Century Fox – $3.3M
10. Chef – Open Road – $1.7M
11. Godzilla – Warner Bros. – $1.0M
12. Neighbors – Universal – $0.7M

NEXT YEAR JERUSALEM – The DVD Review

Review by Kathy Kaiser

NEXT YEAR JERUSALEM allows you to see through the eyes of 8 individuals – presently residing in a nursing home out East – how important it is to take a trip to Israel, before their lives come to an end.

Taking you step-by-step through the process of getting everyone ready for this monumental task, NEXT YEAR JERUSALEM documents each and every turn of these mature individuals experiences, through their incredible journey.

As you hear from each individual how this trip will ultimately “change their lives”, and experience their anticipation in embarking on their travels, you find yourself wanting to be right there with them, helping them reach their destination.

Also intriguing as you follow them in their journey, is the fact that not all of them are Jewish, but seeing Israel is just as, if not more important, to them as Christians.

As we all anticipate in our lives journey – and as you learn through this film – being 80, 90, even close to 100, isn’t always the best time to travel clear around the world – but as you will also see in this film – something as significant as this trip, may be just the ticket to keep you going!

I found this film very heart-warming, experiencing the many reasons why traveling to Israel was so important to these men and women, and being able to experience their anticipation and joy, or the small things in life, like swimming in the dead sea, was truly an experience to behold.

This film took me back to my own life experiences when I worked with elderly individuals for 10 years through a Senior Program I directed, and it made me miss all of those incredibly gifted, witty, and endearing individuals even more.

Rave Reviews For Matt Reeves’ DAWN OF THE PLANET OF THE APES; Plus Global Premiere Photos

In the week that was DAWN OF THE PLANET OF THE APES, fans of the franchise were able to get their fill of all things ape with the global premiere in San Francisco, a Live Google+ Hangout chat which included the film’s cast and director, a new clip and featurette, and Andy Serkis improvising a Gollum/Caesar conversation during a visit to Conan O’Brien.

The early and overwhelmingly positive reviews for the film came in Saturday morning:

Guy Lodge (Variety) – “‘Cloverfield’ director Matt Reeves helms a bleak but spectacular sequel to the 2011 man-vs.-monkey hit.”

Steve Weintraub (Collider) – “Reeves has hit a massive home-run with this film and I truly hope audiences and critics embrace this special movie.”

Drew McWeeny (HitFix) – “Heartbreaking and harrowing, “Dawn Of The Planet Of The Apes” is as good as big-budget science-fiction gets, technically dazzling and emotionally demanding.”

Todd McCarthy (THR) – “There is no question that Andy Serkis gives the most expressive, soulful, deeply felt performance of a non-human character the big screen has ever offered as the mature Caesar.”

In DAWN OF THE PLANET OF THE APES a growing nation of genetically evolved apes, led by Caesar, are threatened by a band of human survivors of the devastating virus unleashed a decade earlier.

They reach a fragile peace, but it proves short-lived, as both sides are brought to the brink of a war that will determine who will emerge as Earth’s dominant species.

Google+ Hangout

Andy Serkis visits Conan O’Brien

At one time the concept of successfully rebooting the PLANET OF THE APES series into a viable new franchise seemed impossible. But 2011’s RISE OF THE PLANET OF THE APES, along with the majestic performance of Andy Serkis and groundbreaking visual effects from Weta Digital, did indeed launch a new franchise. The film became a global hit, grossing nearly $500 million and receiving critical and audience acclaim. It was the first live-action motion picture to star and be told from the point of view of a sentient animal — a character with human qualities and with whom moviegoers experienced a real emotional bond.

Rise was an emotionally arresting story, which the filmmakers wanted to carry forward in DAWN OF THE PLANET OF THE APES. Rise of the Planet of the Apes concluded with the apes breaking free from their human captors – just as a deadly human-created virus spread globally. Caesar, the benevolent ape leader, leads the apes to Muir Woods, a haven outside of San Francisco, where Caesar, then a young chimpanzee, was taken by his human friend Will to escape the confines of the city.

Matt Reeves

DAWN OF THE PLANET OF THE APES director Matt Reeves wanted the continuity of his movie to fit into that timeline. “The story we are telling will lead to Planet of the Apes, and not Planet of the Humans and Apes, so it’s about how this film fits into that narrative.”

DAWN OF THE PLANET OF THE APES also explores how the apes evolved from the mostly mute but intelligent animals of Rise of the Planet of the Apes, into articulate, civilized beings that emerge as Earth’s dominant species within the canon of the Planet of the Apes franchise.

Reeves explains: “In Rise of the Planet of the Apes the apes said only a few words. With this film we show the apes at the dawn of their society, and learning to truly speak. Inevitably, the younger generation will be better with language than their parents, which leads to a very complicated portrait of the apes’ cultural order. This is the ape society that eventually evolves into what we see in the 1968 Planet of the Apes with an organized government, military and science.”

Amanda Silver and Rick Jaffa

DAWN OF THE PLANET OF THE APES co-screenwriter Mark Bomback says one of the script’s biggest challenges was to depict how the apes communicate with each other and how much the apes articulate verbally. “At the end of Rise of the Planet of the Apes it’s shocking when Caesar speaks an entire sentence. In this film, we explore how much further the apes have advanced in their language skills.”

Producers and screenwriters Amanda Silver and Rick Jaffa were at the San Francisco premiere and likened Caesar to a cross between Moses and Pinnochio. “He starts off wanting to be a real boy in RISE and by the end is leading his people to the Promise Land.”

20th Century Fox will release
DAWN OF THE PLANET OF THE APES in theaters
on July 11

Photos – Premiere presented by 20th Century Fox at the Palace of Fine Arts in San Francisco, CA on Thursday, June 26, 2014 (Alex J. Berliner/ABImages)

dawnofapes.com

PRIDE Trailer And Poster Feature Bill Nighy, Imelda Staunton, Dominic West & Paddy Considine

Starring Bill Nighy, Imelda Staunton, Dominic West, and Paddy Considine, the first trailer for PRIDE is here.

In their Cannes 2014 review, HeyUGuys‘ Jo-Ann Titmarsh wrote: “A feel-good movie about the 1984 miners’ strike, Thatcherism and the scourge of Aids is a tough nut, but with Pride Matthew Warchus has cracked it. Garnering an ovation on its premiere here in Cannes, PRIDE can certainly feel proud of itself.”

The screenplay is from Stephen Beresford, whose debut stage play, The Last of the Haussmans (starring Julie Walters), was a critical and commercial hit at the National Theatre in 2012.

It’s the summer of 1984 – Margaret Thatcher is in power and the National Union of Mineworkers (NUM) is on strike. At the Gay Pride March in London, a group of gay and lesbian activists decides to raise money to support the families of the striking miners. But there is a problem. The Union seems embarrassed to receive their support.

But the activists are not deterred. They decide to ignore the Union and go direct to the miners. They identify a mining village in deepest Wales and set off in a mini bus to make their donation in person. And so begins the extraordinary story of two seemingly alien communities who form a surprising and ultimately triumphant partnership.

PRIDE also stars Joseph Gilgun (This Is England), Ben Schnetzer (The Book Thief, Posh) and George MacKay (How I Live Now, Sunshine On Leith).

Prior to the start of filming, director Matthew Warchus (Tony Award winning theatre director Matilda: The Musical, God of Carnage) said, “This was a script I just couldn’t say no to. It made me laugh out loud, it surprised and delighted me at every turn, and it ultimately moved me to tears. It’s a truly affirming and inspiring story, funny, honest and moving, and by the end of it you want to punch the air and cheer!”

The film’s behind-the-scenes talent include Christopher Nightingale (Composer), Tat Radcliffe (Cinematographer), Melanie Oliver (Editor), Simon Bowles (Production Designer), Charlotte Walter (Costume Designer), and Nadia Stacey (Makeup Designer).

PRIDE was produced by David Livingstone for Calamity Films and Executive Produced by Pathé’s Cameron McCracken and BBC Films’ Christine Langan.

The film was developed by Pathé and Calamity Films and co-financed by Pathé, Proud Films, BBC Films and the BFI.

http://www.pridemovie.co.uk/

https://twitter.com/PrideMovieUK

(poster via Empire Online)

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DAWN OF THE PLANET OF THE APES hits theaters on July 11th.

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20th Century Fox will release DAWN OF THE PLANET OF THE APES in theaters on July 11

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20th Century Fox will release
DAWN OF THE PLANET OF THE APES in theaters
on July 11