Yes, it borrowed lots from other films (especially MOON and TOTAL RECALL) that provided more satisfying results and sure, it had some major plot holes. Yes, there was the obligatory futuristic dwelling with impossibly gleaming floors and silly modern furniture, but OBLIVION was simply a well-made and intelligent sci-fi epic, and that’s a rare beast these days. It could have used a little editing to tighten and better set up the big plot surprise, but it was still enjoyable science fiction worth seeing on the big screen thanks to great performances from its cast (Tom Cruise, Morgan Freeman, Olga Kurylenko, Andrea Riseborough) that make the most of their characters and the gigantic canvas that the film was set against (you can read Jim Batts’s WAMG review HERE, though Jim liked it less than I did). Since it’s too late to see it on the IMAX, you’ll have to settle for Universal’s impressive new Blu-ray release.
This Blu-ray delivers a stunning 2.40:1 1080p image that is flawless in every perceivable way. The first thing that struck me about this disc is the wonderful amount of contrast between the various scenes. Colors are bold, clarity and detail is consistently worthy of a dropped jaw, and in culmination with immaculate black and contrast levels, there’s an impressive amount of depth to the characters on screen. Not only that, but the CGI is top-notch meaning the detailing was so good, the CGI backdrops themselves often helped lend to the illusion of depth, but after listening to the director’s commentary, I was surprised to learn that much of this wasn’t CGI at all, but actual Iceland location work. Seriously, if there’s one thing about OBLIVION that truly excels, it’s the visuals. If you can swallow this film for the action scenes alone and won’t be soured by how familiar they all feel, you’re likely to have a blast with this reference quality disc. The DTS-HD Master Audio 7.1 mix is equally impressive.
Extras:
• Audio Commentary – Tom Cruise teams up with director Joseph Kosinski (whose graphic novel is the story’ source) for a lively and informative chat. Cruise has always been involved in many aspects of his films and that shows here. He often sounds like more of a producer than an actor and knows an impressive amount of details about cameras and other tech specs. As the film progresses, there are more and more empty spaces here though.
• Destiny – an eleven minute talk with director Joseph Kosinski who discusses the genesis of his ideas and how they made it to the big screen,
• Harmony– a 6-minute doc about the film’s score.
• Illusion – a 6-minute special effects featurette that I wish had been longer.
• Deleted Scenes – There are two running a total of four minutes. One features Victoria and Jack explaining the healing technology they have, and another is a scene in the stadium. Both are good scenes that may have added some detail to parts of the story that may have seemed unclear.
The Blu-ray is accompanied by its DVD counterpart, which also gives you access to the UltraViolet Digital Copy.
In her first leading role, Gugu Mbatha-Raw is featured in these images from director Amma Asante’s BELLE.
The film is inspired by the true story of Dido Elizabeth Belle (Gugu Mbatha-Raw), the illegitimate mixed race daughter of Admiral Sir John Lindsay (Matthew Goode).
Raised by her aristocratic great-uncle Lord Mansfield (Tom Wilkinson) and his wife (Emily Watson), Belle’s lineage affords her certain privileges, yet her status prevents her from the traditions of noble social standing. While her cousin Elizabeth (Sarah Gadon) chases suitors for marriage, Belle is left on the sidelines wondering if she will ever find love. After meeting an idealistic young vicar’s son bent on changing society, he and Belle help shape Lord Mansfield’s role as Lord Chief Justice to end slavery in England.
In July Fox Searchlight Pictures announced that the company had acquired most worldwide rights, including North America and the United Kingdom, to BELLE. BAFTA Award winner for A WAY OF LIFE, Asante said of her latest film, ” We’ve worked hard to turn historical facts of the life of a true pioneer into a compelling and moving cinema experience.”
BELLE will have it’s World Premiere at the Toronto International Film Festival in September and will be released in theaters May 2, 2014.
Gugu Mbatha-Raw as “Dido Elizabeth Belle” and Sam Reid as “John Davinier”
In a recent article in the Daily Mail, the actress and director spoke about how they approached the period drama.
‘It has this Jane Austen feel to it, but it’s grounded in a political and social context,’ Gugu explained.
‘There are things going on other than this “Who shall we marry?” fluff.’
The director added: ‘Me, Gugu and all the other black girls who are involved in the film have watched all the film adaptations of Austen’s stories.
‘We’ve dreamt of either playing one of those heroines, or being able to direct a film — and yet we need to be able to hang our hat on a hook where it makes sense.’
Written by Misan Sagay, BELLE’s cast includes Academy Award nominee Tom Wilkinson, Academy Award nominee Emily Watson, Sarah Gadon, Penelope Wilton, Academy Award nominee Miranda Richardson, Tom Felton and Matthew Goode.
Cinematography is by Ben Smithard (MY WEEK WITH MARILYN), editing by Pia Di Ciaula (TYRANNOSAUR) and Victoria Boydell (THE AWAKENING), music from Rachel Portman (EMMA), costume design by Anushia Nieradzik (HUNGER) and production design by Simon Bowles (HYDE PARK ON HUDSON).
The film was produced by Damian Jones (THE IRON LADY) and was developed by the BFI Film Fund which also backed production, alongside Isle of Man Film, Pinewood Pictures, Head Gear Films and Metrol Technology.
Sarah Gadon as “Elizabeth Murray” and Gugu Mbatha-Raw as “Dido Elizabeth Belle”
Miranda Richardson as “Lady Ashford,” Penelope Wilton as “Lady Mary Murray,” Sarah Gadon as “Elizabeth Murray,” and Emily Watson as “Lady Mansfield”
With all the dynamic duos that have graced the screen over the years, it’s kind of shocking that it has taken this long for Mark Wahlberg and Denzel Washington to team-up. Especially considering the fact that both actors often juggle many of the same types of roles. An equal amount of time is given in their respective careers to more serious and dramatic fare with interludes of action intertwined. Wahlberg will do a film like the action-comedy THE OTHER GUYS and follow it up with a more serious award contender like THE FIGHTER; much earlier he did the same with BOOGIE NIGHTS followed by THE BIG HIT (which was anything but). Washington also will do films like THE HURRICANE and FLIGHT but pepper in some more fun and explosive roles with MAN ON FIRE and OUT OF TIME. Some action fans might even be shocked if you were to tell them the two stars haven’t played opposite one another before. However, 2 GUNS marks their first team-up and the results could not be any more refreshing in a summer full of large robots and CGI-filled battles. There’s simply two guys at the top of their game, having fun, and blurring the line between bad and good. Sometimes summer’s real treats sneak in after all the smoke is cleared. As with the actors on-screen meeting: better late than never.
After a quick intro that calls to mind the snappy diner opening of PULP FICTION, the film rewinds to two weeks earlier when Wahlberg’s Stig and Washington’s Bobby are on their way to meet up with the leader of a notorious Mexican drug cartel that goes by the name Papi. An exchange of forged passports for cocaine doesn’t go as planned leaving the duo to leave without the drugs they were promised. This results in both criminal runners to retreat to their separate leaders to break the bad news. Unbeknownst to either of them, the one is working for the DEA while the other works for the US Navy. A new plan to rob the supposed bank the cartel deposits cash to is complicated when a simple $3 million heist turns into a $43 million dilemma that sends everyone running after the cash.
If you can get past the mindless and uninspiring image used for the poster and trailers of the macho duo back to back baring guns in a shower of money– Tony Scott would have loved that shot – you will be treated to a much more intelligent film than its core audience ever asked for. 2 GUNS embodies more the twists and turns of a thrilling Elmore Leonard page-turner than the redundant buddy cop formula the marketing department seems intent on pushing. Yes, you do get your fare share of bickering with fits of action thrown in for good measure, but the film sets itself apart due to a clever script that injects the right amount of character, comedy, and explosions, while taking great strides to keep you guessing who’s going to turn on who. Not to mention, it doesn’t shy away from getting a little political. Corruption and greed are two of the main villains in this story filled with more criminals than a prison line-up, and writer Blake Masters doesn’t shy away from showing that our own government might be the culprits in his astute adaptation of Steven Grant’s graphic novels. I’m not familiar with the source material and its approach to violence, but once again, the film takes no shame in earning its R rating with a little bloodshed and even some nudity. Keep in mind, outside of the aforementioned slow-motion money shot, the violence is never over-the-top and is refreshingly very matter of fact and quick. You won’t see cartoonish blood squirting at the audience. Blatasar Kormakurs who previously directed Wahlberg in CONTRABAND delivers a more fun follow-up compared to his overly serious previous outing. What could have easily been a run-away train of plot twists and action set pieces is dialed back in order to remain focused on the characters at hand.
Many will be quick to note the variety of talent that’s on hand to fill this cast of liars and cheats. Outside of the two leads, you have Edward James Olmos, James Marsden, Paula Patton, Fred Ward, and even Bill Paxton – who plays a man on a mission to track down the two leads and the missing cash. Paxton plays the part a little too on the nose for his own good but seems to be having a ball as a sadistic and flamboyant Southern gentleman. On the brightside, it is his approach to the character mixed with the desert landscapes that leans the film a little in the direction of a classic western. On the surface, 2 GUNS shares many similarities to a few gun-slinging classics. Take for example THE GOOD, THE BAD, AND THE UGLY. Sergio Leone’s masterpiece features three characters all on a hunt for one large cache of gold. You have the same set-up with 2 GUNS if you replace the gold with $43 million in cash. And what’s a great western without a shoot-out on a ranch? 2 GUNS doesn’t disappoint here either as the bullets mercilessly fly until all comes to a stop for one final standoff. By all accounts, Kormakurs is well versed in action cinema and is fully aware he isn’t reinventing the wheel, but he has succeeded in delivering a film that rests comfortably between the classic western and buddy-cop comedy genres.
Earlier this year audiences we were treated to THE HEAT, which proved to be more buddy-comedy than an accurate throwback to the 80’s and 90’s buddy-cop film. Yes, the two actresses displayed a talent for comedy as they constantly poked fun at one another, but the fact that they were cops played second-fiddle (if not third or fourth) to vulgar and crude humor; for all I know, McCarthy and Bullock could have been lawyers or janitors and their language and dialogue would have still produced laughs. 2 GUNS is a much more successful attempt at rekindling those lost nights spent watching your overplayed VHS tapes of TANGO & CASH and LETHAL WEAPON. However, 2 GUNS has a secret weapon working in its favor and that is a twist and turn-filled story that never lets you fully know whom you can trust and who might be the real villain. Well, in all honesty, they are all villains and liars and cheats. Deep down, no one from this motley crew should be the winner, and yet you find yourself rooting for them anyway and getting sucked into their dirty world. In a summer full of superheroes and good guys (and girls) saving the world, who needs to be saved when hanging out with the outcasts is the most fun you will have all summer.
Hannah Arendt is a masterwork biopic of the notable 20th century philosopher that will hopefully bring the German actress who plays her, the great Barbara Sukowa, the American fame she has long deserved. She won a Lola, the German Oscar, for her performance in this movie.
Despite the movie’s excellence, I fear this movie may not find a wide audience due to the general ignorance of its subject, a wrong which hopefully this movie will redress.
Hannah Arendt was a German Jew who was fortunate to escape Germany before the full implementation of the Nazis’ “Final Solution,” but not before her academic career was halted due its anti-Semitic laws. She arrived in New York City in 1941 with an illegal visa where she worked at a publishing house, eventually becoming a professor and author of several influential books.
When the inconceivable news that fugitive Nazi officer Adolf Eichmann had been captured and would stand trial in Israel, she asked the New Yorker magazine to allow her to cover the trial as their correspondent. Over the objections of a junior editor “She’s not a journalist! She’s a philosopher!” editor-in-chief William Shawn (Nicholas Woodeson) recognizes that her first-hand experience with the Nazis will offer a unique perspective.
When Arendt arrives in Jerusalem at the home of her friend Kurt Blumenthal (Michael Degan) who had been an active Zionist alongside Ahrendt in Germany, she realizes from their conversations and the developing preparations she observes in the city, that the trial would likely become a political circus rather than the solemn legal proceeding she believed it should be. Her suspicions proved prescient.
While she followed the trial as it unfolded, she did not provide the New Yorker with timely dispatches; she would summarize the trial after she had a chance to study the transcripts upon her return to New York. Even though there was a three month period between the conclusion of the fourteen-week trial (which she did not attend in its entirety) and the announcement of the verdict, she still had to hustle to complete her writings.
I applaud director Margarethe von Trotta for using archival footage rather than attempting to merge it with re-enactments “Forrest Gump-style”. She does alter the footage a bit- with close-ups that allow us to try to see the real-life monster as he was. Bravo!
When Ahrendt’s articles were published in the New Yorker, they caused an unexpected uproar, particularly in the Jewish intellectual refugee colony, of whom some permanently cut her off. To her credit, she didn’t compromise her views and made time to clarify them. This is illustrated in the climatic scene in the movie, a seven-minute long monologue that Paris Review Critic Roger Berkowitz calls “…the greatest articulation of the importance of thinking that will ever be presented in a film.” I assure you his comment is not an overstatement in the slightest.
Her New Yorker articles were published in a book called Eichmann in Jerusalem: On The Banality of Evil, one of the few books whose subtitle may be more famous than the actual one. The revelatory observation behind that subtitle is but one of the controversial viewpoints that developed from her observations at the trial.
The movie skillfully explains that particular argument, but unfortunately doesn’t maintain this standard for the other arguments included in the movie, which are only a portion of what is in her book. This is not a criticism but a compliment. Editing is a valuable skill.
The movie focuses on three main points:
That Eichmann was a normal man
That Israel was putting Naziism on trial, rather than just Eichmann as an individual. She believed this was politically motivated grandstanding that compromised the integrity of the Israeli justice system.
She was deeply critical of the Jewish people, a viewpoint that caused many to deride her as a “self-hating Jew.”
It is the third, most confusing, point that the movie fails to fully explain. While it would have been difficult, it might have been a better choice for the movie to focus solely on the other two. It still would have provided a complete portrait of Ahrendt, and the drama would not have been compromised.
To fully understand this third point requires a knowledge of several threads of history: Jewish history, the history of the Holocaust, the history of the Jewish diaspora, and an understanding of the Jewish experience in Israel between that state’s founding in 1948 and the trial in 1961. Hopefully, I’ve overwhelmed you to the point that you will agree with me that this is beyond the scope of a movie. In fact, the New York Times critic A.O.Scott’s complaint about Hannah Arendt is that it’s not a mini-series.
The trial of Adolph Eichmann was the real trial of the 20th century- not O.J. Simpson. Its significance is fascinating, and I hope the movie will inspire many to learn more about it. Since the movie smartly bypassed an extraneous history lesson, so will I.
Hannah Arendt is not a Holocaust movie, nor a Yentl-type film that tends to appeal to only Jewish people; it is a fascinating portrait of a complex, tenacious woman, not ahead of her time, but at the forefront of it.
5 of 5 Stars
HANNAH ARENDT opens in St. Louis Friday, August 2nd at Landmark’s Plaza Frontenac Theater
I took the wife and kids to two of the FREE events last weekend and we had a blast!
Cinema St. Louis’ SLIFF/Kids, the First Annual St. Louis International Children’s Film Festival presented by PNC Arts Alive continues this weekend.
Here are the SLIFF/Kids Venues for the last weekend of the fest:
• Ronnies 20 Cine: 5320 S. Lindbergh Blvd. Attendees should go to the box office when they arrive at the theater to obtain complimentary tickets.
• St. Louis Public Library’s Central Library Auditorium (screenings) and Creative Experience (camps): 1301 Olive St. downtown.
• Washington University’s Brown Hall Auditorium: Forsyth Boulevard and Chaplin Drive (two blocks west of Skinker Boulevard). Parking is available in the lots between Skinker Boulevard and Chaplin Drive; no permits are required.
And here is the line-up for the films show at SLIFF/Kids this weekend. Did we mention that everything is Free??!!
Michael Sporn: Personal Best
Michael Sporn
Approx. 120 min. (91 min. of film), in English
Animator Michael Sporn selects a collection of personal favorites from his large and impressive filmography:
The Hunting of the Snark (1989, 19 min.), an adaptation of the Lewis Carroll poem.
Lyle, Lyle Crocodile (1987, 26 mi.), an adaptation of the Bernard Waber book.
The Man Who Walked Between Towers (2005, 12 min.), an adaptation of the Mordicai Gerstein book.
The Marzipan Pig (1990, 26 min.), an adaptation of the Russell Hoban book.
Mona, Mon Amour (2001, 8 min.), an original animated story.
Michael Sporn introduces the program and participates in a post-screening Q&A. Recommended for all ages
Disney’s Planes in 3D
Directed by Klay Hall
U.S., 2013, running time TBD, Ronnies 20 Cine
From above the world of “Cars” comes “Disney’s Planes,” an action-packed 3D animated comedy adventure featuring Dusty (voice of Dane Cook), a plane with dreams of competing as a high-flying air racer. But Dusty’s not exactly built for racing – and he happens to be afraid of heights. So he turns to a seasoned naval aviator who helps Dusty qualify to take on the defending champ of the race circuit. Dusty’s courage is put to the ultimate test as he aims to reach heights he never dreamed possible, giving a spellbound world the inspiration to soar. The talented voice cast also includes Val Kilmer, Julia Louis-Dreyfus, Brad Garrett, Stacy Keach, Anthony Edwards, John Cleese, and St. Louis’ own Cedric the Entertainer. “Disney’s Planes” takes off in theaters in 3D on Aug. 9 and will be presented in Disney Digital 3D™ in select theaters.
Attendees for this show should go to the Ronnies box office when they arrive at the theater to obtain complimentary tickets. Rated G. Recommended for all ages
Return to Oz
Directed by Walter Murch
U.S., 1985, 110 min.
Dorothy makes another trip to the Emerald City in “Return to Oz,” Disney’s under-seen 1985 “Wizard of Oz” quasi-sequel. Based on L. Frank Baum’s “Oz” books, the film takes Dorothy (played by Fairuza Balk) back to the land of her dreams, where she makes both delightful new friends (like Tik Tok, Jack Pumpkinhead, and the Gump) and dangerous new enemies (the creepy Wheelers, the head-hunting Princess Mombi, and the evil Nome King). New surprises await Dorothy and her pals – including a new take on the classic trio of the Tin Man, Cowardly Lion, and Scarecrow – around every turn in the Yellow Brick Road. A darker, scarier work than the much-loved MGM musical, “Return to Oz” is more faithful to the spirit of Baum’s books and has gained a deserved reputation as a classic in its own right.
The program includes a selection of shorts created during SLIFF/Kids’ Filmmaking Camps. Recommended for ages 10 and older
A Letter to Momo
Directed by Hiroyuki Okiura
Japan, 2012, 120 min., in Japanese with English subtitles
“A Letter to Momo” is a wonderfully expressive and beautifully hand-drawn tale that combines bursts of whimsy and kinetic humor with deep felt emotion and drama. The last time Momo saw her father they had a fight – and now all she has left to remember him by is an incomplete letter that he had started to write her, a piece of paper with the words “Dear Momo” but nothing more. Moving with her mother from bustling Tokyo to the remote Japanese island of Shio, Momo soon discovers three goblins living in her attic, a trio of mischievous spirit creatures who have been assigned to watch over her and that only she can see. The goblins are also perpetually famished, and they begin to wreak havoc on the formerly tranquil island, ransacking pantries and ravaging orchards. But these funny monsters also have a serious side, and they may hold the key to helping Momo understand what her father had been trying to tell her.
Recommended for ages 9 and older
Michael Sporn: By the Book
Michael Sporn
Approx. 110 min. (86 min. of film), in English
Animator Michael Sporn chooses a half-dozen of his adaptations of classic children’s books:
Abel’s Island (1988, 26 min.), an Emmy-nominated adaptation of the William Steig book.
Doctor De Soto (1984, 10 min.), an Oscar®-nominated adaptation of the William Steig book.
Monty (1992, 8 min.), an adaptation of the James Stevenson book.
Morris’s Disappearing Bag (1982, 8 min.), an adaptation of the Rosemary Wells book.
The Red Shoes (1990, 26 min.), an adaptation of the H.C. Andersen tale.
What’s Under My Bed? (1989, 8 min.), an adaptation of the James Stevenson book.
Michael Sporn introduces the program and participates in a post-screening Q&A. Recommended for all ages.
Kauwboy
Directed by Boudewijn Koole
Netherlands, 2012, 81 min., in Dutch with English subtitles
The Netherlands’ official entry for the Oscars® and winner of the Best First Feature Award at the 2012 Berlin Film Festival, “Kauwboy” is a tender portrait of a boy struggling to come to terms with a family that’s not what it once was. With his country-singer mother absent, Jojo lives alone with his security-guard father, a man of few words, who is quick to anger and has seemingly no affection for his 10-year-old son. Left to his own devices, Jojo discovers an abandoned baby crow in the woods near their house and finds solace in caring for this small creature, who is even more alone and vulnerable than he is. Bringing the crow home, Jojo strives to hide the bird from his dad to avoid the inevitable outburst that would attend its discovery. But what really drives the drama is the questionable whereabouts of Jojo’s mother, who seems never to return from tour. “Kauwboy” is a beautifully cinematic, bittersweet film that explores issues of loss and sorrow, while painting a joyfully upbeat picture of acceptance and love.
Recommended for ages 10 and older
Standing Up
Directed by D. J. Caruso
U.S., 2013, min.
Based on “Goat Island,” the classic young adult novel by Brock Cole, “Standing Up” is an adventure about resilience and friendship. Twelve-year-old Grace and Howie, shy and awkward, become the victims of a cruel prank at summer camp. Stranded by their fellow campers on a wooded island without their clothes, the two are expected to be found, tearful and scared, the next morning. But from the moment they meet each other, Grace and Howie decide not to become the “goats” of Camp Tall Pines, and they surprise everyone with their actions. With nerve and ingenuity, the two youngsters team up and go on the run for three days of freedom, friendship, and growing up.
Production executive Jere Hausfater, a St. Louis native, introduces the program and participates in a post-screening Q&A. Recommended for ages 10 and older.
( This review by Melissa Thompson was originally posted on July 18, 2013. BLACKFISH opens in the St. Louis area on August 2, 2013 exclusively at Landmark’s Plaza Frontenac Cinemas )
In Gabriella Cowperthwaite’s stunning documentary, BLACKFISH, we get a glimpse into the devastatingly sad life of Tilikum, a killer whale that has spent the majority of his life in captivity at Sea World in Orlando, Florida, where tragically, he was responsible for the death of trainer Dawn Brancheau. Upon further investigation, it was revealed that before Dawn, at another sea park, Tilikum was responsible for the deaths of two other people – unbeknownst to the trainers that were in the pool with Tilikum on a daily basis in Orlando. BLACKFISH sets out not only to uncover why this happened in the first place, but also to shine a long overdue light on the injustice of keeping killer whales, or Orcas, in captivity.
Told mostly by interviews with former Sea World trainers and employees, and experts in the field of ocean mammal biology, the story starts back in the early 1970’s when Tilikum was captured in the open ocean as a baby and taken away from his mother. There is actual heart-wrenching footage (bring a tissue) of the capture of Tilikum and other babies who have been rounded up and separated from the adults in their pod. In one particularly difficult moment, one if the boat captains that Cowperthwaite actually tracked down and interviewed becomes emotional saying, “it was the worst thing I’ve ever done.”
This early psychological trauma is what Cowperthwaite and her experts hammer home as the main reason these animals are not meant to be in captivity. Science has proven that orcas are highly intelligent and emotional animals that feel loss and pain and anguish. Sea World has made a fortune promoting their breeding program with flashy commercials encouraging people to come meet “Baby Shamu” every time another killer whale is born at the park. What the public doesn’t see is the mother mourning and calling out in distress when the baby is eventually taken away to start training and many times transferred to another Sea World park, thus creating another psychologically damaged animal and perpetuating the cycle.
After being captured, Tilikum and other whales like him were destined for a life of misery in tanks that were too small and isolated, starting with cruel conditions at a foreign sea park where he would be confined in a dark tank that he couldn’t move around in, sometimes for 12-14 hours at a time. Once he was purchased by Sea World and moved to Orlando, life only got slightly better. The trainers genuinely cared about him and showed him affection, and of course he responded positively. But this would never erase the fact that killer whales are supposed to live in the ocean, staying with their mothers and family their whole lives. And by this time, the damage had been done. The former Sea World trainers that are interviewed provide perhaps the most undeniable honest testimony. It is the first time that the formerly impenetrable Sea World lie has been exposed. They state the facts that have long been dismissed by Sea World PR as rumors and exaggerations.
Year after year, tourists stream into Sea World to see the Shamu Show, convinced by slick marketing and plush toys that “Shamu” loves performing for the crowd and could not be happier in his fun home. This could not be further from the truth. Because most of the whales in the three Sea World parks (San Diego, Orlando and San Antonio) are only barely related (some not at all) they have no familial bonds. There is fighting and bullying that goes on, and BLACKFISH includes astonishing footage of injured whales bleeding in the pool in plain view of the packed stadium in which they perform.
What BLACKFISH urgently demonstrates is that this is not an issue that we, as a society, are looking back on as past mistakes and learning from. Sea World “The Corporation” has no interest in ending their killer whale shows because it brings in too much money. I don’t know anyone who would see this film and not wonder why this is still allowed to go on.
Sea World was contacted and asked to be a part of this film but they declined and now they are in serious damage control mode, going as far contacting media outlets, in a too-little-too-late attempt to discredit the film, Cowperthwaite and her experts. Fortunately, BLACKFISH doesn’t need defending. It more than speaks for itself.
The Geekie Awards are created for Geeks, by Geeks, with Seth Green Presenting the Lifetime Achievement Award to Mr. Stan “The Man” Lee on August 18th. This is the first live broadcast geek-genre awards show supporting indie artists and creators.
The Geekie Awards was created by über geek girl, Kristen Nedopak, in order to celebrate the most talented independent creators, artists, and filmmakers in the geek genre. This awards show stands alone as one that will showcase the multitude of genres within the geek world to an international audience of industry leaders and fans who may not otherwise discover it, via a live broadcast event.
Presenters confirmed to date include: Richard Hatch (Battlestar Galactica), Grant Imahara (Mythbusters), Brea Grant (Dexter, Heroes), Kevin Shinick (MAD, Robot Chicken), Andrew Bowen (Rock Jocks, MAD), Winner Twins (award winning sci-fi authors), Ashley Esqueda (host of Techfoolery), Bonnie Burton (Star Wars Craft, Geek DIY), and Stephanie Thorpe (ElfQuest).With only a month away until the award show, The Geekies team (http://www.thegeekieawards.com/team), presenters (http://www.thegeekieawards.com/presenters), judges (http://www.thegeekieawards.com/judges), and award nominees (http://www.thegeekieawards.com/2013-nominees) have been gearing up to make this first annual ceremony the best and most fun event in the independent industry.
To get an idea of what people would like to see at “The Geekie Awards”, many of the Geekies representatives have been traveling to various conventions this last year, asking fans and celebrities a-like, “What #RUGeekie for?” Following the requests of fans and head geeks, the Geekies will be a combination of Hollywood pizzazz with the geekieness of a comic convention in a classy-yet-fun way. The night will include artists walking around in award-winning costumes to show attendees gifted with a badge that activates a mobile sci-fi video game (developed by Neon Roots). A brand new statue, a sci-fi inspired ray gun in Geekie blue (designed by Soulcake), was unveiled today and will be presented to Stan Lee and the award winners on August 18th.
Giving the Geekies a few words of wisdom, the 2013 Lifetime Achievement Award Winner, POW! Entertainment’s Stan Lee (http://therealstanlee.com/) adds, “I am excited to be honored with the first ever Lifetime Achievement Award by The Geekie Awards. I guess one can say I have been known to be ‘geekie’ but to honor me with the first ever award is extraordinary! Thank you to Kristen Nedopak and her entire team for choosing me.”
Presenting Stan Lee with his Lifetime Achievement Award on August 18th will be Actor/Writer/Comedian, and all-around-geek creator, Seth Green (http://www.sethgreenonline.com/). Green has starred in numerous films and television series including all three Austin Powers films, The Italian Job,Party Monster, Without a Paddle, Can’t Hardly Wait, Old Dogs and dozens more. Green also stars in the upcoming 20th/Fox live action series Dads as Eli, a manboy with a successful video business whose nightmare absentee dad (Peter Riegert) unexpectedly moves in with him and wreaks havoc. The show extends his relationship with Family Guy boss Seth MacFarlane, where Green has voiced Chris Griffin since the series’ inception. In addition, Green voices A-Bomb on Disney XD’s upcoming Marvel’s Hulk and the Agents of S.M.A.S.H. Green is the creator/executive producer/writer/director/ primary voice talent for Robot Chicken, which won the 2010 Emmy for Outstanding Short Format Animation series. The series and three Robot Chicken: Star Wars specials have all earned Emmy nominations and Green has been singled out for many voice-over nominations and is currently nominated again for both voice-over and Outstanding Animation Series Short Format.
“This is a show for geeks, by geeks and a true celebration of up-and-coming, talented artists. As an independent creator, I know all about hard work, sleepless nights, and the rejection artists deal with to get their careers off the ground. This show is a perfect example of that. A year ago it was a concept in my head, but with passion, determination and the help of an amazing team of people, sponsors who are willing to take the risk and support the vision, and all of our loving fans and nominees, we’re going to pull off the biggest first year award show ever. Our judges and presenters are coming on board as established creators, talent and geeks. They stand for everything our award nominees and audience look up to, and I can’t thank them enough for their faith and participation in this inaugural event. Of course, we are so excited to give Stan Lee our very first Lifetime Achievement Award too! He’s has been and always will be a huge inspiration to so many creators, and he deserves the highest honor we can give. We are creating something epic here, and it makes me giddy to see how excited everyone is to take part of history in the making,” explains Kristen Nedopak, Executive Producer and show concept creator.
Even bigger discounts were announced to those Geeks who attended the 2013 San Diego Comic-Con. For those who did not attend SDCC13, you can still pick up Geekie postcards with discount codes at the following sponsor stores in Los Angeles: Whimsic Alley, Clockwork Couture, Romancing the Bean, Mindfullnest, Pricilla’s Café, and Dark Delicacies. To receive your discount, all tickets must be purchased by Friday, July 26th.
The Geekie Awards, in association with Nedopak Productions LLC, would like to acknowledge some of the sponsors for the first annual award show in Hollywood, CA: The Avalon Hollywood, Seagate, Soulcake, Neon Roots, ZAGG, WebMovement LLC, Sci-Fi Alliance, Camadeus, Comikaze, WeWork, Ta’Varen Tees, Hachitan Entertainment, Whimsic Alley, Showbiz Store & Café, Full Moon Events, and W1N Digital Studios.
About The Avalon Hollywood:
In 2002 the original Hollywood Playhouse was transformed by a state-of-the-art facelift; orchestrated at the hands of owner John Lyons. Without compromising the Spanish Colonial architecture of this historic space, Avalon was born and has grown into one of the most prestigious venues for live performances & events including The Beatles’ first west coast performance, first broadcast of the American Music Awards, The Rolling Stones, Nirvana, Madonna, Jerry Lewis, James Brown, Frank Sinatra, Snoop Dogg, Justin Timberlake and the Black Eyed Peas, to name a few.
About The Geekie Awards:
The 2013 Geekie Awards presents the first-ever live streamed geek-genre award show featuring the best indie-created short films, web series, comic books, artists, designers, toy/game makers and more across 9 major categories. The multi-camera live streaming / online broadcast will reach an international audience of millions and celebrate any and every genre from Sci-Fi to Fantasy to Steampunk, Horror, Anime, and more. ‘The Geekie Awards’ is a registered trademark of Nedopak Productions, LLC.
Academy Award winner Robert Redford stars in the brand new trailer for the film ALL IS LOST, an open-water thriller about one man’s battle for survival against the elements after his sailboat is destroyed at sea. Written and directed by Academy Award nominee J.C. Chandor (Margin Call) with a musical score by Alex Ebert (Edward Sharpe and the Magnetic Zeros), the film is a gripping, visceral and powerfully moving tribute to ingenuity and resilience.
“…J.C. Chandor‘s All Is Lost has completely blown everyone away at the Cannes Film Festival. It’s a knockout –a riveting piece of pure dialogue-free cinema, a terrific survival-on-the-high-seas tale and major acting triumph for Robert Redford, who hasn’t been this good since…what, Brubaker? All The President’s Men? A long time. It’s one of the most powerful, absorbing, original-feeling survivalist dramas ever made.“
The film – in Theaters October 18. A Best Actor Oscar nomination for Redford – Coming Soon.
Deep into a solo voyage in the Indian Ocean, an unnamed man (Redford) wakes to find his 39-foot yacht taking on water after a collision with a shipping container left floating on the high seas. With his navigation equipment and radio disabled, the man sails unknowingly into the path of a violent storm. Despite his success in patching the breached hull, his mariner’s intuition, and a strength that belies his age, the man barely survives the tempest.
Using only a sextant and nautical maps to chart his progress, he is forced to rely on ocean currents to carry him into a shipping lane in hopes of hailing a passing vessel. But with the sun unrelenting, sharks circling and his meager supplies dwindling, the ever-resourceful sailor soon finds himself staring his mortality in the face.
Photo Credit: Daniel Daza/Roadside Attractions
Filmmaker J.C. Chandor knew he wanted to make some form of open-water thriller long before his feature writing and directing debut, Margin Call, was nominated for a Best Adapted Screenplay Oscar. But it took almost six years for him to finally hit upon the startlingly original idea for All Is Lost, a harrowing nautical adventure that takes place entirely at sea and features a single nameless—and nearly wordless—character.
“It’s a very simple story about a guy late in his life who goes out for a four- or five-month sail,” Chandor says. “Fate intervenes, the boat has an accident, and essentially we go on an eight-day journey with him as he fights to survive.”
Filming in water is notoriously challenging, and that was certainly the case with All Is Lost, which does not feature a single shot set on dry land. Camera crews filmed in various parts of the Pacific Ocean and the Caribbean, including off the coast of Ensenada, Mexico, about 80 miles south of San Diego. Before The Door Pictures’ Neal Dodson and Washington Square Films’ Anna Gerb are producing.
Photo Credit: Richard Foreman/Roadside Attractions. J.C. Chandor on the set of ALL IS LOST.
In some ways, All Is Lost is a tribute to man’s seemingly limitless ingenuity and resilience, with Redford’s character simply refusing to quit.
“This character keeps going to a point when some people would give up and say, ‘It’s too much,'” Redford says. “‘I’m out in the middle of nowhere. No one is here to help me and it seems like I’ve done everything I possibly can. Why not give up?'”
To answer that question, Redford references an earlier film whose sparseness and primal simplicity have something in common with All Is Lost and in which the actor plays another lone man battling nature and self.
“I thought about Jeremiah Johnson, about that film and that character, especially since I had developed that project myself,” says Redford of the 1972 film. “He had a choice to give up or continue but he continues, because that’s all there is. And this film, I think, suggests the same thing. He just goes on because that’s all he can do. Some people wouldn’t, but he does.”
It’s in those moments of maximum anguish that Our Man actually breaks his pervasive silence and utters a word or two—to great effect.
Photo Credit: Richard Foreman/Roadside Attractions
“There’s a scene where we finally hear the iconic Robert Redford voice,” says Gerb. “There is no real dialogue to speak of in the film, but in this one moment, for a very brief second, he says something. And to hear his voice, and how it comes out, is so powerful, because we all know that voice. And then it comes, and it’s this tiny beat, but it’s a very moving moment for me.”
For Dodson, it is precisely the drive to survive—even when all is apparently lost—that gets to the heart of the film’s meaning.
“It’s a movie about why we keep fighting,” Dodson says. “It’s a movie about why we try to live—about why we would fight against death when it seems so obvious that it’s our time to go. Answering that question about human beings is something philosophers, religion and great thinkers have been trying to do as long as humans have been on earth. I think this movie tries to ask that timeless question in a new way. And for my own part, I’m far more interested in going to see movies and making movies that ask questions than in movies that propose to answer them.”
It’s also part of what makes the film unlike any other, the producer says.
“I don’t think you’ve ever seen a movie like this before,” Dodson says. “It’s a truly singular vision. It’s watching one guy—a master of his craft—work through a character in 90 minutes. And it’s an adventure. But the existential questions in it, I think, will resonate for people even more powerfully.”
As for Chandor, he says he hopes audiences will see themselves reflected in Redford’s valiantly struggling survivor.
“What I’m hoping,” Chandor muses, “is that this character becomes a vessel where audience members are able to see themselves, or parts of themselves. That he becomes the embodiment of some of their hopes, concerns, dreams, worries, fears—all those primal human characteristics. It’s not something that I want to lay out too explicitly, but to a certain extent, I hope that he can become a kind of mirror. And if I did my job well, the film, like Our Man’s journey, is going to be exhilarating and terrifying, and, I hope, emotional and haunting.”
One of the most discussed and debated films of the 2013 Cannes Film Festival, ONLY GOD FORGIVES marks the second collaboration between Nicolas Winding Refn and Ryan Gosling. Recently, I sat down with Refn to talk about the film that has been causing quite a buzz with critics and audiences. Check it out below.
Julian (Ryan Gosling), a respected figure in the criminal underworld of Bangkok, runs a Thai boxing club and smuggling ring with his brother Billy. Billy is suddenly murdered and their crime lord matriarch, Crystal (Kristin Scott Thomas) arrives from the U.S. to bring back the body. When Crystal forces Julian to settle the score with his brother’s killers, Julian finds himself in the ultimate showdown.
You went from writing and directing the PUSHER series – to films such as DRIVE, and now ONLY GOD FORGIVES. What has your journey been like from PUSHER to now?
NICOLAS WINDING REFN: Fun. Well, it’s hard. What was it like? I mean, I still make the films I make. I think everything changed when I made BRONSON. That was me forcing into english speaking films. I realized that’s where I wanted to stay. I’ve just been able to make the movies that I want to make. I still live in Copenhagen. I still live a mundane, boring life with a wife and kids. I do mundane, boring stuff.
You’ve collaborated with Ryan Gosling on two projects now. What is it about the relationship, or dynamic between you both that works so well? Is it true that he sought you out for DRIVE?
NICOLAS WINDING REFN: Yeah. He asked if I would make a movie with him. It’s good. It works… on a professional level, which is important, and on a personal level. It’s about having trust and respect for each other.
ONLY GOD FORGIVES was planned before DRIVE. Why did you put DRIVE first?
NICOLAS WINDING REFN: Well, I had… I was ready to make ONLY GOD FORGIVES, and then I decided to go to America to do a film called THE DYING OF THE LIGHT, because Paul Schrader had this script that I wanted to make with Harrison Ford in it… or cast Harrison Ford in it… and then that film didn’t happen. I was like “Fuck!” I went to America and nothing happened. It’s a cliché. Then DRIVE came about, and I said “I’m not going to leave this city without making a movie.” – and so I did DRIVE knowing that I would do ONLY GOD FORGIVES after.
You’re films kind of have a Spaghetti Western feel to them. A kind of Clint Eastwood, Sergio Leone quality – where your leading man is a “man with no name”… the strong, silent type. I’m curious if those types of movies influence you? Where do you find influence and inspiration?
NICOLAS WINDING REFN: I get influence from everywhere, of course. I’m a child of cinema. I like cinema. I can’t get enough of it. But then again, I could be looking out the window, I could be staring out a plane, I could be going on a bus brining my kids to kindergarten. I could be hearing a piece of music. Music a lot! It’s very inspiring because I don’t do drugs anymore, so music enhances my emotion, which is what you tap into to be creative. You tap into your emotions. So, it’s all over. I try not to be dogmatic about anything. I don’t get up at 9 o’clock every morning and start working unless I have to. If I don’t have to I do it at night.
Building off of the last question, what in particular inspired you to write this?
NICOLAS WINDING REFN: Many things. I think the first thing that really appeared in my mind was – I had this idea about doing a film about – when I held my arm like this [holds arm up with a clenched fist, palm side facing him] – the sense of the physical metaphor – the sexual metaphor of the erection that essentially can be an act of violence through your fists. And then going like this [moves hand down] is submission… and in this movement, I knew there was going to be a movie.
This is a random question, but I notice you don’t use the same DOP (Director of Photography) for your films. Is there a reason for that?
NICOLAS WINDING REFN: It forces me to always add a different look to my films. It forces me to never be too much in a comfort zone. Always to remind myself – every film I make – how I want to make it different from the one I did before. If I repeat myself I’ll be really depressed.
You wrote and directed this film, but you didn’t write DRIVE. Do you prefer to write your own script, or do you prefer to adapt?
NICOLAS WINDING REFN: To me, it doesn’t really make a difference as long as I can make the film that I want to make. Filmmaking is a directors medium. I was lucky enough on drive to have great source material, and have a wonderful screenwriter working with me. It took a lot of burden off my shoulders. To me, it doesn’t really matter who does what as long as I can control what I want to make. If anyone’s there to help me, then great. It’s good to know how to do it yourself, just incase you have to. You know, that’s an important lesson.
You acted in PUSHER, but you haven’t really acted since. [Refn laughs] Is there a reason for that, or do you prefer to stay behind the camera?
NICOLAS WINDING REFN: [Laughs]I think, I’m suppose to be very good at comedy. So, Ryan and I talked that we have to do a comedy next, because he’s also very good at comedy. I just never really pursued it.
I’ve noticed a bit of a pattern. BRONSON was done in England, VALHALLA RISING in Scotland, DRIVE in America, and then Thailand for ONLY GOD FORGIVES… Your locations go in a circle around the globe. How important is it for you to always use a different filming location, and environment? Also, were you conscious of this circle?
NICOLAS WINDING REFN: I like to go be a stranger in a strange land because it takes me out of my comfort zone. It means I won’t make the same movie that I did before because I’m somewhere else. Going from Nottingham to the Scottish Mountains is pretty different. And then going from a Scottish Mountain to LA is very different. From LA to Bangkok is very different. So, it’s a constant seeking… other places. It forces me to do something different each time.
You mentioned your love for cinema… What are some of your favorite movies?
NICOLAS WINDING REFN: Of all time?
Sure! You can even through some guilty pleasures in!
NICOLAS WINDING REFN: I like all kinds of films. I love PRETTY WOMAN.
Really?
NICOLAS WINDING REFN: I think that’s one of the few films that I’ve actually paid numerous times to see in the cinema. I think it’s an incredible piece of , of just the greatest trick played on an audience. And it’s so enduring and charming and romantic and fluffy – and yet so twisted. I like all classic, American TCM movies. There’s this film called METROPOLIS that I really like.
Refn is currently writing his next film, I WALK WITH THE DEAD, co-produced with Wild Bunch and Gaumont, and is also turning his attention to television to develop BARBARELLA.
Get a load of the epic new poster for THOR: THE DARK WORLD. The new trailer debuts on Wednesday, August 7, during the first ever YouTube Geek Week. Until then, watch the preview that debuted in April HERE and check out the photos below.
Marvel’s THOR: THE DARK WORLD continues the big-screen adventures of Thor, the Mighty Avenger, as he battles to save Earth and all the Nine Realms from a shadowy enemy that predates the universe itself. In the aftermath of Marvel’s “Thor” and “Marvel’s The Avengers,” Thor fights to restore order across the cosmos…but an ancient race led by the vengeful Malekith returns to plunge the universe back into darkness. Faced with an enemy that even Odin and Asgard cannot withstand, Thor must embark on his most perilous and personal journey yet, one that will reunite him with Jane Foster and force him to sacrifice everything to save us all.
Dark Elves (Chris Eccleston).
Jane Foster (Natalie Portman) and Thor (Chris Hemsworth).
Jane Foster (Natalie Portman) and Frigga (Rene Russo).
L to R: Thor (Chris Hemsworth) on set with Director Alan Taylor.
Malekith of the Dark Elves (Chris Eccleston).
Thor (Chris Hemsworth) Odin (Sir Anthony Hopkins).
Sif (Jaimie Alexander) and Thor (Chris Hemsworth).
Starring Chris Hemsworth, Natalie Portman, Tom Hiddleston, Stellan Skarsgård, Idris Elba, Christopher Eccleston, Adewale Akinnuoye-Agbaje, Kat Dennings, Ray Stevenson, Zachary Levi, Tadanobu Asano and Jaimie Alexander with Rene Russo and Anthony Hopkins as Odin, Marvel’s “Thor: The Dark World” is directed by Alan Taylor, produced by Kevin Feige, p.g.a., from a story by Don Payne and Robert Rodat and screenplay by Christopher L. Yost and Christopher Markus & Stephen McFeely, and is based on Marvel’s classic Super Hero Thor, who first appeared in the comic book “Journey into Mystery “ #83 in August, 1962.
THOR: THE DARK WORLD is presented by Marvel Studios. The executive producers are Alan Fine, Nigel Gostelow, Stan Lee, Louis D’Esposito, Victoria Alonso and Craig Kyle.
Thor return to the big screen on November 8, 2013 and is distributed by Walt Disney Studios Motion Pictures.
