Schofizzy's Movie Review

Pledge Support for "Out of Print"

2012-05-16T22:59:00.000-07:00

Going to the cinema means the world to me. It is a place for me to escape, a place to be thrilled, shocked, and fall in love. It is a place to introduce me to new ideas and concepts I'd never fathomed. It is my sanctuary. No matter how bad things are, I can always find solace in a darkened theater. One theater in particular that has been a constant source of joy is now in jeopardy. The New Beverly Cinema is a revival theater that exclusively shows 35mm prints, but as you may be aware, studios are heavily pushing to rid the theaters of 35mm entirely. Julia Marchese, an employee of the New Beverly Cinema, has decided to generate awareness of how scarce 35mm could become (if we don't stand up to the studios) and how this digital conversion will hurt revival theater houses across the country. How will she generate this awareness you ask, in the form of a documentary titled "Out of Print" that is currently in the kickstart phase and she needs your help to get this vital documentary made. See how you can help below...

Some key words from Julia:

"This is an important documentary, a passion project that aims to protect and cherish your movie memories, by protecting revival cinemas like the New Beverly, which play a vital and important role in keeping the old memories alive and available in our rapidly changing world.  At the New Beverly, it’s not about the money; it’s all about the movies and the people who love them.  Here’s the crazy thing, your movie memories are under siege and the threat is real and imminent. Revival theatres like the New Beverly are now an endangered species. We must act now to save the cinemas and protect our past.

This documentary must be made and the time to make it is now. Why?

The Major Studios (the owners of the old films) have recently written a letter promising to withdraw their 35mm prints. Last year I started a petition last year asking studios to let their film prints remain available to revival theaters indefinitely. I successfully raised 10,000 signatures from movie lovers in over 60 countries around the world.."

Help the New Beverly Cinema and other revival theater houses around the country keep their doors open. Head over to the kickstarter page for "Out of Print" today and pledge whatever you can to get this project financed. Donate as little as $1 here!

Source: Kickstarter

Trailer - Lawless

2012-05-15T11:48:00.000-07:00

John Hillcoat is a director I have my eye on. He has directed two of my favorite movies of the last ten years in "The Road" and "The Proposition." Both of those movies have been essentially swept under the rug despite their impact. It seems that The Weinstein Company is continuing to treat Hillcoat and his work as second fiddle. Back in March TWC bumped Hillcoat's latest film for a second time to Memorial Day weekend, one of the slowest movie going weekends of the year. Despite the Weinstein's treatment of a product that should be heavily promoted I am here to try and keep awareness and interest up for Hillcoat's next feature. Take a look at the latest trailer for the now titled "Lawless" below...

The trailer certainly sets the table for what looks like a great crime thriller about bootlegging in the South. The troubling aspect is a title change so close to release and the continual bump by the Weinstein Co. "Lawless" was originally titled "The Wettest County in the World" which was later changed to "Wettest County"and now finally "Lawless." This is a film that has been on my radar since knowing that John Hillcoat wanted to adapt the novel into a film, but even for someone like myself who really wants to see this flick, it is hard to keep track with all of the title changes.

Then we have the date pushes by the Weinstein Co. While writing this it dawned on me that we should have already seen this movie. It was originally set for release in April but then pushed to its new release date August 31st. The Weinstein's didn't put much confidence in Hillcoat's last film 'The Road' only opening it in 300+ theaters in the US and giving a next to nothing promotional campaign. Now here again it seems they are undercutting a truly dynamic director with a real voice. A trailer for "Lawless" is out yet trying to find any kind of real marketing for it will take some work. If you were not aware of this movie, you would have zero knowledge of what is happening with it and even if this flick was on your radar you may have missed any promotions.

The optimist in me wants to believe they pushed the release back past "The Dark Knight Rises" to use Tom Hardy's awareness that surly will follow Nolan's final Batman film (he plays the main villain Bane). But the cynic in me wonders if they will even give this film the due it deserves. It has a outstanding cast and from the looks of the trailer Hillcoat is on to something.

There's plenty of time to see a turnaround from the Weinstein's in promotion for "Lawless" but the way they have treated John Hillcoat previously really makes me worried that this will too be swept up under the rug for true cinephiles to discover on their own. "Lawless" releases August 31st, 2012.

Source: Apple Trailers

Hero Complex Fest 2012

2012-04-25T17:07:00.002-07:00

An announcement I've been waiting for has finally hit the net, the third annual Hero Complex Fest has been announced. Hero Complex has previously gone out of their way to create outstanding lineups with exciting guests and this year is no different. Take a look for yourself below...

Before revealing the lineup I must preface how much fun you are in for if you attend the Hero Complex Fest. Geoff Boucher is one of the best moderators in Los Angeles. Time after time he delivers engaging Q&A's that don't stick to surface levels discussions. Geoff isn't afraid to dig in and give the audience a compelling Q&A. Now that I've stressed how great the moderator is, check out the sweet lineup.

Third Annual Hero Complex Fest May 18-21, 2012:

Friday, May 18th - 7PM - $20

"Dawn of the Dead" (2004), Followed by discussion with director Zack Snyder and "Walking Dead" creator Robert Kirkman

Friday, May 18th - 10PM - $20

"Shaun of the Dead", Preceded by discussion with writer/director Edgar Wright

Saturday, May 19th - 12PM - $20

"Robocop", Followed by discussion with star Peter Weller

Saturday, May 19th - 4PM - $20

"A Clockwork Orange", Preceded by discussion with star Malcolm McDowell

Saturday, May 19th - 8:30PM - $20

"Super", Followed by discussion with star Rainn Wilson

Sunday, May 20th - 2PM - $20

"Wall-E", Followed by discussion with director Andrew Stanton. Includes a special preview of Disney/Pixar's "Brave".

Sunday, May 20th - 6PM - $20

"Serenity", Followed by discussion with star Nathan Fillion

Monday, May 21st - 7:30PM - $20

An Evening with Stan Lee, Includes a screening TBA

A limited number of festival passes a priced at $105 are available and include admission to the entire lineup as well as a 2012 event poster designed by DC Comics' co-publisher Jim Lee. Single screenings are priced at $20 and will be made available to the general public beginning tomorrow Thursday, April 26th at 10AM. The third annual Hero Complex Fest will take place at Regal Cinemas L.A. LIVE Stadium 14 May 18th - 21st, 2012. Expect some surprises too, the L.A. Times Hero Complex will most assuredly deliver some unexpected guests! Grab your tickets here.

Source: Hero Complex

Review - The Hunger Games

2012-04-24T17:37:00.002-07:00

In a dystopian future where the Capitol selects two tributes from twelve districts to play in a annual game that sees tributes fight to the death, a sister sacrifices herself in the place of her younger sibling who is chosen and then propelled into the games.

Next to remakes, sequels, and prequels finding the next popular Young Adult series and turning it into a profitable movie franchise is Hollywood's bread and butter these days. For every Harry Potter or Twilight there is a Vampire's Assistant or Percy Jackson. Finding the right series to roll with could be gamble but Lionsgate took that chance on a series that had all the makings of a potential hit. Writing this review post release I have the comfort of knowing that Lionsgate's gamble was a good one. The studio has made a bundle on the film, will continue to profit on a property that has plenty of awareness and word of mouth that has been mainly positive. For myself I come down in the positive camp but there are a number of issues I took with film.

Means of control is something that has always fascinated me so from the onset I was immediately intrigued by the setup. A dystopian future where twelve districts succumb to giving up two teenagers per year as sacrifice or tribute is a scary future to say the least. A society that can control its citizens into willingly giving up their lives is remarkable. This concept is however not really elaborated on in the film. The audience knows it is happening and has happened for nearly 80 years but what got them to this state is lacking. A backstory is quickly glossed over in a short film that is shown annually at the Reaping ceremony or tribute selection. The film serves as a reminder to the citizens up for tribunal but it doesn't give the audience any real sense of why so many people put up with the illusion of protection. The audience understands it is a generational custom that the people have learned to accept and not question but I craved just a bit more background on the means which led to the state they are currently in.

One reason what I craved is not in "The Hunger Games" is because this only the first book or potential film of three. This story is more fixated on telling a different angle than the means of control. Instead it is focused on setting up our heroine, Katniss Everdeen and her emotional weight. An angle the Gary Ross directed feature excels at. As an outsider with little background on these books I expected the games to be a much bigger portion of the film. While the games are prominently featured, the core of who Katniss is and what she is struggling with is far more on display than the games. For instance, like a reality series, the tributes or contestants are looking for the audience to support them. The audience can play a small part in the tributes surviving the game. For Katniss this angle of the game is a struggle. She's never had to play a part in order to win appreciation and she really doesn't want to.

Jennifer Lawrence deserves a ton of accolades for her portrayal of Katniss Everdeen. She is spot-on as a character that could very easily become a martyr to her people. As Katniss, Lawrence conveys a range of emotions that the novel conveyed mainly through narration. Lawrence is able to not only carry the weight of the film but make the audience a believer in her. Like the audience Katniss is working within the story, Lawrence works the audience watching as the games unfold. You route her on through all of the ups and downs as they come at her.

Before seeing this movie, I never put any thought into the title "The Hunger Games." During and after watching however I wondered, where the hell is the hunger? Sure we are told that District 12 is the poorest district and there is mention of how little food there is, but saying it is only part of making that perception come to a reality. Having spoken with fans of the books, I know that hunger plays a huge part in the story but here in the first film, we never feel any sense of true hunger from our characters.

Annual games must also be touched on. Like I have previously mentioned I respect that the games are not heavily featured. Not in a sense that they are not shown or covered, because the games are truthfully the entire second half of the movie, but the games are merely the setting. The games are not as important as what is happening while the games take place. It is what the audience is seeing and what they are learning about the contestants or tributes that make the games so important. Director Gary Ross puts just enough gratuitous violence on display but wisely never revels in it. Instead he focuses on the human levels. The games are only a small part of what keeps public under control in the fascist government depicted and you realize that watching.

Walking away from "The Hunger Games" I was enamored with the future I was exposed to. Unfortunately, the exposure left me with loads of questions. Questions that the film did not answer. Some of those questions may have been answered had I read the book going in, but a film should be able to stand on its own without the audience having to have read before going in. I've since purchased the trilogy and intend to read through the series before the sequel(s) hit theaters but because I want to eat up any and every piece of this concept that I can.

Overall "The Hunger Games" is a well put together adaptation of a novel. It has its faults and it misses some important threads but more importantly it lays the foundation in all the right places to hook audiences that are receptive to seeing where this bleak future is headed. It is a film that can be related to our history and to our present. It is a topic that should strike chords within people. It is also a film that could reach a younger audiences and open them up to something they may have shrugged off in a history class or trigger something within them that may get them active in our own government. "The Hunger Games" can be a lot of things because it works on a variety of levels, at its core it has a one genuine dynamic that works incredibly well, humanity.

Trailer - G.I. Joe: Retaliation

2012-04-24T12:08:00.001-07:00

Recently the second trailer for "G.I. Joe: Retaliation" hit the net and I thought it be fun to share with you all. First off, I enjoyed the 'Rise of Cobra" so getting me excited in a sequel wasn't too hard but many did not and I think Paramount has shown they realize that. Take a look for yourself below...

Being the second trailer for the summer release directed by Jon M. Chu this one gives the audience a bit more backstory on what's happened since the last G.I. Joe adventure and what looks to take place this time around. Wisely the story does somewhat pickup where 'Rise' left off, Zartan is still disguised as the President and he begins a plan to wipe out the Joe's and place COBRA in command.

It is a huge vote of confidence that Paramount went out and got actors like Dwayne Johnson and Bruce Willis to provide some big name appeal. I think these guys will help to ease the pain most felt from the last movie. It also looks like while the technology is still very much fantasy (like the comics and cartoons) this installment looks to be a bit less stylized and more realistic in nature.

Like I said earlier, I've been ready for more Joe action since the end of 'Rise of Cobra' but I think this new trailer does a good job of bringing the people who really did not like the last installment and want something different from the iconic franchise back into the theaters. "G.I. Joe: Retaliation" releases June 29th, 2012.

Source: Machinima

First Footage From Lost Coast Tapes

2012-04-04T18:14:00.002-07:00

One thing that always helps seal interest in a movie is someone you respect telling you how good it is. For Bigfoot enthusiast one person that fits the bill is Bobo from Animal Planet's Finding Bigfoot and he's recently gone on record endorsing "The Lost Coast Tapes" calling it "the best Squatch movie I've ever seen." Check out his endorsement and a tiny bit of never before seen footage from the soon to release found-footage horror.

First, it pleases me that Bobo was actually used as adviser for all of the Bigfoot sequences in the upcoming horror. As I've said previously, I'm a huge Bigfoot enthusiast and hearing that the production team behind "The Lost Coast Tapes" has gone ahead and used someone like Bobo for advising helps to let me know they are taking not only this film seriously, but the lore of Bigfoot that so many fans hold close to their heart. Which is super important because Bigfoot has been sorely under-utilized in cinema and I'd hate to see The Lost Coast Tapes end up a sore thumb for Cryptid fans around the globe.

As for the footage, it is an incy-wincy tease that really does a nice job of letting audiences know the kind of terror they are in for. We are definitely not getting a tame Bigfoot from the likes of "Harry and the Hendersons." Oh no, this is a huge leap away from family fare. Based off the bit footage, "The Lost Coast Tapes" wants show audiences that Bigfoot is not playing nice.

Now that we know Bobo is backing the found footage project and we've seen ourselves a tease, I'm really looking forward to seeing a trailer. The approach to that trailer is important I think though, this feels like a project that really should remain elusive. Audiences must want to find out more, but they shouldn't be given too much of that information before stepping into the theater.

"The Lost Coast Tapes" was recently picked up for distribution outside of the U.S. and is currently seeking domestic distribution.

Source: Facebook

Nostalgia Patrol - Triplets

2012-03-29T21:11:00.000-07:00

Last week we found out that Dan Aykroyd and Chevy Chase were getting back together in some form and today news comes down the pike that Arnold Schwarzenegger and Danny DeVito will re-team for a sequel to Twins titled "Triplets" with Eddie Murphy being the third brother. Let that soak in for a minute and then read on...

My nostalgia siren went off at full blast reading the headlines for this. I thought Schwarzenegger must have something juicy on DeVito for him to agree to do this. Why on Earth would Universal and these guys want to go back and tarnish something fans remember fondly? That is a rhetorical question and the answer is easy; because Twins has name recognition and a sequel will most likely make a bunch of money. As I have yammered long-winded about repeatedly on this site, studios are looking for name recognition and franchise possibility.

Arnold Schwarzenegger getting back into movies after his botched attempt as California's governor is something that plenty are excited about and eagerly anticipating. The reality is we are still waiting to see how big of an impact his return to the box office will produce. I can only assume just like the various studios as they prepare projects for the former governor, that his return will turn a mighty profit. But who knows, perhaps he is too old for the younger generation? Could this equal another wasted investment for Universal? Then again, this film feels like it calls to an older generation anyway. This movie is not going after The Hangover or Project X audiences. I'm sure "Triplets" would like their business as well, but it'll be targeting the parents of The Hangover's audience. Or am I wrong? Perhaps Danny DeVito can persuade some of the 'Always Sunny in Philadelphia' writers to put together the script for "Triplets"? Can this turn out to be a hip and hilarious project? Right now all you've got to go on is the talent.

THR broke the news that Universal has a plan in place to make "Triplets" with Danny DeVito and Arnold Schwarzenegger returning to the roles of experimentally conceived brothers Vincent and Julius. This time they discover they have a third brother, again, this is where Eddie Murphy steps in. Presently there is no director attached and no script has been written. Ivan Reitman who directed the original, will only serve as producer this time around. So it is anybody guess how good this could be. With the right writing team and director, this could be actually a riot. Let's make no mistake all three of these guys were at one time (and may still be) gold on the silver screen. Chances are although, this project will end up doing nothing more than tarnishing our memory of Twins.

Source: Heat Vision

Trailer & Poster - Step Up Revolution

2012-03-29T18:52:00.006-07:00

"Enough with performance art, its time for protest art." And with that line I nearly had a heart attack from joy. The 'Step Up' films are something I hold very dear to my heart. They are light-hearted fare that always satisfies. Great dancing, energetic music, fresh takes on the dance culture and some cheesy romance peppered in for good measure. Today the full-length trailer has hit the net and it has sent me into a state of bliss. See the new "Step Up Revolution" trailer for yourself below...

The teaser trailer from back in January set the table perfectly and this newest trailer almost feels like an appeitizer it has so much to get excited about. Fans of the Step Up films will notice members from the MSA crew and the Pirates crew! Plus the newest crew to the Step Up family, The Mob, looks to be another winner. I really like the whole flash mob angle they are going with. Best yet, "Step Up Revolution" will indeed feature another appearance by Moose! I seriously can't wait for July 27th, so I can see this movie.

I am so excited by the trailer I almost forgot to include the first poster for "Step Up Revolution" check it,

Source: You Tube | Facebook

Trailer - The Devil's Carnival

2012-03-29T18:19:00.000-07:00

Last month we got our first look at Darren Lynn Bousman and Terrance Zdunich's "The Devil's Carnival" and now the full length theatrical trailer is online to enjoy! Not only that but tickets are going fast for the nationwide tour that kicks off Thursday April 5th, 2012 in Los Angeles. Check out the new trailer and how you can witness "The Devil's Carnival" theatrically below...

It gives me great pleasure to know that Bousman and Zdunich are continuing their working relationship with Devil's Carnival and this full-length trailer gives me a ton of hope for this installment. I love that this new idea is something that the duo can build (and they plan to). Watching this new trailer has me counting the days to the premiere of the film here in Los Angeles. If you are as excited as me you will want to keep reading to find out how you can also take part in the fun and see "The Devil's Carnival" for yourself.

"The Devil's Carnival" website reveals just what you can expect on the tour:
Bousman and Zdunich invite you to join them on an exclusive nationwide road tour featuring burlesque, special personality meet and greets, Q&A forums, a whole lot of devilish behavior, sing-alongs, costume contests, and more. Audiences will get to enjoy never-before-seen REPO! behind-the-scenes footage and bonus features, and, most notably, an exclusive viewing of THE DEVIL’S CARNIVAL.

There are three different ticket price options:
1. Sinners - $20.00 (gets you a ticket to the show)
2. Carnies - $30.00 (ticket to the show, and a pre-signed poster)
3. Ringmasters - $40.00 (VIP Experience: ticket to the show, pre-signed poster, and a meet & greet)

Confirmed cities and theater along the nationwide tour include:
4/5 – Los Angeles, CA @ Laemmle Royal Theatre
4/6 – Anaheim, CA @ The Ultraluxe Theater
4/7 – San Diego, CA @ Gaslamp Theater
4/8 – Scottsdale, AZ @ Scottsdale Ultrastar Pavilion
4/9 – Tucson, AZ @ Tucson Loft Cinema
4/11 – El Paso, TX @ El Paso Starplex
4/12 – Austin, TX @ Alamo South Lamar
4/13 – Houston, TX @ Alamo Drafthouse
4/14 – Dallas, TX @ Lakewood Theater
4/17 – Nashville, TN @ The Nashville Limelight
4/18 – Atlanta, GA @ The Plaza Theater
4/19 – Orlando, FL @ The Premiere Cinema 14 (at Fashion Square Mall)
4/20 – Tampa, FL @ The Tampa Pitcher Show
4/21 - Charlotte, NC @ The Neighborhood Theater
4/22 – Richmond, VA @ The Byrd
4/24 – Pittsburgh, PA @ The Hollywood Theater
4/26 – New York, NY @ Times Scare NYC
4/27 – Philadelphia, PA @ The Painted Bride
4/28 – South Hadley, MA @ The Tower Theater
4/29 – Boston, MA @ The Foxboro Theater
5/1 – Toronto, ON, Canada @ Toronto Underground Theater
5/2 – Toledo, OH @ Collingwood Arts Center
5/3 – Chicago, IL @ The Music Box Theater
5/4 – Des Moines, IA @ The Fluer Cinema Cafe
5/5 – Kansas City, KS @ Leawood Cinema Theater
5/6 – Denver, CO @ The Oriental Theater
5/7 – Salt Lake City, UT @ The Tower Theater
5/9 – Seattle, WA @ The Admiral Theater
5/10 – Portland, OR @ The Clinton St. Theater
5/11 – Sacramento, CA @ The Colonial Theater

If your town is not on the list, stay tuned because more theaters and cities are being added to the tour.

Head on over to The Devil's Carnival website now to for plenty of entertainment including posters and apparel. Plus grab your tickets to the carnival before your town sells out!

Source: The Devil's Carnival

Posters & Screening - Lost Coast Tapes

2012-03-28T17:57:00.022-07:00

One movie I am eagerly anticipating is "The Lost Coast Tapes", a found-footage thriller focusing on a reporter and his documentary crew who are out to prove a Bigfoot Hunter claiming to posses the body of a dead Sasquatch in Northern California is a fraud. This is a concept that immediately nabbed my full attention. Bigfoot movies are sorely lacking from cinemas and it is refreshing to know someone else felt the same. To help generate some buzz for the upcoming film, New Breed Entertainment and Freeway Studios have setup a contest to win VIP tickets to a "The Lost Coast Tapes" screening in Los Angeles on April 12th, 2012. Take a look at the fuill details and the first two posters for the thriller below...

In order to win one VIP ticket to "The Lost Coast Tapes" exclusive Los Angeles event you will have to do a few things. Here's all the details:

1. Click “Like” on The Lost Coast Tapes Official Facebook Page.
2. Find your favorite picture of Bigfoot. (OR make a video)
3. Tell us WHY you want a VIP ticket to “The Lost Coast Tapes” screening in your post (or video).
4. Post your entry on The Lost Coast Tapes Official Facebook Page.
5. Have at least 20 of your friends “Like” our Page AND “Like” your picture or video.

Once you have achieved these 5 requirements you'll need to message The Lost Coast Tapes on their Facebook page with your full name and email address and you will receive your RSVP information and exclusive VIP ticket.

Remember there are a limited amount of tickets available so act fast. Head over to The Lost Coast Tapes Official Facebook Page for the full details and official rules for the exclusive Los Angeles event on April 12th, 2012.

Of course not all of us will be lucky enough to attend the VIP screening but while we wait for our own chance, you can at least check out these two posters for "The Lost Coast Tapes".

As you may or may not know I am a gigantic Bigfoot enthusiast. It is a subject I have been obsessed with since childhood. It is also a subject that has not been covered enough in film. We get multiple vampire or zombie related movies each year meanwhile the Sasquatch is left sitting in the corner. Why? Cryptid fans deserve some cinematic appreciation too! Besides, regardless of whether they are a Sasquatch or a Yeti, there is plenty to mine from the giant ape-like cryptids. Here's hoping "The Lost Coast Tapes" lives up to my years of expectations.

Source: Facebook | The Lost Coast Tapes

Review - John Carter

2012-03-20T19:42:00.001-07:00

A Civil War veteran in search of riches finds himself magically transported to the alien planet of Mars. On Mars, John Carter finds himself thrust in the middle of an age old conflict between rival nations inhabiting the planet.

There have been so many movies we have already seen that were directly influenced by Edgar Rice Burroughs series John Carter of Mars that finally seeing it on screen it could become a compare-it-to experience. Watching this space opera there are numerous threads that are instantly identifiable from previous science fiction movies you may have seen like "Star Wars," "The Matrix," "Avatar" or even more recently "Cowboys & Aliens" but those stories all initially borrowed from this film's source material. In other words, George Lucas, James Cameron, the Wachowski brothers, and Jon Favreau without a doubt read Princess of Mars and it influenced them enough to make their own thread of the tale. What I am slowly getting at is, it is hard not to compare this film to others that have come before it. The irony however is thick because the source material is what directly influenced the movies like "Star Wars" that feel like they've influenced "John Carter."

Despite being able to compare likeness with other science fiction/fantasy titles, "John Carter" stands on its own two feet. This is important because this property is a revered tale. A property that studios knew had the potential to become a viable franchise in a marketplace that is squirming for name recognizable franchises. That said, director Andrew Stanton delivers the goods on a story written almost one hundred years ago. He is able to create a new world that not only has a large scope, but more importantly, maintains my attention and intrigue throughout. Branding a film is no easy task, it has to sell audiences on why this story is important and why they should want to see further chapters. While it is very clear that the promotional campaign did not sell American audiences, 'Carter' does sell the audience over the course of the adventure with compelling and lovable characters, engaging conflict, and thrilling action that all combines to outweigh of few of the negatives that can be easily pointed out.

Andrew Stanton who had previously only directed animated features at Pixar like "Wall-e" and "Finding Nemo," made the transition to live-action with only a few hiccups. At Pixar, Stanton was use to the ability of refining a scene, mainly due to the slow process of animation, but here with live actors the results are different. There are some clunky and ill-paced material that might have been altered in Stanton's native setting of animation with more time to refine. On the other hand, his animation background seemed to really help with the scope of the story. Stanton wasn't afraid to whisk the audience around Mars (or as it is known in the film Barsoom). It was real important to me that he established how vast the planet is and without a doub, Stanton shows off how big Barsoom is in grandiose fashion.

The native people of Barsoom within "John Carter" present a perfect example of both the triumphs and failures within the scifi adventure. Take the Tharks for example, they are a race on nine foot tall, four armed creatures with tusks and are absolutely fascinating. Everything from their design, their native customs and hierarchy down to the execution is polished. Every time they are on screen, I was entranced. This can also been said about the creatures on Barsoom. From the giant white apes to Woola, a ten-legged dog like creature, all of the creatures left me wanting to see more of them. Then you have the Barsoomians, a race of human-like people who live on Mars aka Barsoom. While I completely understand the reasoning for human conditioning, the design of the cultures and differences is a bit lacking. The audience is introduced to two tribes that were once united but now fight for dominance over Barsoom. The only identifiable way of telling these two rival tribes apart is the color they wear in their identical wardrobes. One side wears red and the other blue. Simply put these groups are dull, their conflict is not, but the groups themselves come across just too bland.

One major reason "John Carter" works so well is the central figure, the hero of the story. John Carter is the kind of character that you fall for while watching the movie. There is a hint of skepticism, there are reasons to question if it will work, but by the end full confidence can be placed in John Carter. Much of that is to the credit of actor Taylor Kitsch. Kitsch becomes a hero on screen. The first ten minutes of the film I really struggled to wrap my head around where the film was going in tone and structure but Kitsch is the one constant. He is the catalyst you want to follow as the story moves forward and he does an able job of maintaining the heroic vibe throughout.

The princess does her fair share in making "John Carter" a memorable and rising adventure for audiences of all ages as well. You care about Dejah Thoris. She is the one human-like Barsoomian that I genuinely became invested in, just as our hero does. Not just for the simple chauvinistic reason (which are there), but there is an actual weight to the character and her plight. Cynicism could easily push audiences to scoff at this character we've seen told countless times, but remember she's an originator of this character-type, plus Lynn Collins does a more than able job portraying the princess of Mars.

"John Carter" is a flawed movie but regardless it is an enjoyable science fiction adventure with a lot to offer. It is easily the best live-action adventure Disney has produced since the first 'Pirates of the Caribbean.' If I'm comparing it other big swashbuckling space operas, at the bare minimum, it is far superior to all three of the Star Wars prequels combined. "John Carter" is a movie that left me craving more, it left me wanting a sequel and then some. It is an adventure that has so much more to tell, explore and even if this is the only chapter we see, it is a film that will continue to build its fan base throughout the years.

Nostalgia Patrol - Aykroyd & Chase Re-Team

2012-03-20T19:01:00.002-07:00

Dan Aykroyd revealed on his Facebook page that he and Chevy Chase will re-team. Exactly how they will re-team is shrouded in a bit of mystery but the fact is that these two once great comedians will try to re-kindle some of the laughter they once produced in some capacity. The news initially had me excited but as commonsense started to rear its ugly face, I realized how high the stakes are stacked against these two that this reunion will be a caliber project.

Here's Aykroyd's post on Facebook:

Chevy (Chase) and I are about to start work on a script concept for a comedy movie. Cannot say too much about the concept, but the joy of working with him again is one that I am extremely excited about. Chevy is one of my favourite people, and one of the great anarchistic and physically committed comedians in the business.

First off, this reveal does not give us any real specifics other than they will be reuniting in some form. While we can assume they will be acting together again, for all we know they are just brainstorming together. "About to start work on a script concept for a comedy movie...," Chevy Chase and Dan Aykroyd could merely produce a new comedy together. There's nothing specifically that says they will act, I'd hope that's the case because personally I can careless if Dan Aykroyd and Chevy Chase produce a movie together. I mean I would eventually see whatever film they produce but there's no real excitement coming from these two old comedians producing a concept for a comedy. The wow factor is they are going to be back on screen again, but even that loses its luster real quick for a couple of reasons.

Dan Aykroyd wrote his last good script in 1985, "Spies Like Us" which happens to star both Aykroyd and Chase. Since then Aykroyd has yet to produce anything of value. I'm sure there are plenty of defenders from Aykroyd and Chase's other big screen pairing in "Nothing But Trouble," but I see that as nothing more than a fun concept gone to spoil. As for Aykroyd's other attempts with a pen, he probably spent too much time wading in the Ghostbusters pool and holds the title for worst sequel ever with "Blues Brothers 2000." If you are lucky enough to have not seen it, be thankful. I enjoy Aykroyd's efforts like "Dragnet" and "Coneheads" but not in the kind of way that I could use them as examples of why I should be excited by Aykroyd possibly writing again. Those movies are both forgettable unlike the material they were conceived from (and that is being easy on them).

Chevy Chase hasn't done significant writing since his days on SNL. I'm sure you could count his short lived self-titled television series in 1993, but that wouldn't be working in Chase's favor. Not trying to undercut his ability to work in the concept mode giving meaningful input to an idea, but time has proven that Chase is not a writer. Chase's talents lie more in the performance.

Let's say these guys have an idea and they get a team to flesh out the script for them. A vehicle for the both Aykroyd and Chase to star in, sadly even then I'm second guessing the project. Is it going to be some grab at nostalgia, like Aykroyd wants to do with Ghostbusters 3? Then forget it, I'm not going to get excited for something that has no chance at being as good as the original. Maybe for someone who hasn't grown up watching both of these actors for thirty years, but those years of nostalgia create a force field that is near impossible to penetrate with some attempt to re-kindle what once was. Its not like getting the band back together and letting them play some old songs you use to love, this is new material with high expectations.

I'm certainly open to the idea of Chevy Chase and Dan Aykroyd making a movie together and it being hilarious, but I'm also very cautious in getting my hopes up. Better to just let this project develop and see what comes of it, because after all these two haven't even started working, "about to start..."

Source: Facebook

Tonto and 'Lone Ranger' Revealed

2012-03-08T19:30:00.000-08:00

Disney has been toying with a "The Lone Ranger" movie for a while now, but the reality is it is currently in full-blown production. To prove it, Jerry Bruckheimer tweeted the first image of Tonto and the Lone Ranger. Check it out for yourself below.

Before seeing this image, if you asked me about Disney's "The Lone Ranger" I would have chuckled. Despite having Gore Verbinski hired to direct, everything I'd heard or read did nothing for me. Lone Ranger has always been a corny old fashioned western that I never really enjoyed. Don't get me wrong, I am a huge western fan, but what I know/seen from the character growing up was never anything that excited me.

As for this new image, it is intriguing. I'm a pretty unforgiving fan of Johnny Depp's, the guy hasn't impressed me in years and I tend to roll my eyes at each of his new roles but something about this image grabs my attention. And yes, it is partly the shock that Depp has a crow on his head. You could go either way this but I really think the crow is a clever detail. Depp has always been one to enjoy crazy costuming and I would bet that he had some influence in what he is wearing. More importantly looking at this image, you can sense how crucial Tonto will be. He may be in the background of the picture, but he is the weight of the image (and not because its Johnny Depp). This images sells the fact that Tonto is like an overseer. That he will be the narrator, retelling the story of the Lone Ranger. It helps that the official synopsis also says something to that effect:

The Lone Ranger is a thrilling adventure infused with action and humor, in which the famed masked hero is brought to life through new eyes. Native American spirit warrior Tonto (Johnny Depp) recounts the untold tales that transformed John Reid (Armie Hammer), a man of the law, into a legend of justice—taking the audience on a runaway train of epic surprises and humorous friction as the two unlikely heroes must learn to work together and fight against greed and corruption.

My real worry is this flick will end up being another almost-there project from Disney. All of their recent live-action adventures have had dents in the armor including the 'Pirates of the Caribbean' franchise, 'Chronicles of Narnia' franchise, 'National Treasure' films, the 'Tron' sequel, Tim Burton's attempt at 'Wonderland,' "The Sorcerer's Apprentice," and the lackluster video game adaptation "Prince of Persia." Even their latest film "John Carter" isn't a home run. Disney's live-action adventures leave something to be desired for me. Maybe they have too much of a family tilt to them? That shouldn't be an issue because their whole catalog drenched in family fare. The difference is I think there's been a lack of quality storytelling coming from the house of mouse for the last decade or so. The fact that Terry Rossio, who has played a big part in each of the 'Pirates' scripts wrote this script with the same group doesn't bode well for me either.

Like I said, before today I wasn't paying attention to Disney's next live-action adventure but this new image has grabbed my attention. Let's see if it can hold on it. "The Lone Ranger" releases May 31st, 2013

Source | Twitter

Review - Project X

2012-03-03T21:22:00.000-08:00

Three high school seniors throw a birthday party in the hopes of becoming recognized at their school. When the party surpasses their wildest imagination, the three teens are faced with the reality of a party that none of them can control or stop.

"Project X" is like a lifetime of good and bad party memories thrown into one gigantic pile. It is a teenager to twenty-something's wet dream of irresponsible partying. It is a dart board of ideas but the trouble is, as crazy as the party gets out of control, it never seems that outrageous or totally over the top. Sure, some insane stuff happens, like a little person jumping out of an oven or a guy with a flame-thrower burning down the North Pasadena neighborhood; yet the stakes are never palpable and the penalties are a big joke. I expected utter lunacy leading to maximum fallout but was left with something well underneath those expectations.

Part of this can be blamed on the fact that this found footage film tries too hard to be a teen movie instead of an all out irresponsible partying story. It tacks on a unnecessary romantic triangle that is as standard as the nose on all of our faces. The lead character and birthday boy Thomas (played by Thomas Mann), has a longtime girl friend, who is clearly into him. Our lead character's best friend Costa, the organizer of the party, has other ideas for Thomas and pushes him towards hooking up with one of the senior class's hottest girls. Each step of this basic story arc feels lopped on and takes away from the enjoyment of the party going on in the background. This becomes annoyingly inherent as party-comedy ties a tidy little bow on the ending. The film sells itself on being an epic party movie but underneath it really is just another teen acceptance story.

One dynamic that does work is the friendship between the three senior friends. Despite that the weak script has their only motivation for throwing the party being accepted by their classmates, the trio do a good job bringing funny to life. The boys have some solid chemistry between themselves and feel like a natural group of outsiders we all could have known in high school or college. Costa played by Oliver Cooper, is the mouth of the group and actually becomes a bit grating the more he is on screen. As one random documented high school kid points out early on as Costa is spreading the word, "You mean that dickhead in the sweater vest?" Costa is the catalyst of the group, constantly driving them and the party forward. Costa is a necessary evil that provides a few laughs, meanwhile Jonathan Daniel Brown gives the best performance of the trio as JB, a socially awkward heavyset friend of Costa and Thomas. While screen time with Costa would gradually frustrate, each moment with JB would offset the annoyance. I kept finding myself wanting more of JB and his hilarity. One of the best examples of JB's merriment is where he throws caution to the wind and jumps off the top of the roof into a jumping house. Again, more of JB and less of Costa's foul-mouthed rants could have only helped 'Project X'.

"Project X" does have its moments and they can be broken down into two categories; potential internet memes and music video montages. As for the hopeful internet memes, they are meant to be shocking and as the party spirals out of control there are certainly a few instances that left me with my mouth wide open in awe. That said, none of them are that incredible that I will still be talking about them in the future. The music video montages are exactly what you would expect. Stuff that is meant to do nothing more than arouse the male audience members. Pure chauvinism. A plethora of up-skirt camera angles, nude shots of teenage girls dancing, making out, or skinny dipping. Obscene amounts of drugs and alcohol being consumed, all of this set to loud music being DJ'd. Many of these moments will make the audience forget they are even watching a found footage movie because of all the editing that is involved. I should note that the videographer of the party is a gothic teen male who is only shown in brevity, but in the context of what he is filming, it is a stretch of the imagination that this weirdo could get away with the footage he has captured. Both the possible internet meme moments and music video montages share a similarity however, they are knee deep in the culture of partying. It is these moments that Project X should have spent more time developing than the overused romantic triangle.

As a parent I was interested to see how this movie would stack up to previous generations worth of thoughtless partying. Make no mistake, "Project X" isn't the first and definitely won't be the last to romanticize careless actions. My judgement, it is no better or no worse than the stockpile of teen comedies before it. Part of me takes issue that this film really leaves no judgement or negative impact for these individuals reckless actions, but neither did all of its predecessors. In a pre-credit sequence the audience gets results of the three friends actions and each one leaves the impression that these boys got nothing more than a slap on the wrist. I thought, thank goodness those entitled white kids from North Pasadena were able to get away with some serious charges. What message does this give the younger audiences that are sure to flock to this film? Will the kids even walk away with a message? Ultimately, this movie comes across like a dream. It is a fantasy. Sure kids may glorify the actions throughout the film but will they go out and play copycat, no. Well, they may try, but they will not succeed. This is after all a movie and the ending is a stark reminder of that. This is the kind of crap that can be watched and should be taken with a grain of salt. Ultimately, it is forgettable and meant to be nothing more that entertainment at face value.

Review - Ghost Rider: Spirit of Vengeance

2012-03-03T14:03:00.000-08:00

While trying to remain secluded in Eastern Europe, Johnny Blaze finds himself forced to protect a child from the devil in human form.

There is some ferocious potential in the character of Ghost Rider but for one reason or another each live-action attempt has been hindered. "Ghost Rider: Spirit of Vengeance" is a prime example Columbia has yet to embrace and allow the character to flourish as he should. This ridiculous installment hurts a little more considering directors Mark Neveldine and Brian Taylor were hired and have the background to bring the right kind of edge to Johnny Blaze. In actuality, Neveldine/Taylor (as the directing team have credited themselves) do a notable job with their direction of a horrendously bland script by David S. Goyer and a studio that restrained the potential with a PG-13 rating.

Neveldine/Taylor bring their visual style and a campy edge to the iconic character as best they can. For some, their unconventional camerawork can be jarring but in the confines of where they take the story, it worked. By every means, the tone of the character is completely changed from the last installment. Johnny Blaze aka Ghost Rider is downright zany this time around. Neveldine/Taylor's spin on the Rider is a rousing displaying of Blaze wrestling with the demon Zarathos who is bonded within him. I'd liken the conflict to that of someone who copes with ADHD, Blaze and Zarathos are in constant battles of dominance in Blaze's human body. Each time Blaze gives in to the power of Zarathos and becomes the Ghost Rider the dial is turned all the way up.

Pairing Nicolas Cage with Neveldine/Taylor is the right kind of bad. The directors gave Cage the freedom to have fun with the Rider and his performance is all kinds of outrageous. Cage is over the top and then some. It is apparent watching that Cage is actually having fun with the performance, something I found completely lacking in the 2007 installment. Cage is absolutely batty and he elevates a remedial script from being nearly unbearable to being an entertaining effort. A good case and point is the dialogue. It is sure to keep your eyes rolling into the back of your head but Cage pulls it off in unique fashion. He takes otherwise horrendous dialogue and makes it the kind hysterical bad you can find enjoyment in.

Plain and simple, it is astonishing that Columbia moved forward with 'Spirit of Vengeance' script written by David S. Goyer. In every capacity, the script is a heaping pile. Worse yet it is a trivial plot that has been used countless times. Ghost Rider must protect a child from the clutches of evil. The moment it starts, you know where it will end up. It never deviates from its basic structure and if it were not for Cage's madcap performance and Neveldine/Taylor's eye for action, this is a movie would be real hard to sit through.

Two aspects of this film I loved were the action and animation. First, let's talk the latter. 'Spirit of Vengeance' is stitched together with a number of animated sequences filled with rich color and vibrant imagery that really brought a spirited energy to a tired story. The animated sequences all serve as bridges filling the audience in with little bits of backstory on Johnny Blaze and his demons. As for the action, I certainly could have handled plenty more, but what is on display is full throttle and drenched in Neveldine/Taylor's stink. Some credit should be given to the screenplay for allowing Ghost Rider to take control of multiple vehicles outside of his motorcycle. One sequence in particular the audience is treated to the Rider taking control of a giant crane and wielding its devastating power on some would-be henchmen. The best action sequence comes in the final act with the Rider chasing an entourage of vehicles. Johnny Blaze jumps from vehicle to vehicle allowing the Rider to take control of them leaving a flamed path of destruction in his wake. I especially dug the truck he commands, I cannot wipe the sight of the Rider rolling a convoy truck all aflame and full of pride.

I appreciated the toned down look to Ghost Rider and his motorcycle. The design team went with a simpler approach to the transformation of machinery the Rider comes in contact with. Instead of his bike turning into a chromed-out demon vehicle straight out of an Iron Maiden video it now simply crusted and charred over into something that resembled being overcooked on a barbecue. His cycle may have not looked straight off the comic page but it did match the nature of his powers. The look and actions of the Rider were superior as well to the 2007 installment. The CGI animators nailed the dynamic of the flaming skull this time around. Previously, the Ghost Rider looked very flamboyant, this time however he is dingy and unrefined. Most of all he comes across menacing and vicious in all the right moments. There is also a playful side to him that wouldn't have been possible without Nicolas Cage's ridiculous performance.

"Ghost Rider: Spirit of Vengeance" is not a good movie by any means, but it has a lot of good intentions within it. It is a action that really struggles because of a milk toast script restraining a potentially outrageous character. Directors Neveldine/Taylor do their best to provide a spark but it is not enough to overcome the dreadful plot. Luckily Nicolas Cage is on fire, pardon the pun but he makes the comic book adventure worth sitting through. He brings the right kind of wacky to the role. 'Spirit of Vengeance' is sure to have plenty of people that absolutely hate it and while I have a ton of wishes for how it could have turned out, I still had a good time watching all the bad unfold.

Review - The Woman in Black

2012-02-21T17:13:00.000-08:00

A young lawyer is sent to a remote English village to tend with some unfinished paperwork, once in the town the lawyer finds himself face to face with a unforgiving ghost who plagues the town.

"The Woman in Black" is a period horror that is at its best when it is setting the mood and providing a few jumps. One thing that immediately grabbed me within this vengeful ghost tale is the set and costume design. Both of which are stellar at helping to create the mood. Everything within the film is elegant, yet murky and grey giving off a classic eerie vibe. Even though they are not in any way connected, this movie felt like what Disney's Haunted Mansion should have looked like. A good old fashion ghost story with a really spooky house you should be weary about entering.

While "The Woman in Black" houses a number of quality jump scares, it never becomes a scary movie. There is tension that is being teased and pushed but it never fully resonates. Everything comes across safe even if the script is telling the audience otherwise. Ultimately, I never felt myself pulled into the story and was always one step ahead. A lot of this happens to rest in circumstance. The Woman in Black is another horror in the long line of revenge ghost stories. You probably thought Hollywood was done with them after the last wave of paranormal movies that followed The Ring and The Grudge but with Paranormal Activity having whopping success at the box office, audiences are sure to see another large helping of disgruntled ghost stories in the years to follow. Back to 'Woman,' the audience is slowly made privy to the backstory of what happened to this particular unforgiving spirit. Much like the other antagonistic ghosts, our main character tries to appease the wounded soul hoping it will find a true resting place. Following the path to appeasement is suspenseful to a point, but having been down this path so many times prior with other movies ends up taking away most of the thrill.

There are quite a few good jump scares throughout the horror, yet oddly enough Daniel Radcliffe never seems phased. The actor is so straight-faced throughout I wondered if he would ever get spooked. There is one moment in particular early on when Arthur Kipps (Radclife) sees the ghost in a window of the house while outside. Kipps hardly bats an eye at this reveal and I couldn't help but call foul. Seeing a ghost in a window for the first time you would think that person would fall down, or even do a double take. Kipps character is revealed to have some spiritual backstory but you'd think there would have to be some alarm when seeing a dark spirit, instead he goes running toward the ghost without any fear whatsoever. There is a level of disbelief that can be argued here as well, but at some point I expected the character to actually get scared.

This isn't to say Daniel Radcliffe doesn't deliver a capable performance, because he does. Radcliffe conveys a strong performance as Arthur Kipps. He carries the film on his shoulders and is able to pull a majority of the weight in between scares. Ciarán Hinds nails an engaging portrayal of a local member in the remote English village trying to ignore the ongoing paranormal activities. I loved the fatherly role Hinds played to Radcliffe's character Kipps. It was a nice touch in an story that was otherwise mainly focused on crafty jump scares. It should also be noted that the entire cast of townsfolk do a polished job of adding authenticity to the mystery within "The Woman in Black."

The high points in "The Woman in Black" are indeed the scares and the ghost. The build towards the reveal of the woman in black works. The presence of the woman in black throughout the horror ends up being my favorite aspect in the ghost story. Each time she is on screen or eluding to being on screen there is an eerie mood that persists. It never manages to crawl under your skin, but it is the right combination of creepy and fun that makes for a hair-rising experience. The audience gets plenty of small hints along the way bringing to attention tension the horror is building toward a jump. Much like riding a roller coaster, riders begin to anticipate the turns and drops, the audience can sense the scares coming in The Woman in Black but that doesn't deter from the enjoyment. This is a call back to classic horror, there is no gruesome slashing or gross-out techniques at play, just simple jump scares working off shadow play, creepy imagery, and old creaks within a haunted house.

Overall, I thoroughly enjoyed the scares and set design within "The Woman in Black" though I never found myself completely attached to the story. Not the ghost story or what led to the angered spirit, because I actually found that backstory engaging, but the side arc to Arthur Kipps character. Kipps is a bore and how his backstory will tie-into the overall story is immediately too obvious. Despite a lack of fulfillment from the main character's arc and an overly basic vengeful haunting, I enjoyed this re-telling of Susan Hill's horror novel and would recommend it to any fan of the horror genre.

Teaser Trailer - The Devil's Carnival

2012-02-21T16:55:00.000-08:00

Repo! The Genetic Opera fans have something to be excited for, and I'm not talking about the latest shadowcast show. Darren Lynn Bousman and Terrance Zdunich have teamed up once again to bring us "The Devil's Carnival." While 'Carnival' does not look to be directly linked to 'Repo!,' reports today called it a "follow-up," after viewing the teaser and website it certainly is coming from very similar territory. Take a look at the teaser trailer for yourself below.

As expected Darren Lynn Bousman and Terrance Zdunich's "The Devil's Carnival" looks to be a real treat. Cinematographer Joseph White looks to bring back the visual style of Bousman and Zdunich's not to mention their taste for horror. While this teaser doesn't reveal much outside of who will be involved in the Carnival, it is enough to get my mouth watering for new music and more exploration of Bousman and Zdunich's underworld. Bousman told THR 'Carnival' will be, "more accessible than Repo but also a lot darker than Repo."

As for plans to unleash "The Devil's Carnival" the official website reveals that the 55-minute follow-up musical will beginning a 30-city tour beginning in April. To coincide with the tour, there will be a 13-song soundtrack released. Terrance Zdunich (who co-wrote Repo!) also wrote the music to 'Carnival' with Saar Hendelman. Returning cast members from Repo! include Paul Sorvino, Alexa Vega, Bill Moseley, and Ogre (in roles not connected with Repo!). New cast members include Jessica Lowndes, Sean Patrick Flannery, Briana Evigan, Marc Senter, and Tillman Norsworthy. As much as I did get use to her performance (and even grow to like it), its nice to see that Paris Hilton wasn't brought back on staff.

Head on over to The Devil's Carnival website to sign-up for updates on the 30-city tour, browse the store, see some of the new characters, and read a bit more on the back story to this latest endeavor between Darren Lynn Bousman and Terrance Zdunich.

Review - This Means War

2012-02-19T10:46:00.000-08:00

Two CIA agents find themselves in a relationship with the same girl and working against each other to win her affections.

"This Means War" feels like a friend who came to a casual party all dressed up in a tuxedo, leaving them a little bit out of place. You know their intentions were good. They wanted to look good for the party, but by over doing it they end up just looking silly.

"This Means War" is plain and simple too glossy and ultra Hollywood. Director McG would have benefited from removing the extra layer of shine. Everything from the set design to post-effects just seem bright and shiny. Its like a catalog of brand new stuff. Every scene looks polished and as if some guy came by with a coat of turtle wax buffing everything in sight. Nothing actually looks lived in or real, but instead straight out of a store you could not afford. One specific example comes in a scene where Reese Witherspoon's character Lauren meets her friend Trish (Chelsea Handler) to discuss the two men she is dating. The girls meet at this children's gym or play place type location but it just screams a dressed set and feels phony. The rest of the movie thrives off that same feeling and if it were not for the comical banter between Chris Pine and Tom Hardy, this spy vs spy comedy would have failed on every level.

Chris Pine and Tom Hardy should bring a smile to your face as they play off each other. The duo's dialogue and scenarios not only gave me a smile but they brought plenty of laughter too. "This Means War" is the type of comedy I suspect will be better served with an audience in the mood for a few laughs. At home on the couch and I'm not so sure that it will maintain the same level of hilarity. That said, Pine and Hardy really turn on the funny. The editing back and forth between the opposing sides during the spy vs. spy dating sequences is particularly appealing. The audience gets a playful balance between the teams as one team tries to create the best date, the other tries to dismantle it and vice versa. These sequences generate the most laughter and end up being the highlight of the action-comedy but there are not enough of them. Walking away I felt jipped by how little spy vs spy we actually got.

Speaking directly to the action sequences, they are all a big letdown. McG shows he has zero ingenuity or desire to think outside of the box. Every single sequence feels copy and pasted from older and superior action movies. It is like tracing other images your whole life and never actually trying to draw the lines yourself, McG just lifts from what he thought was cool and retreads it back on screen with less impact.

One thing "This Means War" desperately needed was stakes, there is nothing at stake watching the film. Well, sure the script has stakes penned into the story, but they never feel tangible or do anything other than unfold like wrapping paper on a birthday present. Outside of knowing exactly which guy Lauren will choose, I'm sure most general audiences saw where this film was going after watching the trailer. Worse yet, as the action-comedy plays out, there are indicators revealing where this film will end up that are repeatedly flashed in the audience face like high beams on a two-way street.

"This Means War" is harmless and routine. The troubling aspect is the potential it had. It only skims the surface of its potential. The romantic angle is a prime example. There is absolutely zero attachment to the romantic arc. The romance feels tacked on. It feels like it is there solely to drive up the ticket sales. Like some studio head was demanding, an action movie that appeals to men and women, one they could open on Valentines Day. At least, they did a good job casting the men. Tom Hardy and Chris Pine are both easy on the eyes for the women and while I'm not attracted to Reese Witherspoon, I know quite a few men that are. The movie typically drives up the sex appeal on both sides, showing off the actors in a few skimpy outfits or in as minimal clothing as possible, but like I said there is nothing to attach yourself to. While I enjoyed the characters, I never became invested in them when I should have.

Which is a perfect way to sum up how I feel about the film overall. I enjoyed "This Means War," there were plenty of laughs to be had and it was a fun movie to just watch, but it is not a movie I walked away talking about. I didn't reminisce about a particular scene over and over or recount the laughs with friends. Instead it is a movie that I started to pick a part afterwards. It is a action-comedy I wished had done a better job with its action. It is after all, an after thought, something that could have been memorable but isn't.

Review - Chronicle

2012-02-12T13:24:00.000-08:00

A found footage film that chronicles three high school teens who develop the power of telekinesis after a brief encounter with an foreign object buried in the woods.

Our teenage years can be awkward. Not just the hormones and the changes our bodies are going through but the whole aspect of teen identity. That question we all ask ourselves, who am I and where do I fit in? For some, this part of life may come a little easier than others, but regardless we all go through it. "Chronicle" takes a interesting look at the question by focusing on three high school teens who form a friendship after gaining the power of telekinesis. Much like any friendship, these three share something that brought them closer. The nucleus could have been anything from sports to video games, but using telekinesis allowed screenwriter Max Landis to build a fascinating exploration through the bonds of friendship and the angst of our youth.

"Chronicle" is a found footage film and it mainly does an able job with the confines of the genre. There are a few moments that the audience must suspend disbelief and reasoning to stay in the story but overall director Josh Tank created one of the better found footage films of late. The set up as to why this Chronicle is a found footage film is immediately engaging. The audience is introduced to Andrew, our main character, who has begun chronicling his existence at home due to an alcoholic and abusive father. Andrew's recording then morphs into something else once he and two others come in contact with a foreign object in the woods. Director Josh Tank could have very easily strayed away from the boundaries within the found footage genre but instead he used the powers Andrew, Matt and Steve gain to enhance the found footage angle. Andrew begins to learn how to handle his camera without keeping his hands on it. Andrew is able to essentially create an invisible cameraman to chronicle the powers he and his friends have gained. This trick alleviates a number of restrictions you'd expect in a found footage movie as well as adding some fun angles from cinematographer Matthew Jensen.

Back to friendship for a moment, "Chronicle" is at its best when the audience is watching the trio become a close-knit group of friends. Friendship is a important aspect in our lives. Sharing something we enjoy with another person (or a group of people) can be a very enriching experience and thankfully Chronicle is wise not to skimp on illustrating that. It knows when to have fun, it knows when to give us some thrills, and it knows when to be genuine. Their powers obviously add to the enjoyment of watching the three teens form a bond but Max Landis' script and Josh Tank's direction both wisely elevate the concept from just being a gimmick. Meaning, Chronicle has a solid coming of age friendship behind the super powers and found footage boundaries.

It helps that actors Dane DeHaan, Alex Russell, and Michael B. Jordan deliver decent performances as the friends with newly acquired powers. When the boys are together testing out their powers, the audience is having just as good of a time as the actors appear to be on screen. The flying sequences are thrilling, as are some of the other tricks the guys learn/show-off, but it is the more natural moments that really carry weight. Like eating Pringles at lunch or the group goofing off in a store. It reminded me of times I'd spent messing around with friends; being goofy, causing a ruckus, and just having a good time (maybe) at the expensive of others. The one area the actors do show off their weaknesses comes with arguments and meltdowns structured into the third act. Especially Dane DeHaan and Alex Russell, the word over-acting comes to mind. Unfortunately, the boys show they do not have the same level of authenticity in the more dramatic scenes as they displayed as typical teens.

"Chronicle" has a tremendous build, but where it is building towards, is not so tremendous. The third act is not bad, but it is recycled and feels simply too obvious. There is a whole lot of potential within the story, yet screenwriter Max Landis allowed himself to go down the familiar path we've seen in so many other forms. Outside of the direction of the third act, I did find the finale to be well executed with some rousing special-effects. It has a number of eye-rolling moments and things feel a bit tacked on in points but, it still managed to provide fulfillment and thrills.

"Chronicle" is a found footage movie that excels at the bonds of friendship. Like so many other coming of age stories, at its core it has a memorable story about people who found something that they could share and experience together. It falters a bit allowing the teen angst to outweigh the friendship, however its outcome can be defended as a natural outcome and it is easily a film I would watch again and again. Finally, director Josh Trank deserves some credit for doing a clever job of playing with the found footage genre as well as staying within its parameters.

Beetlejuice 2 is a Bad Idea

2012-02-12T10:38:00.000-08:00

News has been circling since last September that Warner Brothers and Tim Burton had given screenwriter Seth Grahame-Smith the okay to tinker around with some ideas for a potential "Bettlejuice" sequel. It now seems that Seth Grahame-Smith is moving forward with Burton's blessing because he's told Ryan Turek of Shock Till You Drop that he's met with Michael Keaton to talk how to approach a sequel to the beloved 80's film. While Keaton's name conjures up some good feelings about the original, a sequel is a bad idea.

Last month I wrote a piece questioning Burton's abilities to give us something original again and this recent news is just another card to stack in the deck showing Burton has nothing new left in him. All he wants to do is continue drumming around with stuff he's already touched or putting his spin on something he's always loved. He's become a studios dream, a cog in the machine.

Name recognition is everything with studios these days and Grahame-Smith assured Ryan Turek that Warner Brothers wants to make "Bettlejuice 2" a priority. Of course they do, anything that people can wax nostalgically about is good for the studios. I'm sure a majority of Beetlejuice fans are salivating at the prospect of another story following the deviant bio-exorcist named Betelgeuse but we'd be better off just reminiscing about the good old days because chances of a good to even decent sequel are slim to none.

The one shred of credit I give to this potential sequel is Michael Keaton's commitment. Keaton is always a joy to watch on screen and you know he truly wants to get back into the black and white striped suit. Even I can admit that the idea of Keaton playing Betelgeuse again is enticing but it is a false hope. The chances that this team can bring back to life the magic Beetlejuice maintains to this day are very low. Like basement level low, no scratch that, like Earth's inner core level low. Think about it, Tim Burton's track record of late is nothing to boast about unless you are looking solely at overall branding and revenue he's made for Disney, WB, and himself. And I'm sorry but Seth Grahame-Smith has no track record to get genuinely excited about either. His novel Abraham Lincoln Vampire Hunter was mildly enjoyable for what it is, but to live up to twenty plus years of enjoyment is some ginormous boots to fill. I mean Beetlejuice is in the conversation when you talk about Burton's best work and there is no reason to try rekindling that fire. It is only going to end up a disappointment for all of us (well except for the pocketbooks of Warner Brothers executives).

One final reason why "Beetlejuice 2" should not happen, the last time Tim Burton continued to tool around in the underworld, we got an animated series. While I hope this potential sequel wouldn't be as awful as the Beetlejuice animated series, I don't expect it to be much better. On the bright side Seth Grahame-Smith revealed that this project is still very early on, with numerous other projects ahead of it, so it has plenty of chances to derail and or fall apart.

Source: Shock Till You Drop

Superhero Stakes High in 2012

2012-02-07T22:32:00.000-08:00

Last summer we saw a bit of a dip in ticket sales for superhero movies at the box office. Whether you want to blame the economy or the characters themselves, audiences didn't flock out to see X-Men: First Class or Captain America quite the way they have previously for Batman, Spider-Man, and more recently Iron Man. This summer has some of comic book's biggest stars hitting the screen and I wonder how receptive general audiences will be. Are this year's superhero movies going to rival last year's numbers or are these superstar superheroes going to bring in the big tickets sales once again?

A big part of me wonders if the market is becoming over saturated with comic book movies. The last four to five years we have seen comic book movie after comic book movie release. Some have been heavy-hitting, A-list books that have millions of fans generating top proceeds at the box office, while most have been lesser known books that have a small demographic studios banked would show up.

Last year seemed like a very strong year for comic book character films yet the results all came in as if the films were just second-tier superheroes (in some cases they were). Captain America is an A-list comic book character yet you couldn't tell by its opening weekend numbers. "Captain America: The First Avenger" made practically identically the same amount as "Thor." Captain America is far more name recognizable than Thor, but wouldn't know it by looking at the box office. Other A-list characters like Spider-Man or Batman have generated close to double the numbers Captain America and Thor did, but why? Is it solely popularity?

If popularity is the answer, how do you account for Iron Man's box office success? Iron Man is not anywhere near the superstar Spider-Man, Wolverine, or Batman are, yet when the first "Iron Man" released in 2008, it nearly doubled the amount "Batman Begins" took its opening weekend. Perhaps movie goers were just really itching for a new superhero to get excited about and you have to factor Bat-fan exhaustion from previous Schumacher films into the soft opening for 'Begins.' Fans were rightfully weary that a reboot would end up just as bad as the last attempts. The same can be said about "X-Men: First Class" after 'Wolverine,' X-Men fans had a right to be furious and most of them stayed home exercising that right giving 'First Class' the lowest opening of an X-Men film since the original Bryan Singer directed film.

This brings me to summer 2012 and all of the tent pole superhero films releasing. Sony has the "untold" version of Spider-Man swinging into theaters and they could be facing the very same trend 'Batman Begins' saw back in 2005 and 'First Class' saw last year. Are general audiences ready for a new spin on Spider-Man only five years after the last awful installment? Sony recently had a sneak-peek event showcasing a few scenes from the new version directed by Marc Webb, dubbed "The Amazing Spider-Man." Word of mouth following the event was positive, but will that carry over into box office success is a whole other question. Sony is hoping that name recognition and promotions for this so-called "untold story" of Peter Parker will bring back the majority of audiences that gave the previous movies box office openings other studios only reached with sequels. In short, Sony hopes you are willing to give your friendly neighborhood Spider-Man another shot.

It will be interesting to see how things play out this summer. Perhaps we will see audiences back out in droves ready to watch the biggest superheroes in action once more or perhaps we will see something similar to last year. "The Dark Knight Rises" is clearly set up to break records again and I assume it will being the final piece to director Christopher Nolan's trilogy but what about "The Avengers" and "The Amazing Spider-Man"? Can we expect they will also hit a $100+ million opening weekend or will they settle somewhere in the $50 to $70 million dollar range? Marvel Studios and Disney certainly hope audiences will come out for the team-up they've been building towards for the last four years but if 'Avengers' only pulls in audiences like Captain America, Incredible Hulk, and/or Thor did, this massive team-up they've worked towards may end up a dud. Marvel is invested in building their brand and they are no where near done with the desire to continue making superhero movies, however the question remains, will audiences continue to want to see them.

Below I've included the latest trailers for "The Amazing Spider-Man" and "The Avengers" both of which do a damn fine job of selling the merchandise each particular studio is peddling this summer.

Finally, all of this is just fun speculation on my part and something I will continue to track. Box office results aren't what make a quality movie by any means, but I do find it engaging to track general audiences and their constantly shifting interests.

Teaser Trailer - Step Up 4

2012-01-30T11:30:00.000-08:00

Maybe you'd call it a guilty pleasure but I have no shame in the fact that I thoroughly enjoy the 'Step Up' films. They remind me how much I enjoy watching amazing dancers strut their stuff. Much like the 'Fast and the Furious' films, the Step Up movies grab a niche and have done a thrilling job showing off the various forms of dance. Today our first look at where the fourth film in the series "Step Up 4" is set and just what we can expect hit the net. Take a look at the announcement for yourself below.

Can't help but think of the LMFAO song, "We're in Miami" after watching this trailer. After seeing our fair share of New York, the Step Up films take a trip down to Miami and look to show us a peek into the world of Flash Mob dancing. The romantic arc is to be expected and I'm sure will evoke plenty of eye-rolls and chuckles, but the music, moves, and dancing in this teaser got my blood boiling and excitement building for "Step Up 4" to release this summer on July 27th.

Source: Youtube

Trailer - Gob Bless America

2012-01-30T11:00:00.000-08:00

I've been a fan of Bobcat Goldthwait since his stand-up days but his recent effort behind the camera has really made me take notice of what he has to say. His latest focuses on Frank, a terminally ill man who is disgusted with our society and begins a killing spree aimed on who he deems sickening. "God Bless America" is number ten on my most anticipated for 2012 and having now seen this trailer, that ten should be listed in uppercase bold because it looks like Bobcat has another solid movie on his hands. Check out the Red Band Trailer below.

Goldthwait is clearly touching on a number of levels of disgust with American society. This is a theme that filmmakers have been touching in various levels as of late. Two fresh examples are "We Need to Talk About Kevin" and "Carnage" both of which look at parenting in America. There are plenty of other examples that take aim on other various aspects in our society that people just seem to try and ignore instead of confronting it. "God Bless America" looks to not just confront these issues but blow their heads off. At the end of the trailer we hear Frank explain his actions by saying, "I only want to kill people who deserve to die. I know it is not normal to want to kill, but I am no longer normal." Goldthwait definitely looks to pour on the violence but the message behind all the killing is good. This is like Oliver Stone's "Natural Born Killers" with a real message. A message that asks, "Why have a civilization if we are no longer interested in being civilized?"

"God Bless America" hits VOD April 6th and will have a limited theatrical run beginning May 11th.

Source: Hulu

The "Untold" Spider-Man?

2012-01-29T17:22:00.000-08:00

We've known for some time that Sony decided to remake / reboot Spider-Man but now it seems time Sony starts to rev up interest. Let's face it, the last swing around New York City with Spidey wasn't very well received by fans despite making plenty of money at the box office for the studio. Instead of continuing that story arc, Sony's decided to start over with "(500) Days of Summer" director Marc Webb behind the camera and fairly fresh faced Andrew Garfield as our new friendly neighborhood Spider-Man. Question is, how interested are people going to be in seeing a new moodier spin on something they've already seen? Sony seems to be well aware of that and has begun peddling an advertising onslaught that will explain exactly why "The Amazing Spider-Man" will be so much different. They are calling it "The Untold Story." See for yourself below.

Earlier this month in Japan a press conference was held on the upcoming Sony release swinging into theaters around the globe this summer. From the Japanese press conference followed our first official synopsis from Sony:

"The Amazing Spider-Man" is the story of Peter Parker (Andrew Garfield), an outcast high schooler who was abandoned by his parents as a boy, leaving him to be raised by his Uncle Ben (Martin Sheen) and Aunt May (Sally Field). Like most teenagers, Peter is trying to figure out who he is and how he got to be the person he is today. Peter is also finding his way with his first high school crush, Gwen Stacy (Emma Stone), and together, they struggle with love, commitment, and secrets. As Peter discovers a mysterious briefcase that belonged to his father, he begins a quest to understand his parents' disappearance – leading him directly to Oscorp and the lab of Dr. Curt Connors (Rhys Ifans), his father's former partner. As Spider-Man is set on a collision course with Connors' alter-ego, The Lizard, Peter will make life-altering choices to use his powers and shape his destiny to become a hero.

Sorry, but that doesn't really sound like the "untold story" of Spider-Man. What that sounds like is another spin on Peter Parker and his past. Granted Sony is going out of their way to point out that we will get new backstory on Peter's parents, but that story seems pointless. Aunt May and Uncle Ben have always been the driving parental force in Parker's life, lurking around in why Peter's parents left him could end up just as a big of a waste of time as learning why Darth Vader turned to the dark side of the force (Well, let's hope its not that extreme).

The one new thing that this reboot does guarantee is a look at is the Lizard, but even this point has a bit of a sting. Sam Raimi's 'Spider-Man' films featured Dr. Curt Conners and seemed to be building towards an eventual showdown between the two that I always wanted to see. Now we have a whole new arc of Conners to decipher where we find out he was a partner with Peter's dad. It doesn't take a rocket scientist to figure out whatever backstory Peter discovers between his father and Dr. Curt Conners, it will fuel the fight between the Lizard and Spider-Man.

Reading this, you've probably gathered that I am not all that sold on this new spin on Spider-Man, and it seems that I'm not the only one. Sony recently unveiled a plan to screen scenes from "The Amazing Spider-Man" in select theaters around the world on February 6th to generate word of mouth and interest. Perhaps the studio is worried how well this darker, moodier, spin on Spider-Man will actually do? Are they second guessing the decision to reboot so quickly? As for the event, you can check The Untold Story Begins to see where the screenings are being held (and if any passes are still available). Most are outside of the United States. Sony has oddly only scheduled screenings in New York and Los Angeles within the U.S. and it appears that those screenings are already completely full. Perhaps Sony is really nervous about their overseas markets?

I'm pulling for this film. I want it to be great. I am a big fan of Andrew Garfield and liked Marc Webb's direction with '(500) Days' but something just hasn't grabbed me with this reboot of Spider-Man. This new marketing strategy doesn't help either. If Sony really wanted to generate a lot of interest, maybe they should take a note from Warner Brothers' book and attach a select scene ahead of another one of their films like "The Dark Knight Rises" was attached to the latest 'Mission: Impossible'. They only have TWO theaters in the U.S. showing these scene screenings which isn't much. Their are plenty of fans out across America who may not want "the untold story" and still feel the sting from 'Spider-Man 3'. Sony has "Ghost Rider: Spirit of Vengeance" releasing in February and they could easily place a select scene from "The Amazing Spider-Man" ahead of 'Rider' to help pull audiences in to both see the new 'Ghost Rider' and simultaneously generate buzz for 'Spider-Man'. The decision almost seems to obviously. Will Sony do is yet to be seen and at this point seems unlikely.

Source: AICN | Coming Soon

Review - The Grey

2012-01-25T15:41:00.000-08:00

After a plane crash strands an oil drilling team in the middle of the Alaskan wilderness, the group must try to survive against not only the freezing temperatures and harsh elements, but a pack of wolves whose hunting territory they've invaded.

"The Grey" is not the movie I expected, it is better. Going in I thought the audience was simply getting Liam Neeson fighting wolves. A survival action with Neeson taking down some Alaskan wolf pack one by bloody one. I pictured director Joe Carnahan behind the camera revving up the action and going for the throat with edge of your seat thrills for ninety plus minutes. By every stretch of the imagination, I was absolutely content paying to see exactly that, but director Joe Carnahan wanted to make something that digs a little bit deeper than just your typical survival action. He wanted to peer into our psyche, our passions, our memories, our resolve, and our determinations. Director Joe Carnahan definitely went for the throat with thrills and action throughout "The Grey" but he also goes for the heart with patient characterization and tragically raw human emotions.

As you'd expect, Liam Neeson is riveting to watch. Neeson is one of those actors that has always carried himself in such a manner that you are automatically drawn to him, and here is no different. When he speaks, you are at attention and when he says to do something, you do it. Neeson's character Ottway, easily gravitates as the person to follow after the crash landing for the group of survivors. They latch on to his survival skills and from an audiences perspective, there's no questioning their decisions because of Neeson's persona, which seems to continually drip natural born leader and a bona fide badass. Ottway doesn't just lead in the way of survival tactics either, he models behavior the other survivors (and audience) admires and connects with. One prime example of this comes in the second act while the group are huddled around a fire and Ottway expresses his fear of survival. Neeson has you hanging on every word during this dire monologue and you feel the depth of Ottway's emotions as Neeson puts them out there for all to hear. Lastly, it was a nice touch to have Neeson speaking in his native accent. It is just another piece to the puzzle that makes Neeson such a distinguishable actor.

There is an unexpected patience Joe Carnahan displayed in "The Grey" that ended up propelling this movie from being a good action to an all around great film. One big reason is the amount of attention spent on characterization of the survivors. Carnahan's script allowed for each and every survivor to have something that the audience could connect with. These are real human characters on screen that are facing an extremely dangerous environment and dying. They are coping with tremendous fear and "The Grey" boldly slows down and allows for authentic moments and feelings to come out on screen. Carnahan also gives each of the survivors fitting deaths, he takes us through their pain and suffering before the release. He builds a bit of discomfort and uncertainty within the audience and balances it with stunning moments of serenity.

Let's talk about the wolves for a moment, actually wait, allow me to stop and applaud Joe Carnahan for not just making totally cgi wolves. Too many movies have actors running from a tennis ball on a stick imagining it will be a monster or wolf in the finished product, but here Carnahan went out of his way to make sure they utilized something that looked real. Something the actors could work with and see on set. The result is apparent on screen and there is a nice balance of real wolves, animatronics, and cgi enhancements that combined to make the wolves incredibly ferocious and undeniably frightening. One sequence I found absolutely chilling doesn't even feature physical wolves that the audience can see, but instead only their breath as they howl into the black Alaskan night. The suspense of the wolves throughout "The Grey" is without error. Any notion that a member of the pack is near is matched with instant tension that is palpable just as if the audience was watching a slasher horror film. From the growling, snarling, and/or howling to the panting breath as the pack would chase closer, each moment with a wolf on screen is met with white knuckle panic.

The wolves aren't the only thrills director Joe Carnahan provides either. Much of the sequences of the group battling the elements are equally thrilling. Seeing as the snow builds up on men's faces, as they sink deeper and deeper with each step forward, or as they struggle to maintain the fire against the seventy mile an hour winds. The endurance and resolve these characters/actors exhibit is both compelling and vivid. These men are facing their fears in the Alaskan wilderness and Carnahan along with cinematographer Masanobu Takayanagi really put the audience in the perspective of the characters. This tactic is used most of the time with the attack sequences but also in a few scenes where the survivors face their fears. One fear in particular being heights and the first person point of view Takayanagi uses with his camera takes the audience right over the edge into a truly daunting experience. Some attention must also be payed to the intimidating crash sequence. Much of the crash focuses on Neeson's character Ottway, as the plane goes down. I loved the balance Carnahan again displayed throughout this sequence. Half unnerving, half soothing and the result of those two halves is totally spine-chilling.

"The Grey" is a tremendous start to 2012. It is a survival horror and a drama that will stand the testament of time. It houses rich characters and heavy hitting thrills that you will want to experience again and again. Ultimately it is a film that will leave you thinking and talking about it, but also telling friends to see it immediately.