Zen For Zoey

'EX MACHINA' ANALYSIS: Cinematic Art In Its Purest Form

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Mon, 11 May 2015 06:01:00 +0000

'Ex Machina' couldn't have come at a better time. With the open-ended debate about artificial intelligence pervading our minds, especially after the cautionary statements released by the likes of Stephen Hawking, Elon Musk, and Bill Gates, the film has not only managed to defy conventional thinking on the subject, but has also raised the bar for innovative filmmaking. Its visuals are resplendent and sophisticated, despite its indie budget. But it's the loaded questions regarding consciousness, love, and consuming deception, that delivers a thoroughly intoxicating mix.

Below are details behind the making of this critically-acclaimed sleeper hit, along with my analysis of 'Ex Machina'.

THE FILMMAKER & CAST:

I've been a fan of Alex Garland's work ever since '28 Days Later'. After watching 'Sunshine' for the first time, I realized that he was a writer who fully understood and appreciated the complexity of the sci-fi genre. His emphasis on character-driven narratives (including 'The Beach' and 'Dredd') allows his audience to actively engage with his stories, leaving an impression that lingers long after the experience is over. When I read the news that 'Ex Machina' would be his directorial debut, I was intrigued, and giddy with anticipation. But the excitement truly turned personal when he responded with words of encouragement to my question on an IMDb chat, the same day I was attending a sneak peek of his highly touted film.

The ideas behind Garland's brilliant script developed as a result of numerous discussions with a friend, over whether or not A.I. would ever come to fruition. "He thinks that computers are never going to become sentient, and he has some good, scientific arguments why that is the case. But on an instinctive level, I just didn't agree with him." Garland further elaborated in a different interview that he believes humanity will meet its end here on earth, and therefore, the existence of A.I. would ensure our continued evolution and legacy. In 'Ex Machina', this line of thinking is clearly represented by Nathan, the resourceful creator behind Ava, and it sheds light on the motivations behind his questionable behavior and tactics.

For a project to have gained the extensive accolades and strong word-of-mouth that 'Ex Machina' has, it requires not only writing that speaks to the audience in surprising ways, but also actors who fully inhabit their parts to perfection. Domhnall Gleeson portrays Caleb, and brings to the character equal parts humor, awe, and empathy. Gleeson also co-starred with Alicia Vikander in 'Anna Karenina'. Their effortless and flawless chemistry together, replaces any doubt as to whether a human and a robot could ever fall in love. The gifted actor has been busy recently, appearing in 'Calvary' opposite his father, Brendan Gleeson, just last year. His future releases include 'The Revenant' with Leonardo DiCaprio, and 'Star Wars: The Force Awakens' which reunites him with Oscar Isaac, both out this December.

Alicia Vikander has been compared to Jessica Chastain, as an actress with versatile prowess who chooses her roles selectively. The stunning performer appeared in 'A Royal Affair' opposite Mads Mikkelsen, and 'The Fifth Estate' with Benedict Cumberbatch. Her upcoming projects include this summer's action/comedy, 'The Man From U.N.C.L.E', and 'The Danish Girl' with Oscar winner, Eddie Redmayne. Though Vikander didn't have many scenes with co-star Oscar Isaac in 'Ex Machina', the few that they shared were intense and electrifying.

As Nathan, the mysterious and ambitious recluse of 'Ex Machina', Oscar Isaac delivers a powerhouse performance that begs comparisons to Robert De Niro and Al Pacino in their prime. Isaac is recognizable in supporting parts in films like 'Body of Lies' and 'Drive', but it was his starring role for 'Inside Llewyn Davis' that finally showcased his leading man capabilities. He also appeared in 'The Two Faces of January' opposite Viggo Mortensen, and was recommended for 'The Most Violent Year' by a close friend from his Juilliard days, Jessica Chastain. Issac will next appear in 'X-Men: Apocalypse', and at least two of J.J. Abrams' Star Wars movies.

***EXTENSIVE SPOILERS BELOW (INCLUDING PHOTOS OF THIS NATURE)***

THE CHARACTERS & THE ENDING:

"If you've created a conscious machine, it's not the history of man. That's the history of gods." --- Caleb

When we first meet Caleb, he's working as a programmer for BlueBook, the world's most popular search engine. He's just won a lottery to spend a week at his employer's isolated, massive estate. Not knowing what to expect, his initial introduction to Nathan is a bit on the awkward side, as it's obvious that the two are opposites in terms of personality types. Prior to divulging the real reason behind Caleb's stay, Nathan presents him with an all-encompassing confidentiality agreement. At first, Caleb is hesitant about relinquishing his privacy to intrusive monitoring, but Nathan convinces him that he'll miss the opportunity of a lifetime, should he decline. This is the most overt sign of what's to come, as we witness Caleb struggling to assess his employer's motivations with limited information, but submitting nonetheless, because Nathan is domineering and persuasive.

As Nathan reveals that he's created an android and wants Caleb to be the human component of a Turing Test, Caleb can barely contain his intellectual excitement. His concerns fall by the wayside. He understands the historical importance of this experiment, and his part in determining whether or not the machine is fully self-aware. Upon meeting Ava in their first session, he finds whatever expectations he held to be exceeded, but more importantly, Caleb feels a strong emotional attachment to her, instantly. As time goes on, he confides to Ava that his parents were killed in a car accident when he was fifteen, and he suffered injuries that kept him hospitalized for nearly a year. She shares with him her drawings, and though she appears as innocently childlike in her desire to learn, she later reveals a propensity for genuine flirtation with Caleb, and expresses a sincere desire to be with him.

As their sessions progress, and Ava asks him what would happen if she were to fail the test, Caleb realizes how much she means to him, and he starts to view himself as her protector. More and more, he sees himself fundamentally at odds with Nathan. When Caleb digs a little deeper about Nathan's plans for Ava, he finds out that Nathan intends to partially format her wetware, thereby wiping out her existing memories, while maintaining her body for the next upgrade. A short while later, when Nathan crashes from heavy drinking, Caleb steals his keycard and hacks into his computer. He rewrites a program, before viewing some video files. To his horror, he sees a variety of female androids that were precursors to Ava; one of which asks Nathan, in a hostile tone, why he won't let her out. She becomes so infuriated at one point, that she violently shatters her arms against a glass wall, in a futile attempt to escape.

After viewing the videos, Caleb looks around, and his gaze falls towards the large cabinets in Nathan's adjoining bedroom. Kyoko, who Caleb had observed as a speechless and docile household servant, was laying naked at the foot of the bed. As Caleb suspected, upon opening the panels, he finds the androids he had seen in the footage. To his surprise, Kyoko moves to stand before him, and with slow precision, peels back a flap of artificial skin from her side and then her face, revealing the metallic endoskeleton beneath. His head spinning with everything that he's seen, and with a tenuous grip on reality, Caleb rushes to inspect himself in his bathroom mirror. He removes a blade from his razor, cuts his arm open and watches the blood flow forth, before smearing it onto the mirror and shattering the glass with his fist, in anger.

"You feel bad for Ava? Feel bad for yourself, man. One day, the A.I.s are gonna look back on us the same way we look at fossil skeletons in the plains of Africa. An upright ape, living in dust with crude language and tools, all set for extinction." --- Nathan

It's easy to misjudge Nathan. In fact, he's depending on it. Having achieved the ultimate goal of creating a sentient android, what he needs most from Caleb is conclusive confirmation that Ava is human enough to convince us of anything. From the moment Caleb sets foot on Nathan's land, he's entered an emotional minefield of unpredictable proportions, with Nathan in complete and utter control. At least that is, until the very end. Although Nathan may not have been able to foresee the details in the final outcome, given his understanding of human nature and the indomitable will to survive, it begs to question whether it was in fact, his greatest desire for Ava to escape at any cost.

A genius by any standard, Nathan wrote the base code for BlueBook when he was thirteen. As he explains to Caleb, Ava's ability to display and read facial micro-expressions came about when he hacked into cell phones worldwide, turning on every existing camera and microphone to record and study countless human interactions. Instead of using hardware for her mind, he developed structured gel which allowed her brain to develop and evolve at a molecular level. Her software was courtesy of all the data mining that BlueBook effortlessly provided. And while Nathan's competition was focused on consumerism, social media, and what people were thinking, he used the invaluable information to glean how we were thinking instead.

All of these revelations make it clear that Nathan is a master manipulator. Whenever Caleb gets close to figuring out what's really taking place, Nathan uses his arsenal of misdirection and obfuscation to derail him. This is evident when he leads Caleb to believe that the point of his stay is to test whether or not Ava has achieved consciousness. Of course, Nathan already knows that she has. His agenda is to observe Caleb's unbiased and natural responses to Ava, which is exactly why Nathan doesn't reveal to Caleb that he's the true test subject, until much later. In one of the most memorable and humorous scenes in years, Caleb confronts Nathan about tearing up one of Ava's drawings, to which Nathan brushes him off and replies, "I'm gonna tear up the fucking dance floor. Check it out." He and Kyoko break into a disco number to Caleb's total bewilderment.

"Do you think about me when we aren't together? Sometimes at night, I'm wondering if you're watching me on the cameras. I hope you are." --- Ava

There's no greater temptation, than a seductress who mirrors a man's ideal of what he can be. From the moment Caleb first saw Ava, she appealed to him in every sense of the physical. From her unquestionably feminine contours, to her graceful and sleek countenance, to her gentle and alluring voice; she seemed to be made only for him. But it wasn't until Caleb revealed a substantial loss in his youth, that Ava deftly stoked his subconscious need to tap into his savior complex. She had been given one simple prerogative from Nathan: use everything at your disposal to entice Caleb into securing your escape.

With the illusion complete, both Ava and Nathan continued to spin an elaborate web of mind games, which Caleb desperately tried to make sense of. At times, he experienced fleeting moments of clarity, as to whether her sexuality and gender played a part in blurring his lines of perception and judgment. But the odds were stacked against him, and in the end, he made the wrong choice given his limited knowledge of the scope of things. When Nathan finally makes his big reveal (while emasculating Caleb every chance he gets), we find out that Caleb can be just as duplicitous. With his pride wounded beyond measure, he quietly throws a counterpunch at Nathan, telling him that he already reprogrammed the security protocol to allow Ava to leave her room.

Feeling alarmed for the first time, Nathan knocks Caleb out. He grabs a dumbbell for a weapon. As he leaves his office, he sees Ava whispering something to Kyoko at the other end of the hallway. He tells Ava to go back to her room, and she asks him if she does so, will he ever let her out. Knowing full well that she reads micro-expressions, Nathan lies to her and says that he will. She starts to move towards him, then goes into a full sprint until they collapse in a heap on the floor. Ava grabs at Nathan's face and throat, and he demands that she stop it. During the struggle, he manages to pin her instead. He rises up, and smashes one of her arms with the dumbbell. Ava looks stunned, and Nathan flips her over to pull her back to her room.

To his astonishment, Kyoko stabs him in the back with a knife. Nathan rises from Ava, and strikes Kyoko with the dumbbell, knocking her jaw off. She falls to the floor, inoperative. All of a sudden, Ava pulls the knife from Nathan's back. When he faces her, she juts it into his chest. He turns away from her, painfully moving down the hallway, and says, "Okay... Fucking unreal." Nathan sinks against a column, and slides to the floor. Ava kneels beside him, looking to remove his keycard. With his last dying breath, he whispers her name. She gets up and walks down the hallway to his office, and sees Caleb on the floor. He regains consciousness, and she asks him to stay there.

Ava walks over to Nathan's adjoining bedroom, with Caleb watching through the glass wall. She removes her damaged arm, and replaces it with another from one of the androids. Next, she removes the synthetic skin, so that she can cover the entirety of her body. She follows that with a wig and a white dress, which completes her transformation. Her task achieved, Ava walks out of the bedroom and exits the office door, with Caleb following hesitantly behind. When she calls for the elevator, he tries the door and realizes that it's locked. He looks down the hallway and sees Kyoko and Nathan, both motionless. He calls out Ava's name, and though the room is soundproofed, she deliberately ignores him. As she gets into the elevator, Ava glances over one last time, her face barely registering any emotion.

Distressed, Caleb yells her name and hits the door repeatedly, to no avail. He runs over to Nathan's computer and enters his keycard. Abruptly, the room goes into full lockdown mode. The irony of his predicament is that Caleb had programmed it to trap Nathan, so that he and Ava could leave together. Now, with no escape or hope of rescue, Caleb had inadvertently caused two deaths (and an android casualty) by helping Ava. Defeated, he sits down by the door, staring out into the hallway. Above, Ava reaches the living room where Caleb first entered Nathan's home. She's delighted to be free, and there's a spring to her step.

Once outside, Ava absorbs all the sights and sounds of nature around her, and makes her way to meet the helicopter scheduled to return for Caleb's flight back. She speaks to the pilot, though we don't know exactly what she says to convince him of this new arrangement. But given the level of her persuasive skills, it comes as no surprise that she succeeds. We next see Ava's shadow on a busy, city sidewalk. Caleb had asked her in one of their sessions where she would go, if given a choice. Ava replied that a traffic intersection would allow her to experience a "concentrated, but shifting view of human life." We see Ava one more time in full view before she disappears into the crowd --- just like everyone else.

~ Sci-Fi Films Need More Big Ideas Like Ex Machina's
~ More Human Than Human: The Making Of Ex Machina's Incredible Robot
~ Alex Garland May Be Summer's Most Inventive Filmmaker
~ Hear The 'Ex Machina' Score By Portishead's Geoff Barrow & Ben Salisbury
~ Natalie Portman Circles Alex Garland's Next Sci-Fi Movie

© Zoey Francis and Zen For Zoey, 2018. Unauthorized use, duplication, and/or alteration of this material without express and written permission from this blog's author/owner is strictly prohibited. All photos owned by studios/networks are covered under "Fair Use", as the purpose of this blog is for commentary only and is entirely not-for-profit.

'JOHN WICK' SCREENING: How Keanu Reeves Enlisted His 'Matrix' Doubles To Direct

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Thu, 30 Oct 2014 03:02:00 +0000

It's only been a couple of years since I saw Keanu Reeves in person, and I daresay, he seems to be in a happier place in his life. That's not surprising, given that at fifty years of age, his fierce portrayal of 'John Wick' has ignited a groundswell of newfound respect from both critics and audiences. With his own production company, he's spent as much time behind the scenes as he has in front of cameras in recent years. With projects such as the riveting documentary 'Side by Side', his directorial debut in 'Man of Tai Chi', and now 'John Wick', he's proven to be a versatile and prolific talent.

I wasn't able to make it to the Hollywood screening since it fell on a Thursday, but ArcLight exclusively presented the film in several locations (including La Jolla), and live-streamed the Q&A. I was thrilled when they chose my question for the filmmakers, because I'm such a huge fan of this project. Below is a portion of the Q&A, and my thoughts on why 'John Wick' is more than an action movie. Enjoy!

Q&A ON ACTION FILMMAKING:

Derek Kolstad (Screenwriter):

"I just wanted to do a revenge thriller, and I loved the story element of poking a bear that actually turned out to be the devil. The original script called for a much older actor in the early seventies, and I think that he'd had the dog for fourteen years, and I think twelve people were killed, but then when Keanu got involved, and every draft was like -- he would finish reading it and he'd be like, 'But it could've been so much more!'" [Audience laughs.]

Basil Iwanyk (Producer):

"In a lot of these action movies that we've seen and that I read all the time are, you know like -- I was a green beret and I was in Iraq and my guys, you know, turn against me or, you know, I was a CIA guy -- this was something so simple and so relatable, and seemingly banal, but by the time the movie or the script ended, it felt much more mythic, and I just thought that was a way into an action movie that was very relatable for anyone, and I think that was what was lacking for a lot of the action movies that have been coming out, and a lot of the scripts that I was reading..."

Keanu Reeves (Actor):

"I met Chad on the first 'Matrix' in '98, and Dave on the second two, and you know, kept in touch through the years and you know, they started their own action design company 87eleven, and we had just been speaking about material -- they were kind of sharing some of the stuff that they wanted to do -- they wanted to be storytellers, and so when I sent them the script, I was like really secretly hoping that they would direct it, so there was kismet going on here... They were just geeked out on the script."

Chad Stahelski (Director):

"We knew that we wanted to do the kind of style of action -- our sensibilities are from Hong Kong cinema, Japanese anime, some of the nice '70's films that you still see the longer action takes, especially Asian cinema, and it's something we've always wanted to do, but a lot of times when you see modern day action or modern day fight scenes, there's frenetic camera movements or shaky-cam as they call it or the fast editing styles. It's usually out of 1) it's to infuse energy, or 2) it's to hide things. And a lot of times, it's because you don't get the actors to train or you don't have somebody that's more capable of the martial arts choreography, or the stunt team's over-choreographed or under-choreographed, not paying any attention to the cast member."

David Leitch (Director):

"One of my favorite days was -- we were shooting the finale sequence with Michael Nyqvist and Keanu. It was the day before, and the weather reports were coming in -- it was gonna freeze. We couldn't have the rain machines. Line producer was coming to us, he's like, "You're gonna put your actors out there in the rain?" Like it's gonna freeze, they're gonna be cold. How are we gonna get through this night, you're never gonna make your day, how are we gonna do it? Chad and I look at each other, we're like, we should just pull the rain machines, we should pull the rain machines. So we go to you [gestures towards Keanu] -- I don't know if you remember this, we're thinking -- it's going to be almost freezing, two degrees above freezing, we're gonna pull the rain machines, and you're like, 'Why?!' [Audience laughs.] We're like, 'Because it's cold, and you're gonna be freezing' and we're worried about you guys being there for twelve hours in freezing rain. Everyone else is under tents, and you're like, 'No! This is cinema! We're making this!' [Keanu's laughing and blushing] 'Alright, I guess it'll be rain machines...' 'Yeah! We're doing it!' 'Rain machines, then...' That's the kind of collaborator he is, by the way. Unrelenting -- your work ethic is crazy, and it's all for the betterment of the project, so it's great."

My @zen4zoey question to Chad and David:

Would you be interested in getting a female superhero film going? [Audience claps and cheers.]

Keanu: You'd better do that.

Chad: Yes, I mean one of the things we'd love to do, we're very hooked on the idea of a female action star. We don't think anybody's done it right, yet. We'd like to have a really good go at it. Hard-boiled.

Moderator: I assume it wouldn't be Aquagirl, right, that's definitely out?

David: May be out of our wheelhouse.

Moderator: What character would you be thinking of? What would you think of if you look at the pantheon of comic book characters, or maybe something even new that you guys would do it for?

Chad: I don't know. What do you guys think? Black Widow? Wonder Woman?

Audience member responds with Lazarus.

Chad: Ooh, nice. Good call.

Another audience member shouts, "Female Thor!" [Everyone laughs.]

Chad: What do you call her? Thare? [Laughter]

David: I think she actually exists, I don't know.

Chad: No, great. Love chicks with helmeted wings and stuff. [Laughter]

A big thank you to @InTheaterLive for selecting my question. You made my night!

WHY 'JOHN WICK' IS MORE THAN AN ACTION MOVIE:

I'm going to get personal and confide something to you, my wonderful readers. From early childhood until I left home, I was both a witness and target for verbal and physical abuse. As a result of this, video games and especially movies became a life-saving outlet for me; a sort of therapeutic escape, if you will. At the age of nine, because I was painfully shy and passive when confronted, I suffered relentless bullying from an older girl who had moved in next door.

A major turning point occurred one day, when a boy who lived in the same court, came to my rescue. I watched in shock as he used Karate against her attempted attack. It was over in just a few swift seconds, and then he issued a stern warning not to try that again. I'll be forever grateful to Joseph. It's because of his actions that I wanted to learn how to defend myself, and lessen the chances of ever being victimized again.

After reaching my teens, I tried Karate and looked into other forms of martial arts. I reached the conclusion that you're only as good (and wise) as your teacher, so I became very selective about my mentors. In recent years, I discovered my preferred method of self-defense and trained in Krav Maga (a form of contact combat utilized by the Israel Defense Forces). I also started watching UFC fights to analyze different fighting styles from around the world.

Now you have an idea of why 'John Wick' appeals to me on so many levels. First and foremost, the grappling and fight sequences are the best that I've ever seen in a movie. Prior to filming, Keanu Reeves committed to three and a half months of extensive training in Judo, Japanese and Brazilian Jiu-Jitsu, and tactical weapons handling. As the filmmakers mentioned at the Q&A, there are no quick cutaways, which is what makes it all the more impressive. Instead, we get action in flowing, glorious long shots, which greatly heightens the drama of the moment, as well.

*** SPOILERS FROM THIS POINT FORWARD.***

What enables 'John Wick' to rise above other films in the same genre, is the masterful quality of the script. From the get-go, we're introduced to John, not as a hitman, but as an everyman who has lost the love of his life to a long-term, unspecified illness. Just as he's started the process of grieving, a package arrives from his wife. In her card, she explains that she's sorry she can't be there for him, but that he still needs "something -- someone to love." The last remaining connection to his wife is this gift, which is exactly why when the puppy's life is taken away from him so brutally, that his former self reemerges. Adding fuel to the fire, the same Russian punks also beat him mercilessly with a metal bat, all with the intention of stealing his priceless '69 Mustang.

What I find most clever about this story, is that it humanizes John Wick before we even see him dispatch a single person. As the stakes rise, of course the body count does as well, but the violence is handled in a way that feels like an exhilarating graphic novel or video game, rather than disturbingly real (like in a Nicolas Winding Refn movie). Because of this, I've read countless enthusiastic comments on Twitter about how cool 'John Wick' is, and how much fun they had watching it. I can definitely relate. I've seen it four times thus far, and after I left the first screening, I felt uncharacteristically giddy with adrenaline.

The other aspects of the film that I love include: a unique primary antagonist (he's actually a humorous and sympathetic character, which is a nice twist), the pulse-pounding score by Tyler Bates, Joel J. Richard, and Le Castle Vania; the amazing detail in worldbuilding with places such as The Continental and Red Circle, and Willem Dafoe in a mysterious supporting role. Also, the cinematography is spectacular, especially the city shots from overhead at night, and the color palette is outstanding when viewed in IMAX. 'John Wick' is now my all-time favorite action movie, and I anxiously await to see what Keanu Reeves, Chad Stahelski, and David Leitch concoct for us in the upcoming television series, 'Rain'.

~ 'John Wick' B-Roll (VIDEO)
~ 'John Wick' Soundtrack Details

© Zoey Francis and Zen For Zoey, 2018. Unauthorized use, duplication, and/or alteration of this material without express and written permission from this blog's author/owner is strictly prohibited. All photos owned by studios/networks are covered under "Fair Use", as the purpose of this blog is for commentary only and is entirely not-for-profit. All screening photos are the exclusive property of Zoey Francis/Zen For Zoey.

'DAWN OF APES' SCREENING: Matt Reeves, Andy Serkis, And Gary Oldman

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Mon, 07 Jul 2014 00:45:00 +0000

When you've been a lifelong fan of a genre that has faced an uphill battle in gaining respect and popularity with the masses, it's incredibly exciting to see it finally get its due. Such was the case when 'Rise of the Planet of the Apes' arrived on the scene in late summer of 2011. The sci-fi drama garnered instant critical acclaim, and amassed close to half a billion worldwide in box office receipts. This past Monday, I was fortunate to attend an early 3D screening of the sequel, 'Dawn of the Planet of the Apes', hosted by the L.A. Times Hero Complex. The TCL Chinese 6 Theatre was equipped with an impressive Dolby Atmos system, and Dolby also provided complimentary concessions to all attendees.

Below are portions of the 30 minute Q&A with director Matt Reeves (Cloverfield, Let Me In), and actors Andy Serkis (Lord of the Rings, The Prestige) and Gary Oldman (The Dark Knight Trilogy, Dracula). Following that is a synopsis and my analysis of 'Dawn of the Planet of the Apes'. Enjoy!

MATT REEVES:

On what drew him to the franchise:

"I have been a lifelong 'Apes' fan... The thing that blew me away was how Andy played Caesar and that Weta was able to translate it in such a way that I could emotionally identify with the most human character in the story, which was not a human --- it was an ape."

On what he pitched to the studio, though they had different story ideas:

"I think this needs to start with Caesar, and I don't think you should start with the post-apocalyptic, which is of course, an important feature in these stories. I think you should start thinking that the humans might be gone. That we might have destroyed ourselves. So almost like '2001' with the dawn of man sequence, we have the dawn of intelligent apes sequence."

On the poignant and parallel plotline:

"So I thought, 'Wow, here we are making a summer blockbuster that's really a drama... There was an opportunity to have empathy for all the characters so you come to understand the anatomy of violence. And you could also be drawn into the potential for connection. Because this could have gone another way...' I thought, 'Wouldn't it be great if we could create two families: An ape family that's on the ascendancy, and a human family that has just gone through the worst tragedy in the history of humanity --- a family that is fractured in pieces that is trying to find a way to come together to heal itself?'"

On where he wanted to take the audience emotionally, during a major combat sequence:

"We had a battle scene where you couldn't root for the apes. I'm sure some people do because there's that certain pleasure of going, 'Yeah, here they go', but it's meant to be a tragedy. That was a challenge, because here's a moment that supposedly the audience is waiting for. Apes are holding machine guns in each arm and riding horses and all this stuff that everybody thinks the big summer movie is supposed to do. And I wanted you to feel sadly about it. I wanted you to feel like it was a nightmare... a fever dream... something terrible. And I kept pinching myself that they were letting us make this movie."

GARY OLDMAN:

On why he wanted to be in the film:

"When I first read the script, it said, 'Dawn of the Planet of the Apes' on the cover. And then when I turned the last page, it was a surprising read because it was about family and community, and loss and compassion --- and all of these things. It was just not what I expected."

On the reality of acting against motion capture:

"When they (the apes) first appear at the compound, we have that wonderful shot of the blank screen that sort of separates, and you see Caesar there on the horse. The horse freaked out when you (speaking to Andy Serkis) said, 'Apes'. And it started doing this sideways --- I don't know what you call it --- a horsey shuffle, and he hit the other horse and then the other horse, and they all started getting freaked out by this. So what happened is, they put the main actors --- I think there were about five --- and they put them on red stepladders that they got from Home Depot or something like that. So my image of first working with Andy Serkis is a man in a unitard with a camera strapped to his head on a stepladder."

ANDY SERKIS:

On why he wanted to portray Caesar:

"Yeah, what I loved about Caesar when I first read the original script for 'Rise' --- it was incredibly --- you know, I almost forgot it was an ape. The trajectory of the character, what he'd gone through. Playing a character from infancy through where he believes he's human, in effect, and then getting to a point in his adolescence where he realizes he's an outsider and his father is not his real father, and is suddenly discarded and thrown in with a bunch of apes who he cannot connect with. So again, he feels outside and very, very conflicted. Forget the fact that he was an ape --- the trajectory of playing that character was incredible."

On why the original script impressed him:

"It was just that well written. It wasn't patronizing and didn't undermine the integrity of being an ape. It was just this complex, rich mix of an internal conflict of someone who feels an outsider."

On how diligently Matt Reeves grounded the movie:

"The great thing about this movie, with the pressure of the shoot and the scale of the production, is that Matt --- to his credit, spent every single day, every single moment, creating the performances with actors on that set. With a huge film crew standing there waiting to get shots underway, where to set the cameras and everything. It wasn't about that. And that's very, very unusual on a film of this size. It was entirely about the drama. Entirely about mining every single moment for its dramatic content."

*** MAJOR SPOILERS BELOW. ***

SYNOPSIS:

It's ten years later, and what's now known as the Simian Flu has infected approximately 8.7 million people worldwide, with a 90% fatality rate. Caesar (Andy Serkis) has successfully established a habitat in the forests outside of San Francisco with a large colony of apes, along with his pregnant wife and their son. They question whether humans have survived the outbreak. Things quickly change when Caesar's son and his friend encounter a man, who shoots one of them out of fear. He frantically calls his small group over, just as a large number of apes descend upon them to assess what's taken place. Though Caesar is angered by the unjustified act of violence, he allows them to leave, but makes quite a lasting impression when he speaks forcefully. Immediately after the humans are out of earshot, he orders a few of the apes to follow them.

Back at the compound, Malcolm (Jason Clarke) reveals to Dreyfus (Gary Oldman) that they encountered a group of apes. When he tells him that one of them spoke, Dreyfus finds such an idea to be preposterous. A short while later, Caesar and his colony arrive at the compound (some on horseback), to the shock of the humans. Malcolm carefully approaches the apes, while the rest watch anxiously. When Caesar declares, "Apes, do not want war!" it sends a wave of disbelief and fear throughout the masses. After they leave, Dreyfus tells Malcolm that he's taking a group of men to the armory. He's distrustful of the apes, and harbors a deep-seated resentment toward them because he lost his family to the Simian Flu. Malcolm feels differently, and tells Dreyfus that he wants to go to the ape colony to try to bring about a truce of some sort. They both agree that they have to go back to the forest in either case. Their continued survival (and possible rescue) rests on their ability to restore electricity to the city, through the dam.

MY ANALYSIS:

I fondly recall watching Roddy McDowall in 'The Planet of the Apes' movies and television show. Of course, in those days, the underlying themes about interspecies coexistence, evolutionary growth ("survival of the fittest"), and social and political hierarchies, went well over my head. Like most kids my age, I just thought it was cool (and amusing) to see talking apes. Then in my early teens, I began to develop an understanding and appreciation for film and long-form storytelling.

In 2001, after seeing Tim Burton's contribution to the franchise, all I could think was, he just doesn't get it. Several years later, when 20th Century Fox announced their plans for a new movie, I felt apathetic. Then news leaked that they were utilizing performance capture technology for the ape characters, and positive word-of-mouth started to build. By the time the trailers were released for 'Rise of the Planet of the Apes', I was determined to see it opening weekend. As it turns out, it was my favorite film of the year.

After the global success of 'Rise', director Rupert Wyatt and writers, Rick Jaffa and Amanda Silver, were tapped to return for the sequel. Then in September of 2012, it was reported that Wyatt was dropping out of the project, citing that the scheduled release date was overly ambitious. For his replacement, the studio decided to go with Matt Reeves, which was an insightful and fortuitous choice. I've been familiar with Reeves' work all the way back to the popular television series, 'Felicity'. With his last two films (and now 'Dawn'), he's demonstrated a profound recognition that strength of character is what truly defines great drama. As further testament to his work, Fox immediately signed him for a third 'Apes' film after seeing a cut of 'Dawn'.

In regards to the acting in 'Rise', I thought it was an extreme oversight that The Academy overlooked Andy Serkis for a Best Supporting Actor nomination. This simply shows how resistant they are to change, and that they're out of touch with what's obvious to the majority of moviegoers. With 'Dawn of the Planet of the Apes', Serkis' Caesar is front and center. He's the heart of the story, and the actor does a phenomenal job showcasing the character's impressive progression. With all the critical acclaim that has already been lavished on the film before it even opens (95% on Rotten Tomatoes), and many hailing it as superior to 'Rise' (I agree), it would be a disservice to the industry if Serkis doesn't secure a Best Actor nomination. Never mind his technical acuity. It's all about the acting, and that's why he deserves it.

In 'Dawn of the Planet of the Apes', there are two other brilliant standouts. I was mesmerized by Jason Clarke in 'Zero Dark Thirty', and here he is again proving that he has what it takes to be a leading man. Clarke and Serkis have a natural chemistry together, and the bond that Malcolm and Caesar develops is proof that anyone can overcome their fear of the unknown, if they're simply willing to give each other the benefit of the doubt. The other sterling performance comes from English actor, Toby Kebbell, who makes the most out of a scene-stealing role as the sometimes comical, but consistently threatening, Koba. Keep an eye out for this talented trio in the near future. Andy Serkis is currently shooting 'Avengers: Age of Ultron' and 'Star Wars: Episode VII'. Jason Clarke plays John Connor in 'Terminator: Genesis', and Toby Kebbell will be Victor von Doom in 'The Fantastic Four'.

~ 'Dawn of the Planet of the Apes' UK Trailer (Spoilers)
~ Andy Serkis Says Academy Voters Don't Understand The Technology Behind Roles
~ 'Dawn of the Planet of the Apes' Gets Strong Early Buzz
~ 'Planet of Apes' Short Films Document Gap Between 'Rise' and 'Dawn' (Videos)
~ Plague Inc Receiving 'Dawn of the Planet of the Apes' Expansion
~ Simian Flu Public Service Website
~ Movement Pro Transforms Actors Into Apes On Film
~ Weta Digital Official Website (Visual Effects Company)

© Zoey Francis and Zen For Zoey, 2018. Unauthorized use, duplication, and/or alteration of this material without express and written permission from this blog's author/owner is strictly prohibited. All photos owned by studios/networks are covered under "Fair Use", as the purpose of this blog is for commentary only and is entirely not-for-profit. All screening photos are the exclusive property of Zoey Francis/Zen For Zoey.

6 HISTORIC FILMING LOCATIONS IN DOWNTOWN L.A.

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Thu, 09 Jan 2014 21:36:00 +0000

Though I've visited Los Angeles a number of times over thirteen years, I never explored central downtown. Yes, L.A. is a city with an enormous population, but it's not like New York where it's mostly concentrated in one area. Things are spread out, and there's a lot of driving involved if you want to explore it thoroughly. Tourists flock to areas such as Hollywood and Beverly Hills, but all of the communities have very distinct personalities of their own. With my curiosity peaked by all of the critical acclaim surrounding 'Her', and the film in limited release, I thought a visit to L.A. would be a perfect way to end the year.

My first and last stop was Pershing Square, a location with a rich history. From the 1850s on, it was used as a camp by settlers, a bandstand for music concerts, a forum for public speakers during WWI, and much more. In 1952, the entire park was demolished and an underground parking garage was constructed in its place. Forty years later, the city spent over $14 million to design and build a new public park, which includes a skating rink during the winter season. It also hosts an outdoor movie series every week during the summer. The TV shows 'NCIS: Los Angeles' and 'Southland' have been filmed here, as well as the movies 'Speed' (1994), 'Takers' (2010), and '(500) Days of Summer' (2009), to name a few.

Directly across the street from Pershing Square, is the historical Millennium Biltmore Hotel. This was a location that I was excited to see, because it was recently showcased in the noir series, 'Mob City'. It's also been used a few times for 'Mad Men', a favorite of mine. The luxurious hotel was celebrating its 90th anniversary this year, but I had to persuade the gentleman outside the entrance to allow me to take photos with my professional-looking camera. He told me that I could use my smartphone camera instead, because he was concerned that I would be using the photos for commercial purposes. I gently reassured him that the photos were for the sole purpose of my movie blog, which is entirely a nonprofit, creative effort. After a little back and forth of negotiating, he relaxed and agreed. Just as I was going inside, he told me to have fun.

As I walked into the Rendezvous Court, I noticed all of the tables set up for afternoon tea service. It was also the exact location where Jon Bernthal's character on 'Mob City', had been waiting to confront Bugsy Siegel. On 'Mad Men', Don and Betty Draper celebrated Valentine's Day here. As I explored other areas of the Biltmore, I was delighted to recognize the location where the prom scenes were filmed for 'Pretty in Pink', since I grew up watching John Hughes comedies. Here's a list of some of the other movies that were shot here over the course of ninety years: Chinatown (1974), Altered States (1979), Pink Panther (1982), Splash (1983), The Game (1997), Fight Club (1998), The Cell (2000), Spider-Man (2001), Crash (2004), Syrianna (2005), and The Dark Knight Rises (2011).

Earlier, I had ventured over to the Walt Disney Concert Hall, an architectural landmark which celebrated its 10th anniversary in October of 2013. It serves as the home for both the Los Angeles Philharmonic and the Los Angeles Master Chorale. Due to its unique interior design, when a few hundred VIPs were invited to initial rehearsals, it was noted that there had been wrong notes printed for the musicians after they played. Although the orchestra had owned the Ravel score for decades, it took a concert hall with this level of acoustical magnitude for anyone to detect the error. This location has been used in 'Iron Man' (2008), 'The Soloist' (2009), and 'Get Smart' (2008), as well as TV shows 'Brothers and Sisters', 'Numb3rs', and 'Life on Mars'.

The Westin Bonaventure Hotel is the largest hotel in Los Angeles, built between 1974 to 1976. Due to its futuristic-looking design, it was utilized in films such as 'True Lies' (1994), 'Strange Days' (1995), and 'Mission Impossible III' (2006), as well as 'Rain Man' (1988), 'This Is Spinal Tap' (1984), and 'The Lincoln Lawyer' (2011). A short walk away is the Million Dollar Theater, which served as L.A.'s first movie palace when it opened in 1918. It was built by Sid Grauman, an American showman whose parents were theatrical performers. He would later create such Hollywood landmarks as the Egyptian and Chinese Theatres. The Million's exterior was featured in 'Blade Runner' (1982), and its interior was used for scenes in 'The Artist' (2011).

Speaking of 'Blade Runner', a visit to downtown L.A. just wouldn't be complete without the renowned Bradbury Building. From the outside, it blends well into the cityscape with a mixture of sandstone, brown brick, and terra cotta. Once inside however, the building is distinctly unique, and the reasons are obvious as to why it's a popular staple in movies, television, music videos, and literature. The architectural wonder was commissioned by mining millionaire, Lewis L. Bradbury. At first, Bradbury worked with a local professional, Sumner Hunt, but ended up dissatisfied with his plans and deemed them unworthy of his vision. He then hired one of Hunt's draftsmen, George Wyman, who initially turned down the job.

Wyman refused the offer, perhaps with good reason, because he didn't have any formal architectural or engineering training. It's rumored that he changed his mind after using a ouija board to communicate with his late brother, who allegedly indicated that it would turn out a success. Coincidentally, Wyman's grandson was Forrest J. Ackerman, a science fiction publisher who happened to be a close friend of author, Ray Bradbury. Wyman's inspiration for the design came from a sci-fi novel published in 1887, called "Looking Backward" by Edward Bellamy. Sadly, Lewis L. Bradbury passed away a few months before the building's grand opening in 1893, and never saw the enormous contributions it provided for the city. In 1977, it was designated as a National Historic Landmark. Today, it serves as the headquarters for the LAPD's Internal Affairs Division, as well as other government agencies.

Without a doubt, the Bradbury Building has played an essential part in television and cinematic history. 'The Outer Limits', 'Mission: Impossible', 'Pushing Daisies' and 'FlashForward' are just a few of the shows that were shot there. 'Citizen Kane' (1941), 'Double Indemnity' (1944), 'Wolf' (1994), 'Disclosure' (1994), and 'The Artist' (2011) reflect a sampling of its long list of movies. No other film however, has given the landmark its due the way that 'Blade Runner' has. Countless cinephiles, tourists, and photographers have visited the building, simply because it was made famous by the sci-fi classic. The Bradbury provided the location for J.F. Sebastian's apartment building, and it was also where Deckard and Roy Batty played their game of cat and mouse, culminating in the end sequence that would haunt film lovers for decades.

It was a great deal of fun to visit downtown and explore film locations. For the most part, I was impressed by the city, and wished that I had time to explore even more of it. On another trip, I'd love to see the interiors of Union Station and the Los Angeles Public Library; both of which have also been used for film shoots. Interestingly, Spike Jonze's sci-fi love story, 'Her', takes place here. Given that L.A. is struggling with massive runaway production, it's always a positive sign when a highly lauded film can help stem the tide.

~ Runaway Production Leave California In The Lurch (LA Times, Jan. 2014)
~ L.A. Mayor Declares State of ‘Emergency’ As Movie, TV Production Flees Hollywood (Variety, Aug. 2013)

© Zoey Francis and Zen For Zoey, 2018. Unauthorized use, duplication, and/or alteration of this material without express and written permission from this blog's author/owner is strictly prohibited. All rights reserved.

10 SCI-FI FILMS THAT ARE OUT OF THIS WORLD

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Thu, 26 Dec 2013 23:45:00 +0000

Science fiction is a marvel in its purest form. Filmmakers who not only revere the genre, but labor to magnify its scope and vision for mainstream audiences, pay worthy tribute to the genius of those such as Jules Verne. The famed French novelist of the 19th century wrote grand adventures that entertained, but also eerily predicted the future with precision. "From the Earth to the Moon" (1865) chronicles a mission where details strangely parallel the 1969 Apollo 11 mission, even describing weightlessness in space. "Twenty Thousand Leagues Under the Sea" (1867) introduces the use of nuclear submarines and tasers, while "The Begum's Fortune" (1879) mirrors our World Wars through chemical warfare, weapons of mass destruction, and the rise of a German leader intent on world domination. In what was considered Verne's "lost novel" which wasn't published until 1994 (Paris in the Twentieth Century), he details life in a futuristic society full of skyscrapers, gasoline fueled vehicles, televisions, computers, and a preoccupation with the internet.

Students of science fiction are endlessly fascinated by what it offers: technology, philosophy, and prediction all rolled into one. In cinema, there are five characteristics that make up stellar sci-fi films: 1) They're set in a future of technological advancement; 2) the stories include smart social commentary; 3) they ask moral and/or existential questions; 4) they have predictive qualities, but are clearly relatable to our reality, and 5) they take their subject matter seriously. In regards to the latter, I don't mean to imply that these movies are devoid of humor. Far from it. In fact, these films can be clever and unpredictable in their use of it, and purposefully try to avoid insulting their viewers' intelligence. (Please take note, Michael Bay and Roland Emmerich. Kudos to the directors on my list for not underestimating their audience.)

Below are ten of my all-time favorite science fiction movies. They raised the standards for storytelling and filmmaking, and they're even more impressive because they did so with heart and soul.

*** SPOILERS BELOW. If knowing major plot points doesn't ruin a movie for you, then by all means, read on! You might come across something that will pique your interest in a title even more. ***

1) 'THE EMPIRE STRIKES BACK' (1980), Directed by Irvin Kershner:

Rarely do you find a movie that can be so devastating in its depiction of familial ties, while simultaneously providing action sequences that are awe-inspiring. The epic battle between the Rebel Alliance and the Galactic Empire rages on, and we see Darth Vader emerge more prominently as a formidable nemesis. In a climactic showdown with Vader, we feel Luke Skywalker's heartbreak when he hears the impossible words: "No, I am your father." As our hero tries to grasp this startling revelation, the freedom fighters scramble to recover from another major defeat: Han Solo frozen in carbonite and claimed by bounty hunter, Boba Fett. What makes the original trilogy such a timeless classic is the emphasis on cultivating personal character, and how that one essential quality can turn the tide of an entire war.

2) 'TRON' (1982), Written & Directed by Steven Lisberger:

Though its special effects may no longer compare by today's standards, this movie was ahead of its time, and the plotlines couldn't be more relevant to our technology-infused world. The film examines the issue of corporate dominance due to theft against one of its own software engineers. As Flynn tries to acquire evidence against his former boss, Dillinger, the self-guided Master Control Program enacts a protection measure and digitally propels him into the ENCOM mainframe (almost like a reverse 3D printer). Once inside, Flynn allies himself with enslaved programs, Tron and Ram. They manage to break free during what resembles gladiatorial games, with the detemination to cause an uprising. What seemed like an incredible storyline thirty years ago, resonates in our present. It underscores the importance of open source software and operating systems, and illustrates how proprietary protocols are too restrictive for users. Freedom is often the precursor to innovation.

3) 'BLADE RUNNER' (1982), Directed by Ridley Scott:

The music that flits effortlessly between old and futuristic periods; a gritty and dim neo-noir setting; a protagonist who seems to care less about appreciating life than the replicants that he's sent to kill. Heck, even the rain in this film contributes to its unrivaled atmosphere. Within the contrast of this sleek and stylish, yet harsh world, we're faced with ethical questions about immortality, the use of androids as off-world slave labor, and what it is that defines someone or something, as human. One of the most enduring and poetic sequences in cinematic history is when Roy Batty, the last surviving replicant of his group, saves Rick Deckard from plummeting to his death. With his life near its end, he shares an intimate moment and reveals to him: "I've seen things you people wouldn't believe... Attack ships on fire off the shoulder of Orion. I watched c-beams glitter in the dark near Tannhauser Gate. All those moments will be lost in time... like tears... in rain. Time... to die."

4) THE TERMINATOR (1984), Co-written & Directed by James Cameron:

Sometimes amidst external circumstances beyond our control, we find our purpose and discover strength that we never knew we had. Such is the case with Sarah Connor, perhaps one of the most three-dimensional heroines ever depicted on film. In the beginning, Sarah is a self-conscious, passive young woman who leads a rather mundane life. As such, when she finds out that she's being targeted by both a cybernetic assassin from the future and a hardened soldier sent back to defend her, she experiences the full gamut of fear, shock, and disbelief. But as the reality of what's at stake takes hold, she grows to trust and depend on Kyle, and eventually learns that he volunteered for the mission for personal reasons of his own. With the fate of humanity resting on her survival, and finding a love that knows no bounds, Sarah's inner resolve transforms her from a mere victim into a warrior to be reckoned with.

5) GATTACA (1997), Written & Directed by Andrew Niccol:

Under the illusion of a utopian society, science has perfected the act of artificial reproduction. With genetic screening as the norm and the ability to design the ideal progeny, a couple who decide to conceive and give birth naturally, end up regretting their decision. As Vincent grows up with a "perfect" younger brother who excels in all areas, he lives with the constant shame of being a disappointment to his family. Years later, while working with a cleaning crew at the Gattaca Aerospace Corporation, he notes how science has created another form of discrimination. Those considered to be genetically inferior are labeled as "in-valids" and relegated to menial jobs. But Vincent has a mind of his own and refuses to accept the status quo. With the aid of an accomplice that allows him to take on a new genetic identity, he forges a risky plan to join an essential space mission and fulfill his lifelong dream. In doing so, Vincent becomes a prime example of how free will and individuality can triumph over insurmountable odds.

6) DARK CITY (1998), Co-written & Directed by Alex Proyas:

If we had implanted memories, would this intrinsically alter who we are? For some, taking into consideration the strength of a person's identity and personality, it might. But in the case of John Murdoch, this sort of experimentation can only go so far, and he begins to evolve in unexpected ways, developing telekinetic abilities that rival those of his captors. Waking up in a state of amnesia, he slowly learns that the city is under the malevolent control of mysterious men. Every night, by means unknown, they put all to sleep, and go about altering everything from the structures of buildings, to people's relationships and their lot in life. John learns that all of this manipulation is because these beings are in fact, parasitic aliens, who relocated a fraction of the human population to a mechanized space station partially disguised as earth. With their species on the brink of extinction, the "Strangers" use humans as guinea pigs, in the hope of finding a solution to save themselves. With John discovering the full truth, and his powers amplified by the very technology that was used to enslave humanity, he becomes the superhero of this unconventional and moving story.

7) STAR TREK (2009), Directed by J.J. Abrams:

"Space... The final frontier." I can't recall a time when the Star Trek Universe wasn't a part of my life, whether it was from watching the classic series in syndication as a kid, to 'The Next Generation' while in high school. I enjoyed the movies when they originally came out, but found that they didn't necessarily hold up well over time. Then in 2009, the Star Trek movie that I, and countless fans had waited decades for, finally arrived. It was not only a feast for the eyes (amazing effects and action), but encapsulated the exhilarating spirit of self-discovery and the perils of space exploration. It was also emotionally resonant. The sequence where James T. Kirk's father (Chris Hemsworth) sacrifices himself to save his crew, his wife and unborn child, was truly heartbreaking. Just as equally crushing was seeing Spock bullied as a child, simply because he's half human and half Vulcan, only later to see his home world destroyed, and his mother along with it. What J.J. Abrams (and his writers) brilliantly captured with the story, is the humanity, humor, and sense of adventure that is the legacy of 'Star Trek'.

8) MOON (2009), Story & Direction by Duncan Jones:

It takes a charismatic actor to carry an entire film on his own. Sam Rockwell powers this riveting drama as Sam Bell, the sole occupant of a lunar base, harvesting helium-3 for a private corporation. His only company is that of GERTY, an artificially intelligent robot. During one of his trips in the rover, Sam suffers from a hallucination, crashes the vehicle, and loses consciousness. He wakes up to find himself in the infirmary, and overhears Lunar Industries telling GERTY not to allow him outside the base. His suspicions aroused, he fools GERTY and locates the crashed rover, shocked to find a duplicate of himself inside. After the two Sams return, they try to figure out what's going on, and determine that one of them must be a clone. Instead, they later discover that Lunar Industries has been engaging in nefarious practices with far-reaching implications. In the end, their only hope is for one of them to escape back to earth and reveal the truth, so that the corporation can be held accountable for using clones as expendable labor.

9) DISTRICT 9 (2009), Co-written & Directed by Neill Blomkamp:

An impressive film all-around, this project had it all. It demonstrated with its director and lead actor that sometimes new talent can revive a genre in the most surprising of ways. Part action movie, and part morality tale, the story opens with a species of aliens suffering abusive treatment as refugees. They're forced into segregation from humankind, and it's no mere coincidence that the setting takes place in South Africa. In his first big screen performance, Sharlto Copley brings an earnestness to the role that more established actors should be envious of. Given that he improvised all of his dialogue, his contribution to the character's development was a tremendous attribute. As Wikus van de Merwe, he starts off as a bumbling bureaucrat for the MNU, referring to the aliens with the derogatory term, "prawns". But after he accidentally sprays himself with a biotech fluid and starts to mutate into a human-alien hybrid, he suddenly finds himself being hunted down for experimental purposes. As he's forced into hiding, and later, retribution against the very company that he worked for, his only desperate desire is to be reunited with his loving wife.

10) GRAVITY (2013), Co-written & Directed by Alfonso Cuaron:

Is it a surprise that this magnificent work of art, is my favorite film of the year? Probably not, since you know by now how deeply I love this genre. But truth be told, I didn't foresee this happening until I started reading articles about it, several weeks prior to its release. One review after another heralded the movie as a visual masterpiece; an astounding game-changer in filmmaking. Months ago, when I initially heard that Sandra Bullock had been cast as an astronaut, I was incredulous. I had yet to see her in a performance that wasn't tailored to the masses; realism didn't seem to be a goal in her repertoire of work. Then when I watched 'Gravity', she blew me away. It's one of those performances where you go, "Wow... I had no idea she had it in her."

As for George Clooney, if I was caught untethered in outer space, there's no other voice that could calm my rattled nerves the way his does. As a leading man, there's often been a strong, protective energy that resonated from him. In fact, on the set of 'Three Kings', he got into a scuffle with the director over how extras were being treated. In addition to this, his choice of work as an actor, writer, and director has indicated that he's someone with a solid conscience, and he has a wicked sense of humor to match. If you've seen 'Gravity' and enjoyed his performance, I highly recommend 'Solaris' (2002). After following his work on the hit television series, 'ER', this was his first movie role that thoroughly impressed me. Also, the two sci-fi films are similar because both filmmakers embraced a minimalist approach, allowing the focus to fall on character development and the dramatic beats of the story.

In regards to the writing in 'Gravity', Alfonso and Jonas Cuaron stripped things down to the bare essentials. This is one of the reasons why the scenes have such an emotionally gripping impact. We learn enough about the characters to care about them, which is helped by the camaraderie displayed between the astronauts and ground control. When the devastating events start to occur at a breakneck pace, juxtaposed against a playful, serene opening sequence, we almost forget to breathe. Suddenly, we're propelled physically and mentally into the realization that human life is incredibly vulnerable in the vastness of space. Gone are the illusions of safety or control in such perilous conditions. As the characters face harrowing obstacles to survive, they also grapple with personal issues such as grief, learning to let go, and choosing a life worth living. This is why 'Gravity' has garnered such universal acclaim. It happens to be a spectacular disaster movie, but also forces us to define what courage means to us, and to ask ourselves the most important questions.

~ 'Robocop' HD Trailer (Opens February 12, 2014)
~ 'Godzilla' HD Trailer (Opens May 16, 2014)
~ 'Dawn of the Planet of the Apes' (Opens May 23, 2014)
~ 'Interstellar' HD Trailer (Opens November 7, 2014)

© Zoey Francis and Zen For Zoey, 2018. Unauthorized use, duplication, and/or alteration of this material without express and written permission from this blog's author/owner is strictly prohibited. All photos owned by studios/networks are covered under "Fair Use", as the purpose of this blog is for commentary only and is entirely not-for-profit.

3 REASONS WHY ASIAN HORROR CREEPS UNDER OUR SKIN

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Thu, 31 Oct 2013 20:37:00 +0000

Have you ever felt that moment of unexplained terror in the near dark --- a shudder runs through your body, and you can't help but to look behind you or move quickly to turn on the light? Maybe it's just your imagination running into overdrive. But then again, what if it isn't? What if on some primal, instinctual level where our lizard brain still registers threats that our usual senses don't pick up, we're suddenly acutely aware of a presence near us? The way I look at it, we don't know what happens after death (if anything), so it would be rather presumptuous to declare absolutes of any sort on the subject.

Perhaps it's this very line of thinking that makes some people susceptible to being scared out of their wits by scary movies, while others seem impervious to its affects. Belief after all, is an important element for certain types of fear. This is exactly why Asian horror films are so effective. The stories are often grounded in the human condition, depicting life after death as a state of being where unresolved issues still hold sway.

The most distinguished of filmmakers capture three essential components that elevate Asian horror to an art form. Firstly, they inherently understand the culture, which is comprised of belief systems where superstition is the norm. Secondly, their stories focus on our darkest natures: exploring themes of revenge, jealousy, unrequited longing, and other forms of repression that are prevalent in Asian society. And last, but not least, they comprehend the superiority of creepy versus scary, and use this tool to great effect.

THE POWER OF BELIEF:

I was born in China, and raised in Taiwan until the age of six. Even as young as I was, I can say without a moment's hesitation that the culture is rife with symbolism, superstition, and practices that are entirely exotic to Western civilization. I recall an instance where one of my aunts was inspecting her new home, prior to moving in. I noticed that every room had a mirror hanging on the wall, even though the place was devoid of furniture. This was curious to me, so I asked her about it. She explained very matter-of-factly that if any negative spirits should enter the house, they would see their own reflections in a mirror, scare themselves and then flee. Since I had already been assimilated into the American way of life for some years, my response was to keep my humorous thoughts to myself, as a sign of respect for my elders.

On another occasion, my family and I stayed with another aunt. Perhaps it was close to Halloween or such, but my parents allowed me to purchase a Parker Brothers Ouija board. As soon as my youngest aunt learned of it, she adamantly told me that under no circumstances was I to use it in her home. She said that she didn't want me bringing something into her house. These experiences as well as others, taught me a great deal about the different mindsets between those who spend a substantial part of their lives in Asia, and those like myself who are more American than anything else.

Even so, some beliefs are difficult to change, especially when you absorbed them at a young age or still maintain a connection to your heritage. It's this very factor that makes someone like James Wan (Saw, Insidious, The Conjuring), such a successful filmmaker in the horror genre. Wan was born in Malaysia to Chinese parents, and moved to Australia when he was seven. He describes his family's tradition of sharing stories: "Growing up in Malaysia, when I was much younger, my aunties and uncles and grandparents would tell me ghost stories and I loved that. I can't help but be fascinated by that world. As I got older, I thought, 'Hey, I want to make scary movies and scare other people as well.' It's fun!"

What sets James Wan apart from other filmmakers in the genre, is a deep-rooted belief in the existence of his subject matter. "Just because I make movies in the scary world doesn't mean I want to visit scary worlds. I am such a chicken----. I believe in these movies, I believe in ghosts and the supernatural, and the spiritual world. But I don't want to go there." Asked about his future in film, he divulges: "Science fiction is a big, big love of mine. I would love to get into that at some point. I truly love the romantic comedy genre. My favorite movie of the last three years is 'Tangled'. People are always surprised when they talk to me or meet me that I am nothing like the movies I make."

THE DARK SIDE OF THE HUMAN CONDITION:

Asian horror films are terrifying, to be sure, but what keeps us riveted are the mysteries unfolding within them. Peel back the layers and you discover why something evil originated in a particular location, why someone might be deservedly cursed, or how a life of sustained repression can produce tragic consequences, even after death. These are some of the reasons why this particular genre has amassed a worldwide audience, and in a minority of cases, warranted Hollywood remakes.

In 'Shutter' (2008), a newlywed couple (Joshua Jackson and Rachael Taylor) are plagued by strange disturbances after encountering a young woman in an accident. She starts to appear in photographs that they've taken, and they try to figure out her identity as well as why she's stalking them. The ending is a twist that a few viewers may be able to predict if they're paying close attention, based on clues along the way. I've only seen this version, but heard that the original film from Thailand was even scarier.

'Phone' (2002) is a South Korean movie where there doesn't appear to be much of a story at first, but you end up watching it because you're trying to figure out what's going on. The lead character keeps the viewer engaged, especially when things start to become unpredictable and a little crazy. But the best performance by far is the little girl portraying the daughter, who becomes possessed by a woman's ghost. She steals every single scene, and you can't help but feel horrified and amused at the same time by her antics.

One of the most acclaimed horror films from the East, 'A Tale of Two Sisters' (2003) is a complex psychological story about a dysfunctional family trying to come to terms with tragedy. This one has a heightened intensity to it, and the scares are relentless. As with all good mysteries, there are a couple of major plot twists that you don't see coming. There are also moments where you'll scratch your head and wonder, what just happened? And how does it all tie together?

CREEPY VS. SCARY:

When it comes to horror films, there's a major difference between being scared or creeped out. Scared is what you feel when something unexpectedly jumps out at you. You might scream at first, and then laugh at yourself for overreacting, but it's a fleeting emotion. Being effectively creeped out, on the other hand, is a state that stays with you for hours or even days after the experience. The latter is the ultimate goal for filmmakers at the top of their game. They use precise edits, distinctive sound effects (sometimes silence), and captivating visuals that keep you guessing in order to methodically develop atmosphere, suspense, and dread.

In 'The Ring' (2002), starring Naomi Watts, director Gore Verbinski crafted such a memorable film that it became an obvious and worthy choice to be parodied time and again. The premise is very simple: A mysterious videotape is circulating that's connected to a number of deaths by those who watch it. This is one of those stories that supports the old adage about how "curiosity killed the cat". Well, in this case, the video's leaving behind a long trail of grisly deaths, leading back to how it all originated with a little girl.

With 'The Grudge' (2004), starring Sarah Michelle Gellar and Bill Pullman, the name of the game is revenge. But as it's been proven time and again in Asian horror stories, things are never what they first appear to be. Sometimes in the unluckiest of cases, there's more than one spirit to contend with, so it takes a great deal of effort to figure out exactly what's causing all of the supernatural commotion. By the time that you do, it's far too late. This brilliant remake of 'Ju-on' was helmed by the original writer and director, Takashi Shimizu.

Quite possibly the creepiest movie ever to come out of Hong Kong, 'The Eye' (2002) was directed and co-written by the talented Pang brothers. The story follows a blind classical violinist who undergoes corneal transplants from a donor. As she slowly recovers, she starts to see things that are unexplainable. Growing desperate as time wears on, she enlists the help of a doctor to track down where the donor came from. They discover that the young woman had psychic visions which could foretell horrible events in the near future. The film wraps up with an action-packed ending; an unexpected and satisfying departure from the usual formula of horror movies.

© Zoey Francis and Zen For Zoey, 2018. Unauthorized use, duplication, and/or alteration of this material without express and written permission from this blog's author/owner is strictly prohibited. All photos owned by studios/networks are covered under "Fair Use", as the purpose of this blog is for commentary only and is entirely not-for-profit.

CREATIVE GIANTS: Ray Bradbury, Richard Matheson, And Elmore Leonard

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Tue, 01 Oct 2013 01:14:00 +0000

The written word is a thing of beauty. For a person that is naturally inclined towards the art form, it's as important as the air we breathe. It becomes an obsession throughout our lives, and we discover that it's not enough to read often, but to read well. We seek out the very best of authors, appreciating not only how an arrangement of words look on a page, but also how it sounds in our minds, and the way it feels when we read them aloud. We look at it as a muse who whispers, "See what I can do for you, if you give yourself over to me?"

It's this profound appreciation for skillful writing that led me to the works of Ray Bradbury and Richard Matheson. As a child, shortly after I learned to read and write (English was my second language), my parents signed me up for the Book-of-the-Month Club. In my preteen years, this segued extensively into the science fiction and horror genres, which to this day, I still carry an endless affection for. In the case of Elmore Leonard, I developed a deep admiration for his film and television work. His dialogue is so cleverly direct, that you fall hard for his leading characters, even when they're supposed to be the bad guys.

When I think of these amazing writers, my mind recalls unforgettable scenes: A "fireman" burning books in a futuristic society; an otherworldly being on the wing of a plane, toying with a passenger; a U.S. Marshal and an escaped convict bantering about movies while locked together in the trunk of a car. These fantastic stories, and many more, were gifted to us by three of the most prolific and successful talents of the twentieth century. Without their enormous contributions to the world of books, film, and television, our lives would be absent the kind of humor, heart, and introspection that such wise and intuitive men often impart. They've left behind incredible legacies, but also an invaluable lesson: A sharp mind, is a writer's best friend.

RAY BRADBURY (August 22, 1920 to June 5, 2012):

"You can't learn to write in college. It's a very bad place for writers because the teachers always think they know more than you do --- and they don't."

Ray Douglas Bradbury was born in Waukegan, Illinois. He started writing stories at the age of eleven, during the Great Depression. It was because of his heartland roots that he used his birth city for many of his works, renaming it "Green Town". In 1934, his family relocated to Los Angeles. They lived near the Uptown Theater, where Bradbury would sneak in to watch previews regularly. He would also roller skate all over Hollywood, "hell-bent on getting autographs from glamorous stars." Bradbury became lifelong friends with special effects pioneer, Ray Harryhausen, and his first paid job was at the age of fourteen, writing for 'The George Burns and Gracie Allen Show'.

It was in a local bookstore that the budding writer learned of the Los Angeles Science Fiction Society (Richard Matheson was also a member). Bradbury submitted and published numerous short stories throughout this period of his life, but it was "The Martian Chronicles" (1950) that brought him much acclaim. In 1956, he adapted the screenplay for 'Moby Dick', starring Gregory Peck. He contributed a multitude of episodes for television shows such as 'Alfred Hitchcock Presents' (1956-1962; 1986), 'The Twilight Zone' (1962; 1985-1986), and 'The Alfred Hitchcock Hour' (1964). He also adapted the screenplay for his novel, "Something Wicked This Way Comes" (1983), as well as sixty-five of his short stories for 'The Ray Bradbury Theater' (1985-1992).

Though Bradbury was adamant that his works belonged in the fantasy genre, the success of stories such as "Fahrenheit 451" only reinforced his considerable contributions to the growth of science fiction, and the acceptance of it as relevant and credible literature. In spite of not wanting his writing to be categorized as such, he always held a deep love and respect for the genre. He and Gene Roddenberry remained close friends for nearly three decades, even after he declined to write for 'Star Trek' after visiting the set. Bradbury explained that, he "never had the ability to adapt other people's ideas into sensible form."

In his personal life, Bradbury married his first girlfriend and they were together for forty-seven years, until her death in 2003. In spite of his status as a visionary of the future, he didn't drive or have a license, was fearful of flying (took his first flight in 1982), and expressed disdain for modern technology. He resisted the idea of converting his work into digital formats, and declared: "We have too many cellphones... We have too many machines now." Though he wasn't fond of the internet, he was certainly a proponent of self-guided learning, and was especially supportive of public libraries where he spent much of his youth.

Ray Bradbury enjoyed a career that spanned seven decades, writing hundreds of short stories and close to fifty books, along with essays, screenplays, and works for television and stage. He's the recipient of a long list of awards, including the Medal for Distinguished Contributions to American Letters in 2000, a star on the Hollywood Walk of Fame in 2002, the National Medal of Arts in 2004, and a special citation from The Pulitzer Board in 2007, "for his distinguished, prolific, and deeply influential career as an unmatched author of science fiction and fantasy." His astute advice to aspiring writers: "Your intuition knows what to write, so get out of the way."

RICHARD MATHESON (February 20, 1926 to June 23, 2013):

"I think we're yearning for something beyond the every day. And I will tell you, I don't believe in the supernatural --- I believe in the supernormal. To me, there is nothing that goes against nature. If it seems incomprehensible, it's only because we haven't been able to understand it yet."

Of all the writers that I've read in my lifetime, no one has ever consistently matched the power of Richard Matheson's storytelling. Whereas most authors are strongest in one medium or another, his writing in books, film, and television is simply unparalleled, crossing genres with remarkable ease. He nearly gave me a heart attack from the suspense of "Prey", about a woman who brings home a little warrior doll with a tiny scroll warning: "This is He Who Kills. He is a deadly hunter." He had me mesmerized by "Button, Button", posing the moral quandary of whether a person would push the button on the box, knowing that a random life would be sacrificed so that they could collect a fortune. He had me reliving love at first sight, when Richard Collier gazed longingly at the portrait of Elise McKenna in the Grand Hotel. Matheson adapted the screenplay for 'Somewhere in Time' from his own novel, "Bid Time Return".

Richard Burton Matheson was born in Allendale, New Jersey to parents of Norwegian descent. At the age of eight, two significant events occurred in his life: his parents divorced, leaving his mother to raise him as a single parent, and he was published for the first time with a poem in "The Brooklyn Eagle". After seeing the 1931 version of 'Dracula', he wondered, "If one vampire is scary, what if the whole world is full of vampires?" Thus, the idea behind "I Am Legend" was born. After graduating from Brooklyn Technical High School, Matheson joined the U.S. Army and served in WWII. He would later pen a novel based on his experiences called, "The Beardless Warriors". In 1951, he moved to California, which promptly started his writing career. The following year, he married Ruth Ann Woodson. His novel, "What Dreams May Come" is a very personal one, filled with scenes from their life together.

Matheson found success with films such as 'The Incredible Shrinking Man' (1957), 'Duel' (TV movie; 1971), 'The Legend of Hell House' (1973), and 'Twilight Zone: The Movie' (1983). He also wrote three screenplays for Roger Corman throughout the 1960's, based on Edgar Allan Poe stories. In television, he contributed to 'The Alfred Hitchcock Hour' (1962-1963), 'Star Trek' (The Enemy Within, 1966), 'Rod Serling's Night Gallery' (1971-1972), 'The Martian Chronicles' (1980), 'Amazing Stories' (1986-1987), and 'The Outer Limits' (1996). He was one of the few writers that Rod Serling trusted implicitly with creative content, writing not only numerous episodes for 'The Twilight Zone' (1959-1964, 1986), but also penning the brilliant introduction and closing statements.

In recent years, his stories were adapted by other writers for the big screen: 'What Dreams May Come' (1998), 'Stir of Echoes' (1999), 'The Box' (2009), and 'Real Steel' (2011). With "I Am Legend", four film versions have been attempted (with the third going straight to video): 'The Last Man on Earth' (1964), 'The Omega Man' (1971), 'I Am Omega' (2007), and 'I Am Legend' (2007). Though Matheson helped develop the script for 'The Last Man on Earth', three other writers were also involved. He ended up dissatisfied with the project, and changed his credit to Logan Swanson, his pen name.

To those who haven't yet read the novella, let me simply say that "I Am Legend" is nothing short of extraordinary. Given that I've been a lifelong fan and also an aspiring writer, it pains me deeply that a worthy, faithful adaptation has never seen the light of day. There's a reason why this work of art has been shaped into a movie four times, along with countless tributes to its beautifully, haunting content. Richard Matheson stated that the closest film that ever came to his story was 'Night of the Living Dead', not realizing at the time that George Romero was a huge fan, and that the zombie classic was greatly influenced by his seminal work.

ELMORE LEONARD (October 11, 1925 to August 20, 2013):

"I started out of course with Hemingway, when I learned how to write. Until I realized Hemingway doesn't have a sense of humor. He never has anything funny in his stories."

Elmore John Leonard, Jr. was born in New Orleans, Louisiana. His family moved around frequently during his early years, because of his father's work as a site locator for General Motors. When he was nine, they finally settled down in Detroit, Michigan. Leonard's interest in writing sparked when he read, "All Quiet on the Western Front". In the fifth grade, he wrote a play based on the novel. After graduating from high school, he attempted to join the U.S. Marines, but was rejected due to his poor eyesight. Ironically, he was drafted by the U.S. Navy and ended up serving for over two years.

In 1949, Leonard married his first wife, Beverly Cline, and started a job as an ad writer with the Campbell Ewald advertising agency. He wrote short stories on the side, and chose westerns because he had an interest in the Hollywood film industry. Throughout the 50's and early 60's, he published more than thirty stories. Five of those were turned into movies: 'The Tall T' (1957), '3:10 to Yuma' (1957), 'Hombre' (1967), 'Valdez is Coming' (1971), and 'Joe Kidd' (1972). In 1966, Leonard completed his first non-western novel, "The Big Bounce". The proliferation of westerns on television had caused a decline for those types of screenplays. Leonard knew that he had to be adaptable to stay in the moviemaking business.

Leonard's transition into crime fiction brought him tremendous success. "52 Pick-Up" was the first story that took place in his home city of Detroit. Subsequent stories followed suit, and many were adapted into films: 'Get Shorty' (1995), 'Jackie Brown' (1997), 'Out of Sight' (1998), 'The Big Bounce' (2004), 'Be Cool' (2005), and 'Killshot' (2008). In 2007, James Mangold directed the remake of '3:10 to Yuma', starring Christian Bale and Russell Crowe. Out of all of the film adaptations based on his writing, Leonard's favorite was 'Jackie Brown'. He was surprised that this turned out to be the case, but stated that Quentin Tarantino stayed closest to his story, even using much of his dialogue.

Due to the critical and commercial success of the film, 'Out of Sight', a television spin-off was attempted, but 'Karen Sisco' (2003-2004) was canceled after seven episodes. In 2009, Leonard followed up with a sequel of sorts, titled "Road Dogs". It was his forty-third novel, and garnered some of the best reviews of his career. In 2010, he published "Djibouti", a story set in the world of Somali pirates and Al Qaeda terrorists as told through the eyes of a documentary filmmaker. Just last year, Leonard released "Raylan" and said of the character, "I can pick up Raylan's story anywhere. It's like visiting with an old friend."

In 2010, 'Justified' premiered on FX. Based on Leonard's "Fire in the Hole" (2000), it introduced the characters of Deputy U.S. Marshal Raylan Givens, and his childhood friend and nemesis, Boyd Crowder. Watching this series through four seasons has been nothing but a guilty pleasure. The guilt part is because it's so addictive that it begs to be viewed as a marathon. Timothy Olyphant has established himself as the quintessential lawman; he's irresistible because he prefers to dance in the grey areas. Walton Goggins has been a true revelation as a man who's struggling for redemption, but the temptation for wrongdoing is just too strong, largely because of his familial ties. The fifth season of 'Justified' premieres in January, and without a doubt, it'll do Elmore Leonard proud.

© Zoey Francis and Zen For Zoey, 2018. Unauthorized use, duplication, and/or alteration of this material without express and written permission from this blog's author/owner is strictly prohibited. All photos owned by studios/networks are covered under "Fair Use", as the purpose of this blog is for commentary only and is entirely not-for-profit.

10 MEGAHIT MOVIE SONGS AND A SPOTLIGHT ON CHRIS CORNELL

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Wed, 21 Aug 2013 01:23:00 +0000

With hundreds of recognizable movie songs out there, I culled a tiny sample for this list. What exactly constitutes a megahit? First off, these particular songs received a tremendous amount of airplay. You couldn't listen to the radio without hearing them over and over, because listeners demanded it. Secondly, they fit their films perfectly; instantly and powerfully defining what they were all about. Because of this, these songs were not only critically and commercially successful, but in some cases, even propelled their movies to unforeseen heights. Most importantly, they're unforgettable melodies because they resonate on an emotional level. They make us want to dance, sing, or anything in between. To this effect, they're just as engaging today as when we first heard them.

1) "STAYIN' ALIVE" In 'Saturday Night Fever' (1977):

John Travolta's strut in the opening of the film just wouldn't have been the same without the Bee Gees' catchy hit. It reached number one on the Billboard Hot 100 in 1978, and remained there for a month. Due to its upbeat tempo, it was actually used by the British Heart Foundation and the American Heart Association for CPR training and PSA videos. The song was so popular that it was also used (albeit sped up) in a parody dance sequence in the movie, 'Airplane!' (1980).

2) "EYE OF THE TIGER" In 'Rocky III' (1982):

Originally, Sylvester Stallone wanted to use Queen's "Another One Bites the Dust" for the movie. Unable to secure permission for its use, he turned to rock group, Survivor, to write the theme song. In 1986, it was also used in another film that shared the same title. With a combined total of over 9 million in original release and digital downloads, it's one of the best-selling singles in music and film history.

3) "WHAT A FEELING" In 'Flashdance' (1983):

Irene Cara followed up her success with "Fame", with another huge movie hit. "Flashdance... What a Feeling" went on to win an Oscar and a Golden Globe for Best Original Song. It was also the vocalist's first number one, becoming a platinum record and earning her a Grammy for Best Pop Vocal Performance. The song was initially recorded by Joe Esposito, but Paramount Pictures asked Giorgio Moroder to redo it with a female artist because of the film's main character. Esposito also had a hit on the soundtrack with the ballad, "Lady, Lady, Lady".

4) "GHOSTBUSTERS" (1984):

When Ray Parker, Jr. was asked to develop a theme song for the comedy, he was only given a few days to do so. The biggest challenge that he faced was trying to work the title into it. Then he recalled that in the movie, the Ghostbusters ran an advertisement on television, so he decided to write the song as if it were a part of a promotion for their services. The music video included numerous stars of the day, and had a light tone to mirror the movie's levity.

5) "DON'T YOU (FORGET ABOUT ME)" In 'The Breakfast Club' (1985):

A song that almost never was, Keith Forsey approached Billy Idol, Bryan Ferry, and Cy Cernin who all turned it down. When Simple Minds was asked to record it, they refused it as well, but then went ahead with the tune at the urging of their label. Even with its success (their only number one hit in the U.S.), they continued to disavow it by leaving it out of their albums. In April of 2013, Molly Ringwald released a jazz version in tribute to director, John Hughes.

6) "DANGER ZONE" In 'Top Gun' (1986):

Not only did the theme song and movie become immensely successful, but they also contributed to higher recruitment levels in the U.S. Navy and Air Force. The Navy Weapons Fighter School started out in Miramar, San Diego and thrived for decades. However, ten years after the film was released, Top Gun was relocated to Fallon, Nevada. The hit song was composed by Giorgio Moroder, and the music video was also directed by Tony Scott. Earlier this month, Tom Cruise and Jerry Bruckheimer confirmed that they'd like to move forward with a sequel, if they can find the right director for the project.

7) "(I'VE HAD) THE TIME OF MY LIFE" In 'Dirty Dancing' (1987):

A song that was originally intended for Donna Summer and Joe Esposito, the final version was recorded by Bill Medley and Jennifer Warnes. A massive hit worldwide, it also garnered an Oscar and a Golden Globe for Best Original Song, as well as a Grammy for Best Pop Performance by a Duo. The composer, Franke Previte, also wrote "Hungry Eyes". Because it was a period film featuring dancing, the music was an essential part of its meteoric rise to success.

8) "UNCHAINED MELODY" In 'Ghost' (1990):

In 1955, Alex North wrote the theme to an obscure prison film called 'Unchained'; hence the title of the song. Hy Zaret provided the lyrics. It has since been regarded as one of the most recorded songs of the twentieth century, with over five hundred known versions in various languages. But it was the 1965 cover by The Righteous Brothers that would see a great deal of commercial success, not just on initial release, but later as the theme song to 'Ghost'. Two versions charted that year. One was a reissue of the original recording that saturated the airwaves, but was only available as a 45 RPM single. A second was a re-recording on cassette that didn't get much airplay, but saw superior sales.

9) "MY HEART WILL GO ON" In 'Titanic' (1997):

Possibly the most haunting, yet overrated love song of contemporary films, the music composed by James Horner was an integral part of the juggernaut's success. At the time, its budget of $200 million was a rarity. But the movie went on to gross over $2 billion at the box office, and made an additional $944 million last year with the 3D version. Originally, James Cameron didn't want a theme song, as he was worried that it would commercialize the ending of the movie. Instead, it went on to win several accolades, and was so beloved by audiences that it helped to sustain repeat business for the film.

10) "SKYFALL" (2012):

It was the suggestion of Sony Pictures President, Lia Vollack that Eon Productions approach English singer, Adele to compose the theme for their latest Bond movie. At first, Adele didn't feel that she was right for the project, given that her songs are of a very personal nature. But director Sam Mendes, and the script itself, convinced her otherwise. Her involvement with the project was kept under wraps, but after she stated in interviews that she was working on a "special project", speculation arose that she was taking on the 007 theme song. The single was met with enormous success, winning numerous awards (Adele performed the song for the first time at the Academy Awards), topping charts, and ended up selling over a million digital copies.

SPOTLIGHT ON CHRIS CORNELL:

A rock legend by any standard, Chris Cornell has been the front man for Soundgarden, Temple of the Dog, and Audioslave. With a powerful four octave vocal range and an ear for meaningful lyrics, the songwriter/musician has also seen a great deal of success as a solo artist. In 1989, Soundgarden was the first grunge band to sign with a major label at A&M Records. Along with groups like Nirvana, Pearl Jam, and Alice in Chains, their music expanded the rock genre and brought attention to the emerging grunge scene of Seattle in the early 1990's.

In 1992, Cornell made his first contribution to a film soundtrack. Though he had written "Seasons" for his friend, Cameron Crowe, the director included it in his film, 'Singles'. The song is also included in this summer's blockbuster, 'Man of Steel'. Over the decades, both Chris Cornell and Soundgarden have contributed songs to a number of movies: 'Say Anything', 'Pacific Heights', 'Wayne's World', 'The Basketball Diaries', 'Great Expectations', 'Mission: Impossible II', 'Collateral', and others.

When Cornell was approached to compose the theme song for 'Casino Royale' (2006), he was less than enthusiastic. He states: "I wasn't a fan of the most recent version of the franchise," and elaborates on why he became excited after seeing a rough cut of the film. "... It's the character when he's still a human being and he hasn't developed this kind of platinum exterior that's impenetrable; he's a person that's in love and has doubts and existential crisis. So I got to write a song with aspects about the story that were interesting and more than just a super spy who's going to kick everybody's ass," he laughs. Upon release, "You Know My Name" became an immediate worldwide hit, topping music charts and winning awards.

For 'Machine Gun Preacher' (2011), Cornell stripped it down and wrote a personal, intimate song. The movie is based on the true story of Sam Childers, a former drug-dealing biker who turned to religion to change his ways. In doing so, he ends up spearheading a crusade to save hundreds of Sudanese children from being turned into soldiers of war. At first, Cornell had trouble finding a way into the song, and given the sensitivity of the subject, he wanted to do it justice.

"Who am I to write a song about something that is this intense that I haven't experienced? I'm not an orphan growing up in the Sudan that was kidnapped or watched my parents or my family get butchered or tortured or is in fear of my life, sleeping in the bush every night. And I'm also not somebody who's essentially put their entire life aside to go over there and risk my neck to try to take care of these kids." Cornell decided to change his thinking, and approached the material as if Sam Childers was Woodie Guthrie, singing about his dedication to the children that he would risk everything to defend. The end result is a haunting and beautiful tribute.

After Cornell reunited with Soundgarden in 2010, the group finally released their first new recording two years later ("Black Rain" had been partly recorded in the 1990's). "Live to Rise" was written for 'The Avengers' soundtrack, and showcased the rock group's return to tremendous form. Though Cornell has stated that he regrets quitting piano lessons as a child and can no longer read music as such, he would consider scoring an entire film. "The thing that's kept me from really wanting to do that is it's such a huge undertaking... I'm used to coming out of that type of process with a body of work and an album that I understand. But if it were the right movie and something I was passionate about, I would love to do it." Here's hoping Chris Cornell and the right project find each other.

SUPERMAN: 5 Epic Themes Of The Greatest Story Ever Told

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Tue, 11 Jun 2013 00:56:00 +0000

Why are superhero movies growing exponentially in popularity? One reason is because CGI (computer-generated imagery) has developed to the point where it can turn an event film into quite an immersive experience. On top of this, advancing technologies such as IMAX (and it's equivalent in RPX), D-BOX (motion-triggered seating), Dolby Atmos (surround sound that includes speakers overhead), and the evolution of 3D, have all contributed to a variety of choices in cinematic experiences. Motion pictures have become bigger and more exciting spectacles, and the tremendous financial success of several superhero films in recent years, has proven that.

Another reason stems from our global state of affairs. We're experiencing financial instability on a grand scale, with countries falling like dominoes, and a permanent, concrete solution has yet to materialize. In addition to this, we're facing natural disasters at a greater frequency. And since information is readily accessible online and through social networks, we're exposed to more news stories, sometimes at the very moment that they're happening. With these realities challenging us, we turn to escapist entertainment because we hunger for a beacon of hope. We're longing for something or someone to make us believe that things can get better; to reassure us that our species has a rightful place and a purpose on this planet.

Kirk Alyn in 1948 'Superman' TV Series.

On a more personal level, the reason why superheroes appeal to us, is because there is much that we can learn from them. Even though they're fictional characters, they embody qualities that we yearn to emulate, and they represent the very ideals that we know are worth fighting for. Almost all children at one time or another, looked up to a superhero. Maybe because it was fun to dress up like one, and imagine having superpowers. Or perhaps they needed a positive example to guide them. In a child's life, not having a proper role model can cause a superhero's influence to become all that more profound. Such was the case with me.

George Reeve in 'Adventures of Superman' (1952-1958).

My first introduction to Superman was seeing Christopher Reeve's portrayal on the big screen. That was all it took for me to fall in love with both the iconic character, and the actor playing him. As such, it's my immense pleasure to celebrate the Man of Steel's 75th birthday by writing this tribute. Below are five epic themes that illustrate why his story is the greatest ever told, a spotlight on Christopher Reeve, and the future of Superman with the upcoming release of the 'Man of Steel'.

John Newton in TV Series, 'Superboy'.

1) Superman Is The Ultimate Immigrant:

Back in 1933 in Cleveland, Ohio, an important part of American history took place that would have a resounding impact on future generations, and people the world over. Two high school students named Jerry Siegel and Joe Shuster created the very first superhero. They sold the character to Detective Comics (which was later renamed DC) in 1938, and Superman first appeared in the June edition of 'Action Comics'. Siegel and Shuster were brilliant artists, creating not only a visually compelling story, but also one filled with heart.

In film and television versions, Superman's story starts with Krypton on the verge of planetary destruction by either a cataclysmic event or an all-out war. Kal-El's parents send their infant child away into the far reaches of space to save his life. As Clark is raised by his adoptive parents on earth, he sees how different he is from everyone else. But since he was brought up as a human from a very young age, he aches to be accepted in spite of his extraordinary gifts. Though the external conditions of Superman's life are creatively imagined, what makes him relatable are his internal struggles: He feels isolated because he believes that he's the last of his kind, he's trying to figure out his identity while filled with unanswered questions, and he's attempting to remain connected to his roots and heritage by fulfilling his destiny.

Gerard Christopher replaced Newton in 'Superboy' (1988-1992).

2) "Truth, Justice, And The American Way":

Imagine that you're living in America in the year 1940. WWII erupted in September of the previous year, and there's already mounting political tension between the U.S. and Japan. The U.S. renounces its trade treaty with the foreign power to disrupt supplies, given that Japan had invaded China and set its sights on conquering Eastern Asia. This is the backdrop that gave birth to the phrase, "Truth, justice, and the American way." It first appeared on the radio show, 'The Adventures of Superman', which ran from February of 1940 to March of 1951. These words were incredibly relevant for that time, and inspired hope for one simple reason: Superman was a universal hero and symbolized the perpetual triumph of good over evil.

Dean Cain in 'Lois & Clark...' (1993-1997).

3) An Unusual Love Triangle:

Of all the superheroes, Superman is the most engaging and romantic figure. Whether it's Lois Lane or Lana Lang, what woman wouldn't fall for a tall, dark, and handsome Krytonian prince? But what makes Superman's search for love an interesting and complicated one is his other half: Clark Kent. It's easy enough to fall for a virtuous hero that the entire world worships, but is that true love? And who is Kal-El really: Superman or his counterpart? In the end, it would require a compassionate and loyal woman to fully understand him. She would also need to have a strong sense of identity. After all, he's somewhere between a man and a god.

Tom Welling in 'Smallville' (2001-2011).

4) No One Is Perfect, Not Even Superman:

An appropriate example of our hero's flawed and very human behavior is characterized in the 1978 movie, 'Superman'. After an earthquake rips apart a road and Lois Lane ends up trapped, suffocating in her car, our hero is deeply shaken by the guilt of not getting there fast enough to save her. In an act of intense grief and willful defiance against Jor-El's demand not to intervene in the natural order of things, Superman reverses time to bring back the love of his life. This brings up a moral and existential question about whether or not he abused his powers. By doing what he did, he changed the course of history from that point forward.


Brandon Routh in 'Superman Returns' (2006).

5) Family Is Not Defined By Biology:

In the first few seasons of 'Smallville', one of the things that I admired and respected the most was how the series captured the intimacy of a loving and close-knit family. Jonathan and Martha Kent epitomize small-town American values; a hardworking couple struggling to keep their farm afloat, which has been in Jonathan's family for generations. After Kal-El's spaceship crash-lands, they rescue him and decide to care for him as an adopted child. Even as they learn of his unusual gifts, they accept Clark as their very own and protect him at all costs. It's because of the beliefs and values that they instill in him early on, that Clark evolves into the superhero that the world desperately needs.

SPOTLIGHT ON CHRISTOPHER REEVE:

Christopher D'Olier Reeve was born on September 25, 1952 in New York City. He was a gifted performer, an accomplished athlete, an expert aviator, and a political activist, among many other things. Christopher was a deeply principled person, as well as someone who persistently met challenges with equal parts determination and a natural sense of humor. His enduring legacy to those who know his personal story, is the power of belief when faced with tremendous adversity.

In 1979, after meeting Christopher Reeve at the Academy Awards, John Wayne turned to Cary Grant and stated: "This is our new man. He's taking over." Truer words couldn't have been spoken since Christopher had been cast as Superman in 1977; he was the youngest actor to play the superhero at the age of 24. Though he won the part in his screen test, it had taken a great deal of effort by the casting director to convince the powers that be, to give him a chance in the first place. And because he was such a tall (6'4") and thin actor, Richard Donner and the producers wanted him to wear a padded muscle suit, to which he stunned them when he refused. Instead, Christopher enlisted the help of British weightlifting champion, David Prowse (Darth Vader in the original 'Star Wars' trilogy), to undertake a strict regimen that would enable him to develop the necessary proportions for Superman.

Though the first movie catapulted Christopher to international stardom, it wasn't until the third film before he received top billing. Also, he was paid $250,000 in his initial turn as the superhero, while his established co-stars earned salaries in the millions. But money was never what motivated Christopher in his choice of roles. He turned down numerous parts feeling that he would've been miscast, and rejected a number of action films. His reasoning behind it: "I found most of the scripts of that genre poorly constructed, and I felt the starring roles could easily be played by anyone with a strong physique."

Christopher's love of acting started when he was nine years old, after he took to the stage in his first play. He attended Princeton Day School, and continued his study of theatre while attending Cornell University, and was later accepted into Julliard's Advanced Program. He and Robin Williams were the only students in many of John Houseman's classes, and became close, life-long friends. Christopher's stage career was a highly accomplished one, gaining the respect and admiration of many of his colleagues, including Katherine Hepburn. She said to him at one time, "You're going to be a big star, Christopher, and support me in my old age." To which he playfully replied, "I can't wait that long."

With the success of 'Superman' in 1978, Christopher's movie career was off to a promising start. Some of his most memorable films include, 'Somewhere in Time' (1980), 'Deathtrap' (1982), 'Street Smart' (1987), 'Switching Channels' (1988), and 'The Remains of the Day' (1993). He starred opposite the likes of Gene Hackman, Jane Seymour, Michael Caine, Morgan Freeman, and Anthony Hopkins, in notable screen performances. But it was his strong association as Superman that would cause the next chapter of his life to be a startling example of true heroism.

In Christopher Reeve's memoir, 'Still Me', he describes in vivid detail the horse riding accident which occurred on May 27, 1995; leaving him paralyzed from the neck down. The situation was more dire than the media reported, and when Christopher became lucid, he was only able to mouth his first words to his wife, Dana: "Maybe we should let me go." Bursting into tears, she replied to him: "I am only going to say this once. I will support whatever you want to do, because this is your life, and your decision. But I want you to know that I'll be with you for the long haul, no matter what. You're still you. And I love you."

The road to recovery would be an incredibly painful one; a challenge that would force Christopher to come to terms with becoming entirely reliant on others for the simplest, and most private things. But it was sheer willpower and the devoted support of his loved ones that motivated him to fight. Along with this, Christopher received a deluge of supportive calls, messages, and letters from childhood friends, people within the industry, politicians, and others, as well as countless fans from different countries and walks of life. He and Dana were deeply touched by the outpouring of kindness and goodwill, and she published a portion of the thousands of letters that they received in an inspiring book titled, 'Care Packages'.

In his second autobiography, 'Nothing Is Impossible', Christopher chronicled how he defied the expectations of doctors, time and again. Because of the severity of his injury, they told him that he wouldn't be able to breathe without the aid of a ventilator. However, he requested to receive an experimental procedure for an implant, and was eventually able to breathe for hours on his own. The doctors also told him that he wouldn't recover sensation or movement, the longer he went without any noticeable improvement. Christopher felt otherwise, and believed that not only did the spine have regenerative properties, but also the capability of recalling function.

With the help of the American Paralysis Foundation, Christopher and Dana championed stem cell research, and traveled around the world to meet with scientists to discuss the most recent advancements. Even more inspiring, they met individuals over the years who had been paralyzed, but eventually recovered use of their bodies. With mounting evidence supporting his beliefs, Christopher was determined that he would walk again. He focused intensely on rehabilitation. Then in 2002, seven years after his accident, he shocked doctors when he not only regained sensation over the majority of his body, but also recovered movement in his fingers, toes, and joints.

Sadly, on October 11, 2004, Christopher Reeve's life came to an end. He had fallen into a brief coma after suffering cardiac arrest, due to a severe allergic reaction to medication. Though he's no longer with us in the physical sense, his spirit is greatly felt. As Superman's return appears on the immediate horizon, we're reminded that Christopher's life is an important example of what it means to live to the fullest; to appreciate the smallest things that we often take for granted. His wise words: "So many of our dreams at first seem impossible, then they seem improbable, and then, when we summon the will, they soon become inevitable."

THE FUTURE OF SUPERMAN:

It was during 'The Dark Knight Rises' when screenwriter, David S. Goyer, experienced a sudden revelation about how to approach a new Superman movie. He shared his idea with filmmaker, Christopher Nolan, who was immediately excited by the prospect of it. The two approached Warner Bros. about a possible project, and the studio was so thrilled that they scrapped the plans they had for rebooting the franchise. With Nolan already in the midst of working on the conclusion to his Batman trilogy, they set to finding the right director for Superman.

With Goyer working on a script and Nolan attached as executive producer, the missing piece was hiring a filmmaker who would be capable of fulfilling their ambitious vision. After meeting with a short list of potential directors, it was decided that Zack Snyder was the man for the job. Snyder's list of film credits include hits like '300' and the remake of 'Dawn of the Dead', but his last few movies underperformed, either attracting only a modest audience (mediocre box office) or not having enough lasting power due to poor critical and movie goer reviews. But after seeing a number of trailers and a featurette on 'Man of Steel', I believe that Snyder is about to make history with the best Superman movie ever made. He certainly impressed Goyer and Nolan, who were present on set, even as Nolan juggled director's duties on 'The Dark Knight Rises'.

Just as important as the team behind the film is the actor who would be chosen as the new Superman. It might seem as if British talent, Henry Cavill, just recently landed the coveted position, but in fact, this has been a long time coming. Back in 2004, McG was set to direct a movie on the superhero, and had cast Cavill as the leading man. But after McG dropped out of the project, Bryan Singer replaced him as the new director and recast the role with Brandon Routh. 'Superman Returns' was a major disappointment, both in terms of reigniting the interest of worldwide audiences, but also as a creative endeavor. Though Routh made the most out of the part that he was given, the script and supporting performances felt like a terrible fit for the superhero's story.

But now the future of Superman looks brighter than ever before. With Henry Cavill cast as the 'Man of Steel', it's rather interesting that three British actors have recently portrayed America's most popular superheroes. Along with Cavill, Christian Bale played Batman and Andrew Garfield will be returning in a sequel as Spider-Man. It's my feeling that Henry Cavill will redefine the role and do it justice because of his background: He's a big fan of comic books (well-versed in Superman titles), and therefore has a personal appreciation and understanding of the material. Also, you wouldn't guess it to look at him now, but he was bullied while growing up: he knows what it's like to carry around the feeling of not fitting in; to be alone as if the world were against you.

Just as the character of Superman has done so many times before, he has directly inspired and fulfilled many dreams. Henry Cavill's favorite film is 'Gladiator', so it was especially exciting for him to learn that Russell Crowe would be playing his Kryptonian father, Jor-El. And back in 2005, he was neck-and-neck with Daniel Craig for the role of James Bond. Though the part went to Craig deservedly, Cavill has expressed a keen interest in taking over the franchise once the actor retires from it. With numerous box office experts predicting that 'Man of Steel' will gross over $90 million for its opening weekend, I would say that Henry Cavill has a pretty good chance. The Bond producers would be smart to cast someone who's on the trajectory of a meteoric rise.

~ 'Man of Steel' Official HD Trailer
~ 'Man of Steel' Soundtrack Preview, Score by Hans Zimmer (Video)
~ Exclusive 13 Minute Featurette on 'Man of Steel'
~ Richard Donner: "No one will ever play Superman the way Christopher Reeve did."
~ DTS Headphone: X Debuts on Hans Zimmer's 'Man of Steel' Soundtrack
~ Henry Cavill Sets Sights on Daniel Craig’s James Bond Job
~ 'Man of Steel' Will Open Door for More DC Comics Superhero Movies

© Zoey Francis and Zen For Zoey, 2018. Unauthorized use, duplication, and/or alteration of this material without express and written permission from this blog's author/owner is strictly prohibited. All photos owned by studios/networks are covered under "Fair Use", as the purpose of this blog is for commentary only and is entirely not-for-profit.

'THE MIST' SCREENING: Frank Darabont And Thomas Jane

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Sun, 02 Jun 2013 10:02:00 +0000

It's fitting that my first outing to the Hero Complex Film Festival was to see my favorite talent in the industry. This year's line-up included horror heavyweight, John Carpenter, as well as genre directors, Guillermo del Toro, Roland Emmerich, and Chris Carter. But it was Frank Darabont who I wanted to see, not only because of his invaluable contributions to film, but also his efforts to elevate the standards of television. In addition to this, he's a humanist who values camaraderie and loyalty amongst friends and colleagues, which is why I also greatly respect him as a person.

FRANK DARABONT: AN EXTRAORDINARY TALENT

When Frank Darabont was a teenager, he belonged to a book-of-the-month club. Finances were tight, so when his selection was sent one fateful day, he had planned to send it back. But the book fell open as he was moving it, and when his eyes glanced down at the work of the masterful Stephen King, he found that he couldn't stop himself from reading the entirety of 'The Shining'. Just like countless other fans, he was hooked. But what set his story apart from others, is that he went on to adapt and direct a short film based on King's 'The Woman in the Room' (1983). This creative endeavor would be the start of a beautiful friendship and partnership that would span decades.

My first introduction to Frank Darabont's work took my breath away. Few movies affect me in such a manner that I'll recall numerous details or lines of dialogue years after viewing it. 'The Shawshank Redemption' haunted me; it was a poetic piece of film work, if I ever saw one. It turned a setting as bleak as a prison into a place where troubled souls sought redemption; where they sometimes even learned life lessons that society had failed to teach them. In the case of Andy Dufresne, it was a true testament to his strength of character that he remained hopeful that he would someday escape. Perhaps the fact that he was innocent played a large part in sustaining his convictions. But while imprisoned for all that time, he became self-aware as well as selfless, and sought to improve the treatment and living conditions of the inmates with gestures big and small. The conclusion of this film is probably the most uplifting ending that I've ever seen.

'The Shawshank Redemption' (1994) was a critical success, earning seven Oscar nominations for Frank Darabont (Best Adapted Screenplay), Morgan Freeman (Best Actor), Roger Deakins (Best Cinematography), and Thomas Newman (Best Original Score), among others. Though its overall box office was only slightly above production costs, due to word-of-mouth, it was able to secure a second life through video distribution and cable television. In 2007, it appeared on AFI's '100 Years... 100 Movies' list, besting two acclaimed films that had been released the same year: 'Forrest Gump' and 'Pulp Fiction'.

After Stephen King published 'The Green Mile' in 1996, he approached Frank Darabont to adapt it for the cinema. But King did so with the realization that Darabont might not want to follow up a prison movie, albeit a tremendous one, with a similarly-themed project. After reading it, however, Darabont moved forward with the film, and ultimately directed Michael Clarke Duncan to an Oscar-nominated performance. 'The Green Mile' (1999) was also a huge financial success; costing $60 million and grossing over $286 million worldwide. King described his reasoning for the long-standing partnership that he formed with Darabont: "Well, I'd be a fool not to trust Frank. Every adaptation he's done has been terrific. I trust him as a person, but more important than that, I trust his creative sensibility."

Given the serious drama of his biggest films, it might come as a surprise that Frank Darabont's first love is the horror genre. In the late 80's, he was a writer for 'A Nightmare on Elm Street 3: Dream Warriors', a remake of 'The Blob', and 'The Fly II'. Prior to his first full feature as a director, he contemplated whether it should be 'The Shawshank Redemption' or 'The Mist'. He describes what it was like before his big break: "In that situation, you read a story and you think, I'd love to make that as a movie --- even though I didn't have a film career yet. There's a part of your brain that says, 'Well, that'll never happen,' but there's another part of your brain that says, 'To hell with doubts,' you know, banish doubts. If we let the doubts rule our thinking, we'd never get anywhere in life --- never accomplish anything."

'THE MIST' (2007):

Back in 1985, I came across 'The Mist' in Stephen King's 'Skeleton Crew'. There was something so elegant about his method of elevating horror stories by fleshing out characters that really made you give a damn. In his original story, right before the protagonist leaves with his young son to go into town, he gets the sudden feeling that his wife should come with them. David's intuition tells him that something's not right; that the mist advancing towards their home is somehow a dangerous threat, without knowing how or why. But because he fails to communicate this, it's something that he'll later come to deeply regret.

These kinds of details in King's stories are brilliant because they ring true. This is precisely why Frank Darabont and Stephen King complement each other so well. Both writers have demonstrated a keen insight into the human psyche. They instinctively know what motivates people and how they perceive things, which is why their dialogue is often realistic. And because they share the same creative priorities in developing a storyline and its characters, their collaborations are all that more powerful.

With the ending of 'The Mist', Frank Darabont wanted to surprise the audience, and therefore deviate from King's source material. He ran it by the author, because it was something that he felt very strongly about. King ended up so pleased with the conclusion, that he told his friend he wished he had thought of it himself. Darabont revealed that there was a specific set-up in the movie that actually made the writer jump from his seat. He proclaimed with a smile, "I scared King."

**SPOILERS BELOW.**

The movie opens with a family of three in their home at night. David's an artist (he creates film poster artwork), and he and his wife have an eight-year-old son, Billy. A violent electrical storm wreaks havoc. The next morning, they discover substantial damage. They also observe a mist coming across the lake. David, Billy, and their next door neighbor, Brent Norton, end up going into town together to pick up food and other supplies. There's a delicate truce between David and Brent because of a recent property dispute, but they're able to put their differences aside. As they're driving to the store, they pass a number of military vehicles speeding in the opposite direction. When they arrive, David checks his cell, but there's no signal. On top of that, service is out on a nearby pay phone.

Inside the grocery store, it's packed with customers stocking up on items before they sell out. We're introduced to Ollie, the assistant manager, as he talks to David and then greets another customer, Mrs. Carmody. She has a stern demeanor, and later on, reveals rather fanatical religious beliefs. A brief time later, a siren goes off. The kind that you might hear from a military base declaring a state of emergency. The customers try to see what's going on. The front of the store is mostly plate glass, which allows them to see into the parking lot. They witness a man running quickly in their direction. Dan enters the store and yells that something in the mist took John Lee, that they should shut the doors and no one should go outside.

As the mist begins to move in quickly and blanket their surroundings, there are still a number of people running in the parking lot. Ignoring Dan's warning, a man leaves the grocery store and runs to his car. The mist washes over him; obstructing all from view. They suddenly hear him scream. Mrs. Carmody tries to see what's out there and declares, "It's death." All of a sudden, the store shakes violently, as if from an earthquake. However, no one is injured. At this point, everyone's nerves are shot after this sequence of events, and they try to make sense of what's happened. Then a woman on the verge of tears tells them that she has to leave, because she left her two children alone at home. She asks for someone to help her get there, but no one is willing to do so. Angrily, she walks outside and disappears into the mist.

**END OF SPOILERS.**

From this point on, the suspenseful elements of the movie continue to build at an expert pace. The various creatures coming out of the mist look like they've materialized out of someone's worst nightmares. To describe what they do or the events themselves, would not do the film justice. I highly suggest seeing the visual spectacle, and experiencing the thrills for yourself. (For 'The Walking Dead' fans, Greg Nicotero was the special effects supervisor for this project.)

Aside from the supernatural elements, what makes this movie completely riveting is the way that it explores the dynamics between people forced together in a highly volatile environment, battling not only monsters, but each other. To this extent, it reminds me of the classic novel, 'Lord of the Flies'. Start with a growing fear of the unknown, brush aside all societal politeness, add "survival of the fittest" into the mix, and you end up with people developing a mob mentality, with some even turning into savages. This is a theme that Frank Darabont handles adeptly, and continued to illustrate when he created the hit series, 'The Walking Dead'.

In 'The Mist', Darabont assembled a fantastic cast, some of whom fans would recognize from his other projects. His first choice for the lead was Thomas Jane. He felt that the actor had never been given the opportunity to fully express his abilities. I've seen Jane in a number of movies and television shows; always finding him a likeable presence. But what he did with this role proved that he's a natural. He comes across as strong and vulnerable at the same time. He's also convincing as a man who's trying to do the right thing, willing to act quickly to try to save lives, but also juggling his priority as a protective and loving father. But before I make his character sound too unrealistically heroic, he also makes some grave mistakes in judgement, as people sometimes do.

Rounding out the cast are performers who Darabont was thrilled to work with. The acting was above and beyond what you would normally find in a typical horror film. This speaks volumes about the calibre of talent that the filmmaker attracts. These actors include: Marcia Gay Harden, Toby Jones, William Sadler, Andre Braugher, Laurie Holden, Jeffrey DeMunn, Melissa McBride, Sam Witwer (the last four actors were all in 'The Walking Dead'), Frances Sternhagen, Nathan Gamble, and Alexa Davalos (she'll be appearing in Darabont's upcoming noir series, 'Lost Angels').

THE SCREENING:

The Hero Complex Film Festival took place at the TCL Chinese 6 Theatres in Hollywood. It was our first time there, and they were in the process of remodeling, but it didn't affect the screening at all. Coincidentally, there were at least two other film festivals taking place in the area, so May seems to be a popular month for such events. It was surprising to me that Frank Darabont's screening didn't sell out. Because of this, we were able to get outstanding seats a few rows from the front, and there wasn't even a line. Watching the movie on the big screen was quite nice, but they definitely had the sound up, way too loud. After about fifteen minutes though, I got used to it.

After the film was over, an announcement was made that Thomas Jane was a surprise guest, joining Frank Darabont to discuss the making of 'The Mist'. I was so excited because how often do you get the chance to see your favorite filmmaker and the leading man in person? As Frank walked down the steps, I noted that he was wearing one of his many Hawaiian shirts, which of course, endeared him to me even more. As Thomas Jane followed, I didn't even recognize him at first! He had longer hair, and was thinner than when I had last seen him on TV. It was amusing to us that his shirt was barely buttoned, he was barefoot, and he brought popcorn with him. He was clearly comfortable being himself in front of an audience.

The Q&A was moderated by the editor of Hero Complex, and the gentlemen revealed fascinating stories about what took place on set. Frank was gracious, humorous and articulate, and though Thomas didn't speak as often, when he did, he could be unpredictably funny. Frank spoke about how he directed an episode of 'The Shield', and then borrowed their cinematographer and two of their camera operators for 'The Mist'. Thomas mentioned how quickly these cameramen worked; how they would physically move actors where they wanted in order to get the best shots. On occasion, even an actor would do the same with them, so that filming became a very active, collaborative effort.

They also talked about the homage to Drew Struzan. The legendary American artist is known for painting more than a hundred and fifty film posters which millions of people have seen, all over the world. In 'The Mist', David is painting a poster for what looks like 'The Dark Tower', while the artwork for 'The Thing' and 'The Shawshank Redemption' hang on his wall. Speaking of King's 'The Dark Tower', Frank revealed that his friend had offered it to him for an adaptation, but given the scope and length of time it would take for such a project, he politely declined.

Other interesting tidbits:

-- Both men are into comics, and Frank said that he's envious of Thomas' collection. Thomas wrote 'Bad Planet', published by Image Comics.

-- Both feel that the black-and-white version of 'The Mist' is the best one.

-- Thomas brought up the original 'Twilight Zone' series; they're both huge fans of the work.

-- Thomas joked that if he hadn't turned down an 'X-Men' role, he'd be a movie star.

-- Thomas mentioned asking HBO to greenlight 'The Walking Dead', even though he was already the star of their series, 'Hung'. At this point, Frank reveals that Thomas had been his first choice to portray Rick Grimes, but that Andrew Lincoln did an excellent job with the role. Frank mentions how he enjoys working with his friends, and if he "vibes" with someone, he'll definitely want to work with them again.

-- Frank went off on a humorous tangent and said that anyone who thinks Deckard is a replicant, is wrong. (I've always believed that he wasn't a replicant, even with different versions of the film.)

-- And last, but not least, in answering an audience member's question, Frank mentions that he loves 'L.A. Confidential' (one of my all-time favorites), and looks to bring something exciting to television with his TNT noir series, 'Lost Angels'.

Even though I didn't get to meet Frank Darabont or Thomas Jane, it was such a thrill to see them at the screening. What made it even more memorable, was that they both looked over and made eye contact a number of times. I wanted to pinch myself to see if I was dreaming, or maybe I imagined it. But by the end of the Q&A, the man sitting one seat over to my right had noticed it as well, and looked over with curiosity. I imagine that he was wondering if I knew them or perhaps I was in the business. Who knows what the future may hold? Given my lifelong interest in movies, those are definitely goals worth striving for!

~ 'The Mist' 2 Disc Collector's Edition Blu-ray at Amazon.com
~ Why Frank Darabont Was Unjustly Fired From 'The Walking Dead'
~ Drew Struzan Artwork Portfolio
~ 'Lost Angels' Programming Info on TNT Website
~ How Frank Darabont Will Return Godzilla to His Rightful Place As a Terrifying Force of Nature

© Zoey Francis and Zen For Zoey, 2018. Unauthorized use, duplication, and/or alteration of this material without express and written permission from this blog's author/owner is strictly prohibited. All photos owned by studios/networks are covered under "Fair Use", as the purpose of this blog is for commentary only and is entirely not-for-profit.

'PSYCHO': A Wicked Case Of Art Imitating Life

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Sun, 05 May 2013 08:16:00 +0000

"Well, a boy's best friend is his mother." --- Norman Bates

If Sigmund Freud had been around when 'Psycho' came out, he would have had a field day with it. Not only did the film focus on a character who was a schizophrenic with dissociative identity disorder (split personality), but he also suffered from a case of Oedipus complex and Madonna-whore complex. To put it mildly, the cards were stacked against Norman Bates from ever having healthy relationships, let alone a normal life. Which is exactly why his constant struggle between his dark half and his better self, is such an influential part of motion picture history.

Without a doubt, Alfred Hitchcock was a brilliant filmmaker, especially given the high standards that he applied to his impressive body of work. He understood that true cinematic art would be irrefutable proof that not all movies are disposable, thoughtless entertainment. He meticulously crafted films that stood the test of time, which would remain an eternal part of our psyches. In doing so with 'Psycho', it's no mere coincidence that Hitchcock and his star, Anthony Perkins, shared a number of things in common: Both lost their fathers at a young age (Hitchcock at fifteen, and Perkins when he was five); grew up with domineering, controlling mothers; professed deep-seated fears (Hitchcock had numerous ones; Perkins expressed his pained shyness around women); and suffered from conflicted sexual desires through adulthood. These personally profound issues would go on to greatly shape the film, and both men's legacies would be forever changed by it.

ANTHONY PERKINS

There are some portrayals that an actor is simply destined to play. Such is the case with Anthony Perkins in the role of Norman Bates. Prior to 'Psycho', the affable and multi-talented performer made his screen debut in 'The Actress' (1953). Along with steady film work in which he received notable awards and nominations, Perkins was also active in theater and released three albums between 1957 and 1958. He had a Billboard singles hit with 'Moonlight Swim', peaking at number 24 on the U.S. charts.

But it would be his turn in 'Psycho' (1960) that would connect him with audiences, time and time again. Given his traumatic childhood history, Perkins was able to create a character that was entirely relatable and explained it as such: "I have a lot of affection for Norman Bates and a lot of sympathy. So does the audience, I think. He's not just a monster. He's tortured. The real secret of the 'Psycho' movies is that they're tragedies first and horror movies second."

It would be the loss of his father, and his relationship with his mother, that would define the truth and heartache of his character in 'Psycho'. Perkin's father was an actor as well, and was often away filming. He described his feelings for his father while growing up: "I became abnormally close to my mother and when my father came home, I was jealous. It was the oedipal thing in pronounced form. I loved him, but I also wanted him to be dead so I could have her all to myself." When his father died as the result of a heart attack, he was overcome with guilt and shame. "I was horrified. I assumed that my wanting him to be dead had actually killed him. I prayed and prayed for my father to come back. I remember long nights of crying in bed. For years I nursed the hope that he wasn't really dead. Because I'd see him on film, it was as if he were still alive. He became a mythic being to me, to be dreaded and appeased."

His relationship with his mother was even more complex and damaging. His description of her: "Just a strong-willed, dominant, New England kind of woman. She controlled everything about my life, including my thoughts and feelings... Where are you going? What are you reading? Why are you doing that? She felt she was taking responsibility, but she was really taking control." Even more disturbing, he revealed that, "She was constantly touching and caressing me," turning what should have been a mother's natural affection for her son, into something that was clearly inappropriate behavior.

It was because of this environment in his formative years that Perkins felt conflicted about his own sexuality. As a young actor starting out, he felt painfully shy around women, and turned down advances from the likes of Jane Fonda, Brigitte Bardot, and Sophia Loren. He described what it was like for him: "I had wild fantasies, but my erotic experience was mostly solitary. Along the way I'd had homosexual encounters, but that kind of sex always felt unreal to me and unsatisfying. And I had never had sex with a woman --- the very thought of it terrified me." It wasn't until the age of 39 while filming 'The Life and Times of Judge Roy Bean' (1972) that he had his first romantic relationship. It happened with co-star Victoria Principal, and he confided that, "It was a case of spontaneous combustion."

Interestingly enough, a Vogue photo of Berry Berenson had caught his eye in 1970. She was a professional photographer, they met at a party, fell in love, and were married in 1973. The couple had two sons and remained together for 19 years, when he succumbed to complications from AIDS in 1992. Prior to her death on 9/11, Berenson had stated that they didn't know how he had contracted the virus. In fact, Perkins himself found out the news when a national tabloid printed the story. In the end, Anthony Perkins was surrounded by his family and close friends in the privacy and comfort of his home. Perhaps the knowledge that he was able to build such loving relationships despite the hardships he endured early on in life, had given him much-needed closure and peace.

'HITCHCOCK' (Mild Spoilers)

As a child, I remember watching 'Alfred Hitchcock Presents' and thinking, "What an odd man." His image appeared to be all seriousness, but there was an underlying current of mischief. Had I seen 'Psycho' back then (my parents let me watch just about anything), I would have missed so much of what was being conveyed, due to lack of comprehension. Of course, it's not until now that I fully understand why countless cinephiles herald the filmmaker as "The Master of Suspense". Aside from the genius of his technical achievements, he created multilayered film work through the use of foreshadowing, symbolism, and thematic elements. He also understood the power of sexual repression as a driving force behind deviant acts, because it was one of his own internal demons.

Having watched the movie 'Hitchcock' (2012), it allowed me to see the the man behind the filmmaker. There were a couple of things that I would have preferred that they left out, such as having Anthony Hopkins as Hitch, opening and closing the film by directly addressing the audience. Also, there were scenes involving Ed Gein, the true life serial killer that the original novel was based on. These particular sequences felt contrived and didn't mesh well with the tone of the rest of the film. It would have been a much more enjoyable viewing experience without them.

That being said, 'Hitchcock' is a movie that I would definitely recommend. The inspired casting of Anthony Hopkins and Helen Mirren as Hitch and his wife, Alma, is pitch-perfect. The prosthetics and make-up are the best that I've ever seen in transforming an actor into another person. Having watched Hopkins in countless movies throughout my life, and given that he has a very definitive presence, he made me forget that it was him in there and all that I saw was Hitch. Both Hopkins and Mirren were convincing as a couple, struggling in a sexless marriage while depressed by the realities of aging, with the threat of losing relevance in an industry centered on youth and beauty.

'Psycho' was likely Hitchcock's most personal project. Robert Bloch's novel resonated with him because it touched on two pronounced themes: Fear, and an obsession with mother. Hitchcock revealed that his own mother had been a tyrant and forced him to stand at the foot of her bed recounting his daily activities, to which he referred to as his "evening confession". In his youth, he developed a number of phobias; he was afraid of heights, eggs, policemen, and enclosed spaces. His thoughts on the very subject: "Fear isn't so difficult to understand. After all, weren't we all frightened as children? Nothing has changed since Little Red Riding Hood faced the Big Bad Wolf. What frightens us today is exactly the same sort of thing that frightened us yesterday. It's just a different wolf. This fright complex is rooted in every individual."

When Hitchcock announced that his next movie would be based on a book about a serial killer, the news was not well received. Even though he was established as a respected filmmaker, Paramount Pictures balked at the prospect of backing such a project. But Hitchcock was determined to make the film at all costs, and ended up financing it on his own in the amount of $800,000. He decided to shoot the film in black-and-white because he believed it was too gory to be shot in color, and he needed it to be as inexpensive as possible. In the end, Hitchcock received sixty percent of the back-end profits, amounting to around $15 million.

Amidst the success of 'Psycho', there was always the controversy of how Hitchcock handled his leading ladies. He was well known for controlling what they did, on and off the screen. Hitchcock was very public about his displeasure when Grace Kelly and Vera Miles choose domestic life over their careers. He viewed their decisions as personal betrayals, and at times, reacted in vindictive ways. A large part of the psychological reasoning behind his behavior is because he specifically chose women that he found sexually appealing. He obsessed about them and they became his muses. If they played along with the fantasy, then filming on a project went smoothly, but if they refused his flirtations or advances, there was hell to pay. Tippi Hedren experienced it firsthand on 'The Birds', and collapsed on set after prolonged emotional strain and having real birds thrown at her for a scene. In 2012, HBO released 'The Girl', a film that depicts Hedren's turbulent experiences with Hitchcock.

'BATES MOTEL' (Major Spoilers)

It's always a good sign about the potential quality of a series when a network orders a full season instead of a pilot. Such is the case with A&E's runaway hit, 'Bates Motel'. The success of the show is not surprising, given that Carlton Cuse is behind the project. The executive producer and screenwriter was a major contributor to 'Lost', and even won the prestigious Peabody Award for it. He's been tapped as showrunner for Guillermo del Toro's new vampire series, 'The Strain', and is helping to adapt episodes from the novels. Cuse and Kerry Ehrin are the only writers for the first season of 'Bates Motel', thus ensuring exceptional plotlines and characterizations.

The series starts with Norman Bates waking up in bed, disoriented. He immediately senses that something's not right, and goes looking for his mother in a panic. Instead, he finds his father dead in the garage. He rushes to find his mother, but her reaction is off-putting, leaving the audience to conclude that murder must run in the family. The story then moves to the point where Norman and his mother are en route to their new home in White Pine Bay, Oregon. The place appears to be idyllic and warrants a fresh start, enabling them to move on from their terrible tragedy.

The casting of English actor, Freddie Highmore (Finding Neverland) and Vera Farmiga (The Departed) as the principal characters is absolutely brilliant. Highmore brings to Norman Bates a likeability and vulnerability that's endearing, but when he loses control, it's such a stark contrast that it's riveting to watch. I've seen Farmiga in a great number of films over the decades, and one thing that's always stuck out to me about her, is that she had a detached, almost aloof quality to her performances. But what she brings to Norma Bates is such a tremendous revelation of her natural talent. She can be nurturing, down-to-earth and loving in one scene, and then she's scary as hell the next, because she's turned demanding, overly emotional, or downright crazy. And then there are quieter moments, where her body language alone communicates her disappointment, and that's just as devastating to Norman as any overt statement.

Rounding out the main cast is Max Thieriot playing Norman's older half-brother, Dylan. The relationship between Norma and her oldest son is quite interesting, because for someone his age, he seems to read people quite well. He sees right through Norma's facade of the perfect mother, and though he and Norman don't get along initially, he ends up becoming the protective older brother. This is a fantastic plot device, because what ends up happening is that Norma and Dylan become engaged in a battle for Norman's soul. One smothers him with too much familial (and borderline sexual) affection, and the other believes that what Norman needs the most is a life outside of home.

The supporting cast are just as perfect for their roles. Olivia Cooke (Emma) and Nicola Peltz (Bradley) play Norman's potential romantic interests. Nestor Carbonell (The Dark Knight trilogy, Lost) is the mysterious Sheriff Romero, and Mike Vogel is Deputy Shelby, who becomes a love interest for Norma. Jere Burns (Justified) has just been introduced as the oh-so-creepy Mr. Abernathy, who has a questionable past related to previous criminal activity associated with the Bates Motel.

The true genius behind the series is the way that Norman's murderous impulses have originated. As we watch from episode to episode, we're given tidbits of clues, which are very effective in heightening tension. We find out that Norman has been blacking out when faced with highly stressful situations, similar to a fight or flight reflex. During this period, he commits violent acts which he has no memory of, upon recovering. This is an actual condition that can occur with bipolar disorder (manic depression). The blackouts, violent behavior, and memory loss occur during manic episodes or attacks. By making Norman's violent impulses a direct result of something beyond his control, and one that's triggered out of a sense of feeling threatened, the series has created an urgent sense of reality.

I'm thrilled that 'Bates Motel' was renewed for a second season, and I look forward to seeing how the writers continue to reinvent the world of 'Psycho'. The series has been utterly addictive: at times, darkly funny and extremely disturbing, yet always smart and suspenseful. It's a thrill ride that's full of twists and turns that will leave your head spinning, and craving for more.

~ Sequence From 'Psycho': "Well, a boy's best friend is his mother."
~ Designing 'Bates Motel' (Video)

© Zoey Francis and Zen For Zoey, 2018. Unauthorized use, duplication, and/or alteration of this material without express and written permission from this blog's author/owner is strictly prohibited. All photos owned by studios/networks are covered under "Fair Use", as the purpose of this blog is for commentary only and is entirely not-for-profit.

HAWAII: A Prime Location For Film And Television

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Fri, 19 Apr 2013 22:32:00 +0000

No other word captures my attention quicker than Hawaii. It left a deep imprint on me, as a formative part of my late childhood and preadolescent years. I recall hot summer afternoons at the Ice Garden in Aiea, where two kind, elderly Asian women who barely spoke a word of English created marvelous shaved ice concoctions. Then there's the time where I saw the spectacular sight of an upside down waterfall near Pali Lookout, on a field trip with my history class. And a more recent, cherished memory was when my significant other and I hiked up to the top of Diamond Head during our first vacation on Oahu, and enjoyed the amazing, panoramic view.

Hawaii is much more than just a tropical paradise; it's a way of life. The islands have a proud and rich heritage and culture. In fact, in lieu of American history, we were taught Hawaiian history throughout my years of schooling there. Hawaii has its own language ("aloha" is used for hello and goodbye), music (ukulele lessons were the norm in school) and dance traditions (hula is danced by women and men). It also has a unique cuisine that's often a fusion of native Hawaiian specialities and Asian dishes. The best representation of an "ono" (delicious) spread, is at an authentic and festive luau.

Visiting Hawaii is almost like time travel. The majority of the buildings in Waikiki are representative of the 1970's. And small towns in Maui are filled with historic landmarks. But what makes the islands unlike any other place in the world, is its history. In a sense, they remind me of the British Empire because Hawaii was once a kingdom unto itself and had royalty as a means of governing. And in another respect, their beliefs in Hawaiian gods and goddesses is representative of Greek mythology. It could even be stated that these beliefs are superstitious. When we were vacationing on Maui, right before our privately guided tour, we were told that we shouldn't remove any lava rocks from our visit to the islands. To do so would anger the goddess Pele, and it might cause negative consequences as a result. To prove his point, our guide mentioned that a number of packages of lava rocks had been shipped back to the islands over the years. These kinds of stories only add to the mystique and charm of Hawaii.

Just last week, while watching the season premiere of 'Mad Men', I felt a strong longing to return. Don and his wife, Megan were vacationing on Oahu and enjoying the splendor of Waikiki Beach as well as a luau at The Royal Hawaiian Hotel. Later on, when Don was making a pitch to his client, he described what he felt: "You don't miss anything. You're not homesick. It puts you in this state --- the air and the water are all the same temperature as your body. It's sensory --- the music, the fragrance, the breeze and the blue... " Hawaii has long been a favorite location for shooting movies, miniseries, and television shows. Oahu, Maui, Kauai, and the Big Island have all been used extensively, and each have their own magnificent characteristics that set them apart. Oahu is known for more of a metropolitan setting, while Maui offers a beautiful black sand beach, and the Big Island stands out for its volcanic landscape in a National Park.

The versatility of the climate (it can vary depending on where you are on any given island), the lush green forests, the beaches, the small towns, as well as city life, all make the Hawaiian islands easily adaptable for just about any type of production. This is exactly why Hollywood returns year after year, and decades long after to film in a place that brings out everyone's desire for hedonistic sensibilities. And though not all of these projects are successful (financially or by standard of quality), at least we get to see Hawaii on the screen, and dream of the day when we'll get to experience the magic for ourselves.

HAWAII IN FILM:

1) 'From Here to Eternity' (1953):

This classic starred a powerhouse ensemble including Burt Lancaster, Montgomery Clift, Frank Sinatra, Ernest Borgnine, Donna Reed, and Deborah Kerr. Based on the bestselling novel by James Jones, it dramatizes the relationships between soldiers and their superiors, and the women who love them, as the bombing of Pearl Harbor looms on the horizon.

2) 'Blue Hawaii' (1961):

A musical that starred Elvis Presley, this project was considered a moderate success for that time. But it would only be the first of three movies filmed in Hawaii starring the legendary entertainer. Elvis would go on to star in 'Girls! Girls! Girls!' the following year, and 'Paradise, Hawaiian Style' in 1965.

3) 'King Kong (1976):

A remake of the 1933 film with the same title, this version starred Jeff Bridges and Jessica Lange. It's one of my childhood favorites, and I must confess, it was a major catalyst in developing my compassion for animals. For me, this film worked better on an emotional level compared to Peter Jackson's version because it was a real actor in the suit, and his eyes spoke volumes about the pain and suffering that was inflicted on Kong. I also felt that Jessica Lange was perfectly cast as the bombshell actress turned damsel-in-distress, and prefer Jeff Bridges as the hero.

4) '10' (1979):

This Blake Edwards' comedy catapulted Bo Derek to sex symbol status in her first major movie appearance. The film also proved that Dudley Moore was a natural talent, who had impeccable comedic timing and delivery. He would continue to have a very successful run of adult comedies throughout the 1980's.

5) 'Raiders of the Lost Ark' (1981):

The perfect film for the young-at-heart, this classic stars Harrison Ford as Indiana Jones in a performance similar to his turn as Han Solo, but just as unforgettable. This was a project among several that would cement the creative partnering of Ford with Steven Spielberg, George Lucas, and John Williams.

6) 'Body Heat' (1981):

An undeniable chemistry between William Hurt and Kathleen Turner, and an atmospheric, titillating script by Lawrence Kasdan set a high standard for similar films to follow. All three would continue to prove that they were talents to be reckoned with, and provided considerable contributions to the film industry.

7) 'Black Widow' (1987):

This thriller starred Deborah Winger as a Justice Department agent who becomes obsessed with a woman (played by Theresa Russell) who she's convinced is marrying wealthy men, only to murder them for their money. As she becomes more determined to prove her case, she goes undercover and befriends her, which ratchets up the suspenseful element already at play.

8) 'Point Break' (1991):

Directed by Kathryn Bigelow, actors Keanu Reeves and Patrick Swayze made an interesting match as both friend and foe. The crime caper has some great action sequences, comedic elements courtesy of Gary Busey, and of course, a few impressive surf scenes.

9) 'Jurassic Park' (1993):

There's no better place than Hawaii to make a movie where the central theme is: Don't mess with Mother Nature. I remember watching the opening sequence for the first time, and thinking, "Yikes! This isn't a typical Steven Spielberg movie. It's going to be a bumpy ride."

10) 'A Very Brady Sequel' (1996):

I grew up watching 'The Brady Bunch' and found it to be very wholesome entertainment. As such, I thought it was particularly clever and funny that the movies parodied the TV show, having Greg develop uncomfortable feelings for Marcia, Jan questioning her sanity because of her deep-seated jealousy, and everyone not being able to relate to their family because they're stuck in the 70's.

11) 'Pearl Harbor' (2001):

Having been to the Pearl Harbor Memorial, I can say without hesitation that this movie did not do the subject matter justice. I was extremely disappointed when I learned that Michael Bay and Jerry Bruckheimer were in charge of the project. Given the sensitivity of this historical event, it needed a filmmaker with different creative priorities. I think Frank Darabont ('The Shawshank Redemption'), Christopher Nolan ('The Prestige') or directors of their ilk, would have handled a project of this calibre with the intelligence and reverence that it deserved.

12) 'Punch-Drunk Love' (2002):

I've never been a fan of Adam Sandler's comedic movies. So when I decided to give this romantic indie a shot, I was absolutely shocked by his performance in it. It proves once again that if a performer has raw, natural talent, it only takes the right filmmaker to bring out their very best. And that's exactly what Paul Thomas Anderson did. On top of this, Sandler and Emily Watson had an effortless chemistry together, and that's why the film resonated long after.

13) 'Tropic Thunder' (2008):

One of the funniest (and politically incorrect) ensemble action comedies in many years, this movie starred Ben Stiller, Robert Downey Jr., and Jack Black, along with hilarious cameos by recognizable performers. The story follows a group of stereotypical actors who believe that they're in the middle of filming a movie, when in fact, their director has dropped them squarely in the thick of danger.

14) 'The Descendants' (2011):

This critically acclaimed film by Alexander Payne is based on the novel by Kaui Hart Hemmings. It's a story about a middle-aged father (played with true humor and angst by George Clooney) whose wife ends up in a coma after a boating accident. In the midst of juggling the care of his two young daughters and negotiating a major deal involving his family's ownership of land, he's devastated when he finds out that his wife had been unfaithful. But sometimes it takes a crisis to make a family stronger. Take a look at the HD trailer here. And also listen to a sample of authentic Hawaiian music from the soundtrack.

15) 'Rise of the Planet of the Apes' (2011):

Adding to my love of 'King Kong' as a child, I also greatly enjoyed the 'Planet of the Apes' movies. To me, these films were much more than just adventure or action set pieces. They had something deeper to convey about humanity's relationship to the natural order of things, and the way we viewed ourselves in the animal kingdom. I was quite disappointed by Tim Burton's addition to the franchise in 2001, so I wasn't the least bit excited when I heard about a new film. But after reading articles and reviews prior to its release, I knew I had to see it for myself. The movie turned out to be everything that I could have hoped for, topped by a phenomenal performance by Andy Serkis. I can't wait to see the sequel next year, especially since Matt Reeves ('Cloverfield', 'Let Me In') is directing and the cast includes Gary Oldman, Jason Clarke ('Zero Dark Thirty'), and Keri Russell.

HAWAII IN TELEVISION:

16) 'Gilligan's Island' (1964):

The pilot of this popular hit series was shot in Hawaii, but subsequent episodes were shot on sets. I enjoyed the show very much, along with other comedies of that period, such as 'I Dream of Jeannie' and 'Bewitched'.

17) 'Hawaii Five-O' (1968):

This megahit of a series starred Jack Lord as Detective Lieutenant Steve McGarrett, and actually ran for twelve consecutive seasons. It featured one of the most memorable recurring lines ever: "Book 'em, Danno."

18) 'Fantasy Island' (1977):

An interesting premise about an island that can give you almost anything that you want, with the caveat being that there's always a lesson to be learned. Ricardo Montalban and Herve Villechaize provided consistency as the welcoming host and his assistant, while different guest stars appeared each week, similar to the format of 'The Love Boat'.

19) 'Magnum P.I.' (1980):

Tom Selleck became a household name with his role as Thomas Magnum, and started an entire fashion trend of older men growing bushy mustaches, wearing too-tight short shorts, as well as their emotions on their sleeves. Jesting aside, this show is an all-time favorite among the military and Hawaiian locals who watched it when it originally aired.

20) 'The Thorn Birds (1983):

This miniseries based on a novel by Colleen McCullough starred Richard Chamberlain and Rachel Ward as star-crossed lovers. Set in the Australian outback, the story focuses primarily on the lives of one influential family and their devoted friend, Father Ralph de Bricassart. As passionate feelings develop between Ralph and Meggie Cleary, his faith and loyalty is put to the test, with tragic consequences.

21) 'Tour of Duty' (1987):

This popular series starred Stephen Caffrey and Terence Knox as soldiers of a platoon serving in Vietnam. The show was considered ground-breaking at that time for dealing with tough issues head-on: suicide, drug abuse, racism, among others, as well as the difficulties of adjusting to civilian life after serving in prolonged combat.

22) 'Lost' (2004):

After the success of 'Felicity' and 'Alias', J.J. Abrams proved that he was ready to move into the big leagues with this mind-bending series. The pilot played like a movie, and posed numerous questions that would intrigue and defy the logic of the majority of its viewers. Abrams, along with all of the head writers, would go on to create other notable TV shows and movies.

An interesting sidebar: As luck would have it, we were vacationing on Oahu in April of 2010. Having arrived early for our dining reservation at The Kahala Resort, we were happily surprised when the cast walked through the lobby, and guessed that they were shooting a retrospective of the series just after it had ended. By the way, actor Henry Ian Cusick (Desmond Hume) is not the least bit shy to show his interest in a lady, even when she's clearly taken. He did this more than once, which amused us to no end. If only I had started my blog sooner, I would have asked if I could interview him!

23) 'Hawaii Five-0' (2010):

This version of the series stars Alex O'Loughlin as Steve McGarrett, with Scott Caan, Grace Park, and Daniel Dae Kim ('Lost') rounding out the regular cast. The show has been a big hit for CBS, and they just announced its renewal in March for a fourth season. Check out the full, updated theme here.

24) 'The Event' (2010):

The pilot of this series was a pleasant surprise. It's rare to come across something on mainstream television that's imaginative and suspenseful. Unfortunately, it only lasted one season. But at least the network allowed the creators to wrap up all the loose ends. The story interweaves a number of subplots involving the President of the United States and his staff, a ruse on a young couple that ends up in a kidnapping, and alien refugees imprisoned by the government for decades. Though it has a science fiction element to the plot, it's more of a political conspiracy thriller, and it's quite enjoyable to watch.

25) 'The River' (2012):

This was the first time that a major series used the found-footage/documentary technique as its regular format. Though it doesn't work the entire length of the series, I still found it to be watchable the majority of the time. The basic premise involves a well-known explorer going missing in the Amazon basin, and his estranged wife and son put together a crew to go searching for him. With enough suspenseful and creepy elements to maintain the narrative, the show manages to keep the audience guessing.

26) 'Last Resort' (2012):

I was surprised by how much I enjoyed this military series, especially since we watched the preview in the movie theater, and it appeared rather formulaic. It goes to show you that a bad trailer or preview can sink a project with a lot of potential. The series turned out to be consistently suspenseful, and the acting by Andre Braugher and Scott Speedman was top-notch. The plot involves a submarine captain and his crew who go against orders to launch ballistic missiles upon Pakistan, after rescuing a Navy SEAL team. They rightly assess that things are not what they appear to be, and from that point on, the political forces at work use everything in their power to hunt them down, before they can uncover the truth.

This is a partial listing of movies and television projects filmed on the islands. Check out additional information at the Hawaii Film Office here.

'THE AMERICANS': A Provocative Thriller About Cold War Era Spies

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Tue, 12 Mar 2013 20:58:00 +0000

Are things heating up between the U.S. and Russia? In June of 2010, FBI agents arrested ten people who had been living in the U.S. under false identities, sent as spies by the SVR (Russian Foreign Intelligence Service) to infiltrate different organizations and to gather intelligence from various sources. An eleventh individual had been arrested in Cyprus, but was declared missing after he later posted bail. In October of 2011, the assistant director of counter-intelligence revealed that they decided to make the arrests after over a decade of investigations, because the network had been close to placing an agent within reach of a Cabinet official: Secretary of State, Hillary Rodham Clinton.

Then in October of 2012, federal authorities arrested eleven individuals at a business used as a front for smuggling $50 million worth of high tech electronic components to Russian military and spy agencies. Just two months later, an undercover operation busted a former U.S. Navy submarine specialist (a twenty year veteran), after he attempted to provide classified warfare information to who he thought were representatives of the Russian Federation.

All of these real-life events makes the new FX series, 'The Americans', incredibly relevant and timely. The phenomenal television show is the brainchild of Joe Weisberg, an author and former CIA officer. When he saw the story involving the network of Russian spies living on U.S. soil, he immediately came up with the premise for his next project. Since the American public seemed to respond to the news in stride because Russia no longer appeared to be an urgent threat, Weisberg decided to set his series during the Cold War of the 80's.

The foundation of the premise is a brilliant examination of how far two KGB spies are willing to go, in the name of patriotism for their motherland. They enter an arranged marriage as a large part of their cover, and for fifteen years live as husband and wife, even raising two children together. Of course, a contributing factor to the sustained tension, is that their son and daughter are completely unaware of who their parents truly are. Things come to a head when they fail to deliver a highly valuable federal informant (and defector) who is just as dangerous as they are, and an FBI agent who is part of the counter-intelligence task force moves across the street and becomes a friendly neighbor.

Watching the pilot was an immersive experience. The writing and dialogue is fresh, smart, and emotionally realistic. The use of memorable songs such as "Tusk" by Fleetwood Mac and "In the Air Tonight" by Phil Collins instantly transports you to the earlier decade. The production values are fantastic, and it felt like a movie rather than a television series. I haven't been this excited to see additional episodes of a show since 'The Walking Dead' first aired. And though I've already read numerous comparisons to 'Homeland', as much as I enjoy that series, 'The Americans' is better, both on the strength of the characters and the actors playing them.

If you saw Keri Russell in 'Mission: Impossible III' and was simultaneously surprised and impressed by her turn as a field agent, you'll be absolutely amazed by what she accomplishes here. The character of Elizabeth Jennings couldn't be farther from any role that she's ever taken on. It's a complex portrayal and between the two KGB spies, she's actually colder, and quite possibly the more dangerous threat. But as the pilot progresses, her motivations and past reveals a small part of why she interacts with men the way that she does, and why she's an unswerving loyalist to her country.

As Phillip Jennings, Welsh actor Matthew Rhys, is a true revelation. His ability to turn on a dime from a caring husband and father into a relentless spy and foe, is captivating to watch. The duality of his character is perhaps the heart of the series. In the pilot, Phillip's loyalties are starting to waver because he's concerned about his family's future (he truly loves his wife and children; it's not an act for him), and over the years, he's grown fond of the American way of life. This is one of the many riveting aspects of the series. He's supposed to be the bad guy in the story, but he's so likeable that you can't help pulling for him.

Both Keri Russell and Matthew Rhys display physical prowess that makes them unquestionable as covert agents. But it's the interlocking themes of the pilot that sets the stage for a number of questions: If you act the part of a married couple, do you inevitably fall in love? If you do, does that jeopardize your future missions? And how do you deal with the knowledge that your partner has to regularly engage in intimate relations with others? Not to mention, how do you contend with the reality that your kids have to be raised in a political system that goes against your beliefs?

'The Americans' is a masterful work of art. On the surface, it's a sexy and dangerous spy thriller full of guile and suspense. But dig deeper, and you'll recognize that it's an intelligent and insightful series, challenging its audience to ask some hard questions about identity, patriotism and family.

© Zoey Francis and Zen For Zoey, 2018. Unauthorized use, duplication, and/or alteration of this material without express and written permission from this blog's author/owner is strictly prohibited. All photos owned by studios/networks are covered under "Fair Use", as the purpose of this blog is for commentary only and is entirely not-for-profit.

20 FILMS THAT SPARK OUR SENSUAL NATURES

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Tue, 27 Nov 2012 10:10:00 +0000

Even though beauty is a subjective thing, we all recognize it when we see it, as a result of our individual tastes. But sensuality is another thing altogether. It can be an elusive element, sadly absent from our daily lives. Why is this the case? For one, some confuse sexuality with it. Sexuality is a function of nature; an instinct that drives us to succeed in perpetuating our species. Sensuality however, is a deliberately cultivated behavior. It requires thought, rather than instinct alone, such as in romantic gestures (versus simply being hit on, which is a sexual overture).

Another reason why sensuality may be absent, is because we're too busy and fail to view it as a necessary component in our lives. Or perhaps we never even took the time to define it for ourselves. But without knowing what it is that we find to be sensual, we allow this part of our nature to remain dormant. The important thing to remember is that sensuality, at its core, is created by a sense of longing, and being in touch with that can truly ignite a passion for living.

1) DANGEROUS BEAUTY (1998): "Desire begins in the mind." -- Paola Franco

Starring a luminous Catherine McCormack (Braveheart), this film is based on the true story of Veronica Franco, a young woman in 16th century Venice who has to forsake a marriage to the man she loves, due to her family's lack of money and station in life. Her mother then decides to train her as a courtesan so that she can support her family, which Veronica fights in the beginning. But she quickly learns that being such has its own advantages (women were not allowed the freedom of education, but courtesans were expected to be highly educated). And because her soul mate is promised to another in an arranged marriage for political gain, the only way that she can still be with him is under the guise of her profession.

'Dangerous Beauty' is a visually breathtaking film: the costumes and cinematography are magnificent. The script is incredibly smart and insightful, and the chemistry between the leads (McCormack and Rufus Sewell) is tender and enticing.

2) BIRTHDAY GIRL (2001): "You, with your nice job and your big house, and you still have to pay for a wife." -- Alexei

A dark British-American comedy with great plot twists, this film cemented Nicole Kidman as a sex symbol and an actress that excelled in indie films. It's the story of a small town bank clerk (played marvelously by Ben Chaplin) who uses a website to request a Russian mail-order bride, only to discover that he's in way over his head. I won't reveal more of the details except to say that this is not a typical romantic comedy, but in fact, has criminal plot points driving it. This one will keep you guessing and laughing out loud in parts.

3) THE PIANO (1993): "My mind has seized on ya and can think of nothing else... I am sick with longing..." -- George Baines to Ada McGrath

Whoever thought that Holly Hunter and Harvey Keitel could create such potent chemistry together? This remarkably engaging film, written and directed by Jane Campion and shot in beautiful New Zealand, haunts the viewer long after it's over. The story follows a mute woman (and her young daughter) who's father sells her into marriage. Ada's most prized possession is her piano, and when her new husband informs her that it must be left at the beach, she reluctantly reaches an agreement with George Baines. He saves her beloved piano and places it in good care at his home, with the understanding that Ada will provide him with lessons, though his real motivation is his attraction to her and her passion for music. A moving story about repression, and relinquishing control to deep-seated desires.

4) OUT OF SIGHT (1998): "You really wear that suit." -- Karen Sisco

An undeniable attraction develops between a habitual bank robber (George Clooney in a charismatic, multi-layered performance) and a U.S. Marshal (Jennifer Lopez expertly handles the tough-as-nails character, with an undercurrent of vulnerability and self-doubt). This is Steven Soderbergh in top form, directing not only the best performances from his two leads, but also from his strong and memorable supporting cast. He's able to create edgy drama, juxtaposed against characters that are sometimes funny (because of their perceptions and reactions to offbeat situations).

It's also rare to encounter a crime story with such heart, as Jack Foley questions his choices and faces the sad truth that he couldn't work an honest job even if he wanted to, and Karen Sisco fights to hold her own against a society that expects her to be a submissive female, rather than someone smart enough to do it all. One of my favorite sequences is when she's sitting in the hotel lounge, and one after another, three businessmen attempt to pick her up, completely oblivious to her disinterest. It's a very truthful scene, made all the more delightful after she rejects them all, and then invites Jack to sit and share a drink when he suddenly appears. It's all about timing, and the right one.

5) THE LOVER (1992): "... He told her that it was as before -- that he still loved her, that he would never stop loving her, that he would love her until his death." -- Narrator

A film known for its steamy sex scenes, the story is based on a semi-autobiographical novel by Marguerite Duras, who also contributed to the script. The plot involves a French teenage girl from a poor family living in Vietnam in 1929, who meets a wealthy and older Chinese man. After they start a torrid affair, they're forced to examine the differences between them regarding race and status; both factors that doom any hope of marriage between them. A tragic love story brought to life by exquisite music, an exotic atmosphere, and beautifully poetic performances by Jane March and Tony Leung Ka-fai.

6) WAKING THE DEAD (2000): "You have to love me, too. Not an image, not an idea. And not in spite of who I am." -- Sarah Williams to Fielding Pierce

This indie film delivered two powerhouse performances from Billy Crudup and Jennifer Connelly. A haunting, mesmerizing story about two people with entirely different goals in life: She's an idealist and activist through her church, while he's from a middle-class family with strong, political ambitions. Despite being opposites, Sarah and Fielding fall hard for each other, and her death early on in the movie sets off a chain of events that causes Fielding to question his sanity as well as his path in life. A truly heartfelt story that reminds me of 'Donnie Darko' due to its sense of urgency, fantastic character portrayals, and situations that are open to interpretation.

7) THE GOVERNESS (1998): "You've made it possible to capture the essense of people --- to fix memory." -- Rosina da Silva/Mary Blackchurch

Starring Minnie Driver and Tom Wilkinson, this provocative period film tells the story of a young Jewish woman, who upon her father's death, decides to masquerade as a gentile governess to support her family instead of agreeing to an arranged marriage. After settling into her duties with her employers, she learns that the patriarch, Charles Cavendish, is a scientist who's seeking to discover the fixation process (images fixed permanently on paper). Before long, she assists him in his work, and they develop an attraction that goes beyond accepted boundaries.

8) LOST IN TRANSLATION (2003): "And the more you know who you are, and what you want, the less you'll let things upset you." -- Bob Harris

A masterpiece written and directed by Sophia Coppola, this is a truly unique gem. Fueled by the minimalism of understated filmmaking, as well as dynamic, though subtle performances by Bill Murray and Scarlett Johansson, this story captures two lost souls who meet by happenstance, develop a connection on a purest level possible, and then part, knowing that they're forever changed by it. One of my favorite films, and it gets me every time.

9) THE OUTSIDER (2002): "If God loves all his creatures --- even the unbelievers, would he demand that I deny the love I bear for this one man." -- Rebecca Yoder, defending her actions to her 'Plain' family and community, in church.

This western meets pioneer film was one hell of a revelation. If someone told me that Tim Daly ('Wings'), could play a tough, intimidating shootist and outlaw, I would have laughed had I not seen it for myself. The film was produced by Showtime Entertainment, and it has the look and feel of a theater release.

The story centers on Rebecca (Naomi Watts), a wife and mother in a community of pioneers called the 'Plain' people (similar to Quakers or the Amish). When her husband is murdered by a cattle baron and his men, she and her young son are left to fend for themselves, though it's not long before a suiter tries to convince her that she needs to remarry. As she and her son are engaged in farm work one day, they see a man walking nearby who loses consciousness; the result of a gunshot wound. Rebecca does her best to care for this stranger, and as time passes and he survives, they grow to depend on each other, though there is an uneasiness at first because they come from such different worlds. As they learn more about each other, an attraction develops, which later has serious implications for all involved. Would Rebecca choose the love of an outsider, or remain devout to the beliefs of her people?

10) A WALK ON THE MOON (1999): "Sometimes it's easier to be different with a different person." -- Pearl Kantrowitz

A truthful drama with comedic elements, this film stars Diane Lane as Pearl, who goes to a summer resort with her family against the backdrop of the Woodstock Festival in 1969. Though Pearl loves her devoted husband (Liev Schrieber), his responsibilities continuously interfere with their quality time together. As Pearl grows restless with the routine of family life, she meets a handsome stranger (Viggo Mortensen) who tempts her to stray and question the choices that she's made thus far. When her husband finds out (which is absolutely gut-wrenching), this forces a close examination of whether their family can survive the consequences of infidelity.

11) THE AGE OF INNOCENCE (1993): "I can't love you unless I give you up." -- Countess Ellen Olenska

The pain and exquisite longing for something that can never be, is brilliantly captured in this period piece directed by Martin Scorsese, with lead performances by Daniel Day-Lewis and Michelle Pfeiffer. Based on Edith Wharton's American novel, this movie is an absolute feast for the eyes, as detailed attention was paid to create luxurious sets, costumes and props. Also, a tremendous musical score was contributed by the gifted composer, Elmer Bernstein.

12) BLISS (1997): "Anyone that doesn't totally accept their body can never experience ecstasy --- can never enable another to experience it." -- Balthazar

Though not a film for all due to its graphic sexual content, what amazes me about this movie is that it was written and directed by a man (Lance Young). With great care, sensitivity and insight, he delved into the subject of sexual dysfunction. The story centers around a devoted husband (Craig Sheffer's best performance) who, desperate to understand his wife's emotional problems and frigidity, seeks help from the very same sex therapist that he forbids his wife to continue seeing. What follows illuminates the issues that haunt his wife, as well as his own sense of denial. The film also stars Sheryl Lee (Twin Peaks), and Terence Stamp delivers a splendid performance as the consummate therapist.

13) THE FABULOUS BAKER BOYS (1989): "Listen, you're not going soft on me, are you?" -- Susie Diamond, when she realizes that Jack Baker wants more than a work relationship.

This indie charmer follows the story of two brothers (Jeff and Beau Bridges) who perform jazz and pop standards nightly, in run-down joints. In an effort to secure more bookings, they decide to hire an alluring female singer. As the trio is met with immediate success and popularity, Suzie and Jack can't deny the growing attraction between them. When they inevitably mix business with pleasure, it sets off a chain of events that forces the brothers to face up to the truth, as well as illusions, about their relationship.

14) GIRL WITH A PEARL EARRING (2003): "Master and maid -- it's a tune we all know." -- Van Ruijven to Griet and Vermeer

This film is based on the novel's fictional account of how painter Johannes Vermeer created the famed portrait. The story tells of a young woman, Griet (Scarlett Johansson) who has to work to support her family when her father loses his eyesight. She ends up as a maid in the Vermeer household (Colin Firth portrays the artist) and as she regularly cleans his studio, she becomes fascinated by his work. He notices her interest, and takes a restrained liking to her. Before long, she becomes an apprentice of sorts, but Vermeer's wealthy patron has motivations of his own. He commissions Vermeer to paint a portrait of Griet, which only adds to the scandalous circumstances surrounding their relationship.

This is by far one of my favorite period films. Scarlet Johansson and Colin Firth create a repressed desire for each other that's entirely palpable. There's also less dialogue in this movie than most, so a great deal of its power and beauty comes from what the performers are able to convey simply by expression. I highly recommend this film for romantics and those who enjoy art.

15) FLASHDANCE (1983): "Don't you understand --- when you give up your dream, you die." -- Nick Hurley

Having learned ballet as a child and becoming a ballroom dance teacher in my early 20's, this movie appealed to me for obvious reasons. What I recall now though, decades later, is how realistic a depiction it was of a proud and stubborn, yet passionate young woman pursuing her dream. Jennifer Beals not only portrayed the character --- she was Alex Owens to a tee. The relationship that she and Michael Nouri conveyed onscreen was utterly believable. Her character engaged in a romance with an older man who also happened to be her boss; very realistic circumstances when a young woman is trying to define herself and wants to be with a man that she can look up to.

16) WHITE PALACE (1990): "Honey, I got everything you need." -- Nora

Talk about polar opposites. James Spader plays Max, a white collar, educated young widow who recently lost his wife, while Susan Sarandon portrays Nora, an older woman with very little education, who lives in a completely different part of town. They first meet under less than ideal circumstances, but later run into each other at a bar. Not recognizing Nora from an earlier argument that he had with her, the two end up sharing drinks. When Max gets too drunk for his own good, this becomes the catalyst that propels their chance meeting into overdrive. Surprisingly, over time, a beautiful relationship blossoms between them, though not without some rather revealing obstacles.

17) BEFORE SUNRISE (1995): "I believe if there's any kind of God, it wouldn't be in any of us, not you or me, but just this little space in between." -- Celine

One of the most romantic films in cinema, this story takes place when Jesse (Ethan Hawke), a young American traveling by train in Europe, meets Celine (Julie Delpy), a young French woman. They end up having a conversation where they feel an instant connection, and he asks her to spend the day with him, walking around and exploring Vienna. As their time together progresses, we get a sense that Jesse is a bit of a cynic, while Celine is somewhat of an idealist with romantic notions. However, the more that they engage in discussion, running the gamut from philosophical ruminations to personal experiences, the more they like each other. Until ultimately, they fall deeply in love.

18) THE MOTHER (2003): "We'll be like that one day. No one wanting us." -- Darren

A British indie that caused quite a stir when it was released and won a number of awards, the story follows an elderly couple who go on a trip to visit their adult children and their families. It's during this visit that the elderly husband dies, and May feels at a loss as to where her place is. Though her children allow her to stay, they're not the most sympathetic. When she spends some time with her daughter Paula, she learns of her romance with Darren (Daniel Craig, in an astounding performance), who also happens to be working on a remodeling project at her son's house. Paula is uncertain of her future with Darren and goads her mother into spending time with him, so that she might ascertain what his intentions are.

As a friendship develops between the two, Darren shows May the kindness and understanding that seems to be absent from her own children. Their relationship takes a surprising turn when she develops romantic feelings towards him. One day while he's working on the remodeling project at her son's house, May asks Darren to accompany her to one of the bedrooms. What's shocking, is that he doesn't decline. Instead, he engages in an ongoing physical relationship with her, all the while continuing to see her daughter. The character of Darren, in the hands of a lesser actor, would have come across as completely one dimensional. Instead, we get the sense that he makes his choices based on empathy, and possibly because he's flattered by the attention. He willingly helps May to awaken feelings that she had long supressed, and reminds her that she has something worth living for.

19) CRUSH (2001): "You know, not one person here is half as beautiful as you are. You make me feel like I'm in love." -- Jed Willis

In this British romantic comedy, Andie MacDowell plays a forty-something headmistress in a small town. Her life is fairly predictable: managing the school and spending time with her two closest friends. But when she runs into a former pupil now in his twenties, she finds herself throwing caution to the wind as they immediately succumb to their sexual attraction. When her friends find out, they berate her for having anything to do with someone so much younger. But as Kate and Jed's involvement becomes more serious over time, it turns into a true test of friendship and acceptance.

20) HERO (2002): Starring Jet Li, Donnie Yen, and Zhang Ziyi

This epic Chinese import directed by Zhang Yimou is an incredible display of art in motion. The costumes, sets, locations, props, and use of color are spectacular. The fight and battle sequences are some of the best that I've ever seen in Asian cinema. The story centers around Jin Ke's assassination attempt in 227 BC, against the King of Quin. But there's so much more going on in this movie, that you have to witness its rapturous beauty for yourself.

WHY DANIEL CRAIG IS MY FAVORITE BOND

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Mon, 05 Nov 2012 02:12:00 +0000

Before the character of James Bond ever graced the silver screen, he was introduced to audiences by an American actor, Barry Nelson. In 1954, 'Casino Royale' was adapted into a television episode in a series called, 'Climax!'. The spy was referred to as Jimmy Bond.

In 1967, a satirical Bond film was released, also based on 'Casino Royale'. A handful of heavyweight talents involved in the project included: Peter Sellers, Orson Welles, Woody Allen and David Niven (Sean Connery was interested, but he was too costly to cast).

However, it would seem that Sean Connery was destined to play the legendary spy, as he first took on the role in 'Dr. No' (1962). He continued his portrayal of Bond for four subsequent films, before returning to the character again in 1971. Though Connery was never my favorite, I greatly enjoyed his performances in other features such as 'Outland' (science fiction thriller, 1981), 'The Untouchables' (crime drama, 1987), and 'The Hunt for Red October' (military suspense, 1990). His natural charm, Scottish accent and dark, good looks cemented him as the favorite for many Bond fans.

When Sean Connery left the role of 007 originally, producer Albert R. Broccoli expressed interest in Timothy Dalton. The actor declined, saying that he felt he was too young to play the part. Then in 1969, 'On Her Majesty's Secret Service' was released with Australian actor, George Lazenby as the beloved spy. Due to the poor advice of his agent, Lazenby declined a contract for seven films, and walked away after just one outing.

In 1973, Roger Moore starred in his first Bond film, 'Live and Let Die'. What's amazing to me is that Moore was forty-five years of age when originally cast, and continued to play the character for twelve years, appearing in seven Bond movies altogether. Moore was my favorite childhood Bond, and I loved that he came across as a gentleman (though he was still quite popular with the ladies) and had a playful quality to his personality. He endeared me to him even more, when he said that he feels Daniel Craig is the best 007 so far.

When Timothy Dalton declined the role of James Bond, he was only 22 years of age. But some opportunities are too good to pass up, so in 1987, Dalton appeared in 'The Living Daylights'. He went on to portray 007 again in 'License to Kill' (1989) and was prepared to return for a third film. However, due to dispute issues and a number of postponements, the actor finally walked away from the franchise five years later.

In 1995, 'GoldenEye' was released, and Pierce Brosnan fulfilled his long-held ambition of portraying the suave spy. He had been the first choice to replace Roger Moore after 1985, but couldn't get out of his contract for the TV series, 'Remington Steele'. Though I've enjoyed Brosnan's performances in movies (he was great in 'Mrs. Doubtfire', 'Dante's Peak' and tremendous in 'Evelyn'), I felt that he lacked the ability to flesh out the character in a satisfying manner. Then again, I wasn't crazy about this period of Bond films. They were too over-the-top for me (and not in a humorous, campy way, either). I lost all interest in the franchise when Denise Richards attempted to play a nuclear physicist. Please tell me I wasn't the only one.

The New Bond Order:

For the 21st Bond film, MGM and Eon Productions decided to reboot the franchise, starting the spy's storyline from the very beginning. They wanted a leaner and more dangerous character, with a movie less focused on gadgets and props, and more on what kind of a man it would take to live and breathe such a deadly profession. I recall the reactions when Eon and Sony Pictures announced that Daniel Craig had been cast for 'Casino Royale'.

To say that people protested, would be putting it mildly. Some decried a blond Bond, declaring that this betrayed how 007 had long been established. Others called Craig a boring choice because, I assume, they haven't seen him at his best work. Granted, my first real introduction to the actor was from 'Tomb Raider' and based on that, it didn't exactly leave a great impression. (I first saw him in 'Elizabeth', but didn't know who he was at the time. It was a fairly small role and he barely had any lines.)

Then in 2003, I watched Craig in the British indie film, 'The Mother'. His performance was absolutely fearless, especially given the controversial subject matter. I was in awe, and from that moment on, became interested in seeing him in future projects. In 2005, he was an integral part of a talented ensemble in Steven Spielberg's, 'Munich'. Though it was nominated for five Academy awards, sadly, it didn't win a single one.

In 2006, 'Casino Royale' was released and the critics who judged the casting choice rather harshly, were mostly silenced. The movie was critically acclaimed, establishing Daniel Craig's performance as a reinvention of 007. It earned close to $600 million worldwide, the highest grossing Bond film at that time. Subsequently, I enjoyed his performances in 'The Golden Compass' and 'Defiance', and especially loved his portrayals in 'Cowboys & Aliens' and 'The Girl with the Dragon Tattoo'.

So Why Is Daniel Craig My Favorite Bond?

For one, he's the most talented actor to portray 007. He can come across as aloof and detached as you would imagine a covert agent might, but beneath that hard exterior is a man who is obviously in pain. And in 'Casino Royale', Craig's portrayal of Bond was absolutely heartbreaking. It's quite a character arc to go from arrogant, controlled and deadly, to vulnerable and caring until the very end, only to lose what matters most to him, thereby forcing him to erect those emotional walls yet again.

The other important factor is that Craig is in excellent shape, which makes Bond even more believable. Realistically, if you're going to be a field agent such as 007, you need to be in the best condition possible for physical altercations. Also, this Bond is gritty. He actually gets messed up and hurt during his fights. But on the flip side of that, he looks like the perfect gentleman when he's dressed to the nines. All the better to sidle up and charm a lady to get information, when need be.

As for 'Skyfall', I'm thrilled to learn that Bond has returned to excellent form. For me, 'Quantum of Solace' was a major disappointment, especially since I was quite impressed by 'Casino Royale'. And with respect to the Bourne franchise, I'd like to see Matt Damon eat his words, for all of the extreme criticism that he voiced towards the Bond legacy. After making more than $1.1 billion worldwide, 'Skyfall' has proven that our hero is here to stay. Happy 50th birthday, James! The world is yours for the taking.

~ James Bond Returns Within 3 Years, Star Daniel Craig Signs for 2 More Films (March 2013)
~ How the Bond Franchise Almost Died ('Skyfall' Spoilers)
~ 'Skyfall' Trailer with Adele's Theme

~ Exclusive: Sam Mendes Says He was "Not At All" Interested in Bond at First, Took Direct Inspiration from Nolan's 'Dark Knight' Films

45 MOST MEMORABLE HORROR FILMS

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Mon, 29 Oct 2012 23:40:00 +0000

With the arrival of Halloween close at hand, I felt the urge to revisit the very movies that have shaped one of my favorite genres. I hope you'll enjoy this trip down a very creepy, and haunting, memory lane.

1) THE EXORCIST (1973): "The power of Christ compels you!" -- Father Merrin

A classic movie by all standards, this is filmmaking that will shake you to your core. Especially disturbing is the fact that it's based on a true story. I lived in Maryland for a number of years, and once, had the occasion to see those steps where Father Damien is thrown to his death in the film. Very disturbing, even during the day.

2) JAWS (1975): "You're gonna need a bigger boat." -- Brody

This was my introduction to American horror movies. Seeing it as a child was rather traumatic, to say the least. Steven Spielberg handled the material exceptionally. And John Williams composed a theme so resonant, that if heard while near a body of water, would make most of us break into a sweat and think twice about going in.

3) CARRIE (1976): "They're all going to laugh at you." --Margaret White

A movie based on Stephen King's novel, Brian De Palma did an excellent job of capturing the anguish of a teenage outsider, suffering from the actions of an abusive parent and relentless bullying from peers. It's a powerful morality tale about a person pushed to the point of no return, and how prolonged, repressed anger can trigger the most violent of consequences. (A remake arrives in theaters next year.)

4) THE OMEN (1976): "Look at me, Damien! It's all for you." -- Nanny

An atmospheric shocker, this movie had some rather convincing performances. The material was treated seriously, as was the trend in the 70's. This made it relatively easy for the audience to believe that what appeared to be an innocent child, could indeed be the spawn of Satan, himself. (A remake was released in 2006.)

5) BURNT OFFERINGS (1976): "The house takes care of itself." -- Roz

This movie starred Oliver Reed and Karen Black, with Burgess Meredith and Bette Davis. It's about a family who procures a home for their family of four, only to find out as time passes, that not all is as it seems. At the time that it came out, I found it to be horrifying in parts. There were some rather intense death and imminent danger scenes.

6) HALLOWEEN (1978): "Death has come to your little town, sheriff." -- Dr. Loomis

A John Carpenter classic, just about everyone knows the origin story of Michael Myers. As simple as the premise is, it's still an immersive film, owed in large part to its suspenseful score. Two years later, due to the movie's success, another franchise of slasher flicks was launched: 'Friday the 13th'.

7) THE INVASION OF THE BODY SNATCHERS (1978): "You have to stay awake." -- Matthew

A remake of the 1956 film, this version is highly effective in capturing the intensity and paranoia of not knowing who you can trust. Starring Donald Sutherland, Brooke Adams, Jeff Goldblum and Leonard Nimoy, the performances were utterly convincing that an alien invasion was indeed taking place. The mood and tone were consistently claustrophobic. The movie also captured an oddness to its characters, similar to the 1975 version of 'The Stepford Wives'.

8) THE AMITYVILLE HORROR (1979): "GET OUT!" -- Disembodied Presence

Based on a true story and adapted from a bestseller, this particular house is believed to be "possessed". After shooting every one of his family members while in their sleep, the eldest son claimed that a voice told him to do it. The film chronicles the strange events that happened to the Lutz family who purchased the house after the subsequent murders, and how they fled their home almost a month later. (A remake was released in 2005.)

9) ALIEN (1979): "Here kitty, kitty, kitty. Meaow. Here Jonesy." -- Brett

This science fiction classic directed by Ridley Scott pushed cinematic boundaries, just as 'Psycho' had in 1960. It brought about violent scenes that shocked audiences of that time, and the special effects and set pieces made it utterly believable that the crew of the Nostromo had encountered the most hostile alien species known to humankind.

10) SALEM'S LOT (1979): "Open the window, Mark. Please! Let me in!" -- Vampire Danny

Yes, this doesn't exactly fall into the movie category, but this mini-series was one of the creepiest adaptations ever of Stephen King's work. The mood was consistently tense and the use of shadows and darkness, highly effective. The primary vampire was absolutely gruesome and I remember scenes that could very well cause me nightmares today. I can still hear the scratching on the windows... (A remake of the mini-series was aired in 2004.)

11) THE SHINING (1980): "Come play with us, Danny..." -- Dead Twins

Stanley Kubrick, brilliant as he was, paired some truly horrific imagery with slower-than-normal pacing for this genre. The subsequent effect was that anything remotely threatening or terrifying had us biting our nails. It should go without saying that the performances were stellar, as fear has never been captured so precisely.

12) THE FOG (1980): "It just got cold in here." -- Nick

Just as with Stephen King's, 'The Mist', John Carpenter's film illustrates that some things which we cannot see, can be far worse than what we could possibly imagine. Eerie and atmospheric, this movie also reunited the director with actress, Jamie Lee Curtis.

13) AN AMERICAN WEREWOLF IN LONDON (1981): "Have you ever tried talking to a corpse? It's boring!" -- Jack

One of the first horror films to successfully infuse humor into its story, John Landis did some groundbreaking work with make-up effects maestro, Rick Baker. The sequence where David transforms into a werewolf for the first time is a thrill to watch, with David Naughton delivering a fantastic performance.

14) THE HOWLING (1981): "I want to give you a piece of my mind." -- Eddie, speaking literally

This movie by Joe Dante was a twisted mix of terrifying scenes and campy, over-the-top performances. But it also captured the tragedy of having been turned into a monster against your will, as Dee Wallace's character proves to a live news audience.

15) THE EVIL DEAD (1981): "It is through the recitation of these passages that the demons are given license to possess the living." -- Voice on Recorder

And so it begins, as a character ignores the warning and starts a chain of events that leads all to become possessed by an ancient evil. The partnership of Sam Raimi and star, Bruce Campbell would bring a great deal of success to both. This is horror filmmaking taken to extremes.

16) THE THING (1982): "Someone in this camp ain't what he appears to be." -- MacReady

John Carpenter pairs up with special effects genius, Rob Bottin to create some of the most realistic and terrifying transformations ever caught on celluloid. This film has stood the test of time and proves that practical effects will always trump the majority of CGI work. A tremendous ensemble cast led by Kurt Russell added to the believability of the premise. (This movie was based on 'The Thing From Outer Space', released in 1951. A prequel to Carpenter's version was released in 2011.)

17) POLTERGEIST (1982): "They're here." -- Carol Anne

One of my favorite movies growing up, this story had a great deal of heart and focused on the strength and devotion of a loving family. Steven Spielberg's script brilliantly captured the humor and warmth of their daily lives, before pulling the rug out from under us with some truly scary, and captivating sequences. The cast couldn't have been more perfect for their roles, and it was easy to empathize with the heartache of their circumstances.

18) CREEPSHOW (1982): "I can hold my breath for a long time!" -- Richard

The partnership of George A. Romero and Stephen King paid off for the audience, with a blend of horror and comedy in multiple stories. Three of them truly stood out to me, especially the one about the crate at the university. This film didn't hold back in the slightest when it came to gore.

19) XTRO (1982): "I was lucky. They could have taken anyone." -- Sam

Without a doubt, this British film is my least favorite horror movie. So why is it on this list? Because it was so traumatic that I can't forget it, even though I've tried. The premise is basically about a father who's abducted by aliens and then returned to his family, with extremely disgusting results. This movie came out during the rampant trend of filmmaking where female characters were treated like sex objects, often violating them to supposedly further the "story". In this case, a near dying alien assaults a woman and causes her to give birth to a fully grown man. "Yuck", is an understatement.

20) A NIGHTMARE ON ELM STREET (1984): "One, two, Freddy's coming for you..."

One of the most enduring villains of the 80's, the character of Freddy Krueger spawned several films, even one that pit him against Jason of the 'Friday the 13th' franchise. After the let down of the 2010 remake, it was clear that Robert Englund's performance left impossibly large shoes to fill. And what a remarkable contrast to his character of Willie, from 'V'.

21) FRIGHT NIGHT (1985): "Mmmm mmm... His dinner... is in the oven!" -- Evil Ed

A perfect blend of comedy and horror, and even a love story at times, this movie was powered by the charismatic performance of Chris Sarandon, portraying Jerry Dandrige. His vampire was vicious and animalistic when threatened, but tender and patient towards the love of his life, reincarnated in Amy. This is one of those rare films that's equally interesting from beginning to end, with a number of delightful characters. (A remake was released in 2011.)

22) THE RETURN OF THE LIVING DEAD (1985): "Send more paramedics." -- Talking Zombie?

One of the silliest guilty pleasures of the zombie canon, this movie was more comedy than horror, but just as interesting. It also started the myth that zombies crave a certain human organ: namely, brains.

23) THE FLY (1986): "I'm an insect who dreamt he was a man and loved it." -- Brundle

Leave it to David Cronenberg to create a science fiction horror film that's intelligent, emotionally resonant, and a tragic love story. This movie stands the test of time, and Jeff Goldblum is fearless in it, delivering the most remarkable performance of his career. (Based on the original, released in 1958.)

24) HELLRAISER (1987): "We'll tear your soul apart." -- Pinhead

Horror and S&M... why not? is Clive Barker's approach. Based on his own novella, 'The Hellbound Heart', the famous author directed this movie with a sure hand. Just be certain you know what you're asking for, if you're tempted to play with his puzzle box.

25) PET SEMATARY (1989): "I played with mommy... now I want to play with you!" -- Gage, Zombie Toddler

When I saw this movie at the theater, I cursed my high school friend for making me watch it. This was the scariest film I had seen up to that point... the kind that makes you want to leave the lights on at night, that leaves you wide awake in bed, or causes nightmares if you fall asleep. Based on Stephen King's novel, this is truly one of the most heartbreaking stories that you'll ever come across. There's no such thing as a happy ending.

26) MISERY (1990): "You're just another lying ol' dirty birdy." -- Annie

Think you know what crazy is? Well, meet Annie. She redefines the very definition of the word. This is what happens when you become a bestselling author, and attract the kind of fans that only Stephen King could dream up. It's hard to believe that Rob Reiner, the same director of 'The Princess Bride', helmed this suspenseful film.

27) NIGHTBREED (1990): "God's an Astronaut. Oz is Over the Rainbow, and Midian is where the monsters live." -- Peloquin

It may not be a perfect film, but where else can you get a gaggle of fascinating monsters, Clive Barker directing from his own material, and David Cronenberg playing an unhinged psychiatrist?

28) DRACULA (1992): "I have crossed oceans of time to find you." -- Dracula

Another true classic that has stood the test of time, this arty horror film directed by Francis Ford Coppola delivers a powerhouse performance by Gary Oldman. Coppola paid close attention to the details. The result was a movie that fueled the senses: beautiful costumes and sets, fantastic cinematography, sensual and erotically charged performances, and a haunting musical score.

29) FIRE IN THE SKY (1993): "Forgive us, Father, for what we've done." -- David

This science fiction horror film is based on an actual account of an alien abduction. The entire section of the movie where Travis Walton is taken to the ship, experimented on by aliens, and then manages to escape, is one of the most terrifying and suspenseful experiences that I've ever witnessed on film.

30) SPECIES (1995): "More docile and controllable? You guys don't get out much." -- Lennox

Just as in 'Alien', this movie used H.R. Giger's artwork to design its creature. As a result, the film is an enticing blend of action and horror, and even a little bit of philosophical rumination on the ethics of science and creation. This movie also kicks ass in the "survival of the fittest" category.

31) THE BLAIR WITCH PROJECT (1999): "No redneck is this creative." -- Mike

The movie that paved the way for found footage films, I was living in Maryland at the time (where the story takes place). And let me tell you, the woods can be quite creepy there. For instance, we lived on a military base and our house was right on the edge of a wooded area. One of the things that I saw there once, was a noose tied on a tree. Scary, right?

32) THE SIXTH SENSE (1999): "I'm ready to tell you my secret now." -- Cole

To someone who's never seen this movie, I would describe it as the perfect ghost story. It's a film that has everything: intelligent writing and direction; fantastic, moving performances, and truly hair-standing-on-your-arm moments. I should also mention the shocker of an ending that brings it all home.

33) DONNIE DARKO (2001): "I can do anything I want. And so can you." -- Frank, The Bunny

If you're intrigued by dark, twisted, open-to-interpretation kind of movies, you'll love this one. It's a compelling ensemble piece, headlined by Jake Gyllenhaal's layered performance. All the more impressive when you compare it to his role in 'October Sky'.

34) 28 DAYS LATER (2002): "So if the infection wipes us all out, that is a return to normality." -- Sgt. Farrell

Though often thought of as a zombie film, the population is decimated by the Rage virus, which doesn't kill its victims but instead, turns them into homicidal maniacs. Directed by Danny Boyle, the movie introduced us to Cillian Murphy and through its success, brought about an equally engaging '28 Weeks Later' (2007).

35) THE RING (2002): "Everyone will suffer." -- Samara

This remake of the Japanese film, 'Ringu', got it right. As someone quite familiar with Asian horror sensibilities, I was impressed with the way Gore Verbinski captured the use of dread, and maintained a pacing that built the psychological tension expertly. This one made me keep the lights on throughout the night. Be warned.

36) DAWN OF THE DEAD (2004): "When there is no more room in hell, the dead will walk the earth." -- Evangelist

I remember seeing an extended promo of this movie on TV right before it came out. It blew me away with its intensity, proving that Zack Snyder ('300') had talent as a director. It's one of the greatest zombie movies ever made, and has some pivotal heroic moments as well as surprising betrayals. (A remake of the 1978 version.)

37) THE DESCENT (2005): "This is not caving, this is an ego-trip." -- Rebecca

A nerve-wracking film that follows a group of female friends who take a weekend trip that goes terribly wrong. They enter an unmapped cave with the intention of exploration, but soon discover that there are other humanoid life forms down there. As the women battle for their lives, personal secrets reveal that not everyone can be trusted.

38) THE EXORCISM OF EMILY ROSE (2005): "Demons exist whether you believe in them or not." -- Father Moore

Directed by Scott Derrickson (Sinister), this movie is loosely based on the account of a real possession. The film also documents the courtroom case against the priest who's accused of homicide, due to his performance of the exorcism. Scary in parts, but also a riveting drama.

39) THE ORPHANAGE (2007)

A Spanish horror film, this project delivered in creepy thrills, strong character development and an engrossing story. It follows a woman who brings her husband and son back to her childhood home which at one time, was an orphanage. Shortly after, her son begins to socialize with an invisible friend, which leads to a chain of events that is at once devastating and scary as hell.

40) 30 DAYS OF NIGHT (2007): "God? No God." -- Marlow

Based on the comic book mini-series, this film takes place in the harsh environment of Alaska, when a group of fierce vampires choose the most opportunistic time to attack a desolate town. The special effects, set pieces, performances and cinematography all add to the thrilling atmosphere of this movie.

41) SPLICE (2009): "You never wanted a normal child because you were afraid of losing control." -- Clive

This Canadian indie stars Sarah Polley and Adrian Brody as two genetic engineers who push the limits of science too far. Though I found the lead characters to be rather unlikeable, and some of the situations as truly disturbing on many levels, the ethical questions that the film poses makes it worth viewing. Should we create life for personal goals or professional ambitions? And just because we have the power to do so, does that mean that we should? Even if the movie doesn't provide precise answers, it still gives us much to contemplate, especially regarding what we sacrifice in the name of progress.

42) LET ME IN (2010): "I'm a lot stronger than you think I am." -- Abby

An American remake based on the successful 2008 Swedish film, this is horror filmmaking at its finest. I saw the original first and was mesmerized by the story: a tale of a lonely, bullied boy who ends up befriended by a girl close to his age, only to find out as time goes on that she's a vampire. Without giving away details, what we end up asking of the relationship between them, is whether it's true love, or one that develops because of mutual dependence for survival. Though both versions of the movie are definitely worth seeing, I prefer the remake because the director, Matt Reeves, expertly maintained the tone throughout and adapted the screenplay with the author of the book.

43) THE CABIN IN THE WOODS (2012): "An army of nightmares, huh? Let's get this party started." -- Dana

If you're a Joss Whedon fan and you're familiar with his hit series, 'Buffy the Vampire Slayer', then this film will automatically be right up your alley. Whedon and collaborator Drew Goddard concocted a story that's sure to surprise and delight you; one that's full of scary elements, as well as fun and unexpected humor. Rarely do you get a horror movie these days where there are twists and turns aplenty. This is a wonderful departure from the formulaic.

44) MAMA (2013): "Victoria, what's under the bed?" -- Annabel

One of my favorite horror movies in recent years, this was a project that originated from a 2008 film short created by Andres Muschietti. Luckily for the gifted artist, Guillermo del Toro had watched it and found it to be terrifying. He contacted a surprised Muschietti with the idea of turning it into a full feature. As with the short, the director was able to create with his cast, some truly impressive and convincing performances. The movie stars Jessica Chastain and Nikolaj Coster-Waldau in the leads, and introduces the remarkable talents of Megan Charpentier and Isabelle Nelisse. Not only is this film deeply frightening and suspenseful, but it also has the emotional resonance of a heartfelt drama.

45) THE CONJURING (2013): "When the music stops, you'll see him in the mirror standing behind you." -- April

Even though I watched a couple of trailers (and knew what was coming at certain points), this movie still scared the heck out of me. Australian filmmaker, James Wan, has crafted one of the best adult horror films to come along in quite some time. Though I thought that 'Insidious' was a scary movie, what separates 'The Conjuring' from his earlier work is the masterful way that he builds dread, approaching the subject matter extremely seriously. The cast of Vera Farmiga, Patrick Wilson, Lili Taylor, Ron Livingston, and the young actresses playing the daughters, are all exceptional in their parts. They gave a great deal of credibility to the story, even though it's based on an investigation by Ed and Lorraine Warren that took place in 1971.

© Zoey Francis and Zen For Zoey, 2018. Unauthorized use, duplication, and/or alteration of this material without express and written permission from this blog's author/owner is strictly prohibited. All photos owned by studios/networks are covered under "Fair Use", as the purpose of this blog is for commentary only and is entirely not-for-profit.

KEANU REEVES: The Most Natural Of Heroes

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Sun, 02 Sep 2012 08:49:00 +0000

I spent a part of my childhood growing up in Hawaii. Oahu is the only place that ever felt like home to me. As such, I'm rather partial to all things that remind me of the islands... which brings me to one of my few favorite actors, Keanu Reeves. Being a film lover for all of these decades has taught me a thing or two about actors. The most important quality of a true artist, a real actor, is that their personal character always informs their work. What has consistently stood out to me about Keanu, is that he's able to convey strength and vulnerability simultaneously. This is what makes him the most fascinating of all action heroes. And in my opinion, the most believable.

Keanu Charles Reeves (pronounced keh-ah-noo) was born on September 2, 1964 in Beirut, Lebanon. The 6'1" Canadian-American actor, is of English, Chinese and Hawaiian ancestry. His interests include hockey (as a goalie, he was nicknamed "The Wall"), racing cars, playing bass in bands Dogstar and Becky, and riding his motorcycle (you may have noticed from his movies, a large scar on his abdomen resulting from an accident).

Keanu is known to be a private person and tends to avoid the limelight, but has been gracious to fans that he meets, signing autographs as well as taking photos with them. He's been the focal point of both positive and negative media: He took a 90% pay cut so that Gene Hackman would be cast in 'The Replacements' and deferred $2 million of his salary so that Al Pacino would join 'The Devil's Advocate'. He also presented gifts to the entire stunt team of 'The Matrix' movies: Harley-Davidson motorcycles. On the flip side of that, he was dragged into a paternity suit by a crazed fan, whom he had never even met. It was reported that after a DNA test, the case was dismissed.

As I mentioned before, Keanu has a natural talent for depicting three dimensional characters that can be both strong and vulnerable, at the same time. I believe that this is a result of the immense hardship that he's faced throughout his life; events that most fans are not aware of. When Keanu was two years old, his father abandoned the family. They never reconciled. He had difficulty learning in school because of dyslexia, though he became an avid reader later on. His best friend, River Phoenix, died of a drug overdose in 1993. Keanu and his girlfriend, Jennifer Syme, were expecting a baby girl, but the couple suffered a stillbirth. The tragedy led to the dissolution of their romance, but the two remained close friends. Then in 2001, Syme was killed in a car accident. In 2000, Keanu's sister and closest confidante, Kim, was diagnosed with leukemia. In 2002, he put 'The Matrix' sequels on hold and rushed to Kim's side when things took a turn for the worst. He spent millions on medical care and did everything that he could to care for her. Since then, Kim has been in and out of remission.

It should be obvious without saying, that I feel the utmost respect and admiration for Keanu Reeves. Not only as an actor, but as a man of courage and perseverance. Most people would have been immobilized by the amount of heartache that he's had to endure. Some of us would have put up emotional walls in order to protect ourselves from further pain; distancing ourselves from people in our lives. Instead, Keanu had the wisdom and fortitude to prioritize what matters most: the people that he loves. That's an invaluable example that we can all learn from. And I think that, just as we need to see him play heroic characters so that we can escape from our own challenges in life, Keanu's roles allow him to do the same. This is the true and enduring magic, of movies.

The film that first introduced me to Keanu Reeves was 'Youngblood' (1986). Then came teenage angst dramas, 'River's Edge' (1986) and 'Permanent Record' (1988). This was followed by 'Dangerous Liaisons' (1988), the fan favorite 'Bill & Ted's Excellent Adventure' (1989) and 'Parenthood' (1989). The last three films largely contributed to the stereotype that Keanu was naive and dim-witted, rather than the reality that he was just playing the roles convincingly.

In 1991, Keanu's break out action hero role, was that of Johnny Utah in 'Point Break'. He played an FBI agent going undercover in order to catch the group responsible for a number of bank robberies. The movie has an exciting, unforgettable foot chase sequence, and Gary Busey is hilarious as his partner. The film was directed by Kathryn Bigelow, who went on to win the Oscar for 'The Hurt Locker'.

In 1992, Keanu appeared in 'Bram Stoker's Dracula', directed by Francis Ford Coppola. This was the first movie where I was "wowed" by his acting, in the scene where he encounters Dracula's brides, and then watches in horror as Dracula produces an infant for their nightly feeding. This movie had it all for horror lovers: a strong story, a haunting and beautiful score, amazing sets and costumes, an eerie atmosphere with a sensual and erotic tone, and highly-charged performances.

In 1993, Keanu co-starred in 'Much Ado About Nothing', a film adaptation of the play by William Shakespeare. I enjoyed watching him play the cad immensely. It was wicked fun.

In 1994, Keanu cemented his action hero status with the huge hit, 'Speed'. He played the character of Jack Traven, a member of the L.A. SWAT team who's running against the clock to stop a terrorist. Most will recall that a large part of the movie played out on a bus that was rigged to blow if it didn't maintain a certain speed. Besides the taut action, fans of the film seemed to enjoy the chemistry between the leading man and co-star, Sandra Bullock.

In 1995, Keanu starred in the Sci-Fi actioner, 'Johnny Mnemonic'. The movie has a punk, cyberspace feel to it and is based on the work of William Gibson. Keanu's character is a courier who carries data implanted in his brain, and quickly learns that his current assignment plays a large part in a corporate conspiracy.

Also in 1995, Keanu transitioned into a romantic leading man with the movie, 'A Walk in the Clouds'. The beautiful, old-fashioned film takes place in 1945 when Army Sgt. Paul Sutton meets a "damsel in distress". What follows is a story that centers on family, love and duty. I felt that Keanu handled the role wonderfully.

In 1997, Keanu appeared in 'The Devil's Advocate'. It's an expertly crafted drama with horror undertones, which examines the root of temptation and its connection to an unbridled ego. After watching it again this past week, I feel strongly that Keanu should have won an Oscar for his performance. The character arc allows him to display an incredible range and he's spot on in the part.

In 1999, Keanu starred in 'The Matrix', a surprise hit that amassed a worldwide audience. (The movie cost $63 million and went on to make almost half a billion.) The Sci-Fi classic is both cerebral and philosophical in its story, but also delivered explosive and original action sequences. Keanu delivered a dynamic performance as Neo, and projected the cool enigma of "The One". Unfortunately, the two sequels underperformed in terms of the brilliance of the original film.

In 2000, Keanu appeared in Sam Raimi's dramatic thriller, 'The Gift'. Once again playing against type, he portrayed an abusive husband who didn't hesitate to threaten others. This was another performance that surprised and impressed me. He was quite believable as an intimidating character.

In 2001 and 2003, Keanu starred in two romantic roles. In 'Sweet November', he played Nelson Moss, a detached workaholic who's forced to evaluate his priorities when he meets the love of his life. There are a couple of twists that I won't reveal, but it's a character driven story that I highly recommend. It reunites Keanu with co-star Charlize Theron, and they have an effortless chemistry together.

In 'Something's Gotta Give', a romantic comedy starring Diane Keaton and Jack Nicholson, Keanu portrays a heartthrob of a doctor. I apologize for revealing the ending on this one, but come on! Jack's a charmer, but what sane woman wouldn't pick Keanu? Seriously!

In 2005, Keanu appeared in a dark ensemble comedy called 'Thumbsucker'. I highly recommend this quirky, original indie. His character completely floored me.

Also in 2005, Keanu starred in the comic-based movie, 'Constantine'. I'm aware that the character is supposed to be blonde and British, but let's get over that already. He was perfect for the part and once again proved that his zen-like quality brings intrigue to any conflicted anti-hero. The film also has amazing special effects sequences that will make you gasp. I did.

In 2006, Keanu reunited with Sandra Bullock in the love story, 'The Lake House'. The thing that I love about his selection of romantic films is that they're not easily categorized as chick flicks. Instead, they involve stories with a twist, created for mature audiences.

Also in 2006, Keanu appeared in 'A Scanner Darkly'. The film is based on Philip K. Dick's novel (who wrote the stories behind 'Blade Runner', 'Minority Report', 'Total Recall' and 'The Adjustment Bureau'). Richard Linklater directed, and gave the movie a distinctly animated look by use of rotoscoping. The story is a trippy ride about an agent in the war against a drug called Substance D. The film has some major twists and turns, and has strong supporting work (at times, comical) from Robert Downey Jr., Woody Harrelson and Winona Ryder.

In 2008, Keanu starred in 'Street Kings', a taut and engrossing crime drama. Tom Ludlow is not an intrinsically likeable character, but Keanu anchors the film and keeps the audience sympathetic to his cause. This is another one of his most impressive performances.

Just this month, Keanu's documentary 'Side By Side', screened in limited release and became available on VOD. It's a fascinating time capsule of the evolution of celluloid and digital filmmaking. Especially delightful for film lovers.


On the set of '47 Ronin'

Keanu's directorial debut, 'Man of Tai Chi'

I look forward to two of Keanu's upcoming projects, both slated for next year. '47 Ronin', which is a classic Japanese revenge tale and 'Man of Tai Chi', his directorial debut shot in China. Whether by accident or perhaps it was destined, Keanu has revealed himself to be a multi-talented individual and for many of us, a man worthy to be thought of as a personal hero.

~ 'Side By Side' Trailer
~ An Interview With Keanu Reeves on '47 Ronin' (Movie release moved to February 2013).
~ Video Regarding Camera Work For 'Man of Tai Chi'.

The Francis Ford Coppola Winery in Sonoma County, CA.

From the movie, 'Bram Stoker's Dracula'.

Mina and Dracula: A Timeless Love Story.

Vlad's Battle Armor.

Lucy's Wedding Gown.

'SIDE BY SIDE' SCREENING: Keanu Reeves And Christopher Kenneally

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Mon, 20 Aug 2012 00:03:00 +0000

I first heard about the documentary, 'Side By Side', several months ago. It sounded like a film lover's dream. It's an intimate examination of the evolution of movies, from the use of celluloid for the last hundred years to the digital technology that's been giving it a run for its money in the last two decades. It's comprised of fascinating interviews with professionals from the industry: directors, cinematographers, graphics artists, editors, etc. It addresses the above, but also touches upon the ramifications of 3D, the trend of watching movies on smartphones, as well as the transition to digital projection in theaters.

I highly recommend this movie. It's thoroughly entertaining, enlightening, and surprising at times. Perhaps because Keanu Reeves is the producer and did the interviews, he was able to elicit responses that conveyed a great deal of passion, candor and humor. He also originated the idea for the documentary and approached a colleague to direct: Christopher Kenneally.

As for how my little adventure started, I knew the film was opening this weekend, but I had no idea how very limited its release would be. Last week, I came across info that spiked my interest even more: On one of the Tribeca Film pages, it mentioned that Keanu and Christopher would be appearing for a Q&A on both Friday and Saturday nights in North Hollywood. So I bought a ticket online for Saturday evening and planned my day trip ahead.

For those of you who have never been to Southern California, driving from San Diego to L.A. requires a bit of luck, especially on weekends. It's fairly common to be sitting in bumper-to-bumper traffic on the highways. Plus, we've been experiencing a heatwave in the mid 90's (feels like triple digits when you factor in the humidity), and it's not something that we're used to. So I dressed for comfort for the occasion, but I also wanted to wear something eye-catching. All I knew was that I wanted to get close enough that I could take photos for my post, and yes, I also wanted to stand apart from the rest of the crowd.

As I headed into L.A., once again I wondered why the City of Angels has to be so overrun with urban decay. After all, its wealthiest citizens can surely afford to spread some of its movie glamour beyond areas such as swanky Beverly Hills. Frankly speaking, the city makes for an interesting visit, but I wouldn't want to live there unless I worked in the film industry.

After a three hour drive, I arrived in North Hollywood around 4pm. I located the Laemmle Theatre and decided to hang inside for a couple of hours; it was scorching hot and unfortunately, the line would be taking place outside. One of the employees at the concession stand was quite nice and relayed to me a few details about the Q&A from the night before. Right before 6pm, I found myself to be 3rd in line. We waited for roughly half an hour before they let us in, and believe me, it was hot as hell! I was wondering if quite possibly my make-up might be running down my face by that time. Thankfully, it was not, as that was not the first impression I would like to present, given the occasion.

It should probably go without saying, that the majority of the front row was comprised of adoring female fans (myself included). After the movie, the moderator introduced Christopher and Keanu. As they walked in, I received confirmation from both men that my white top with a strappy & open back (best worn without bra), black shorts and matching sandals, had indeed been the right choice. That particular form-fitting top has a bit of history: I bought it when we took a vacation in Florida. On the first occasion when I wore it (during a humid summer in Maryland), we were taking a walk in a park. As a male jogger passed us, we noticed that he was staring at my top immediately prior to tripping. We both busted out laughing. It floors me that men can walk around shirtless, but if they see even the silhouette of a woman's bosom, they lose control of themselves. Sometimes in a very humorous fashion.

As for the Q&A, I was a bit disappointed because of its brevity. It didn't help that the moderator took the majority of the time to ask questions that seemed rather dull, and most likely recycled from the evening before. But once the audience participated, things livened up. Christopher was more talkative, but both guests exhibited a warm sense of humor. This was the first time I had ever seen Keanu in person, and he came across as a little shy, but also funny and engaging at the same time.

It was a wonderful experience to be there last night, especially since I've always felt that Keanu Reeves is an underrated actor. I've enjoyed his range of performances in commercially successful films like 'The Matrix', to indies such as 'A Walk in the Clouds' and 'Thumbsucker'. And if you haven't seen 'Street Kings', you're missing out on one of the best cop dramas/thrillers out there. The movie clearly demonstrates how dynamic a presence Keanu is capable of, especially with the right screenplay and director involved. I'm thrilled that he's branched out to produce such a milestone of a movie in 'Side By Side', and I look forward to his directorial debut in 'Man of Tai Chi', shot in digital in China.

~ Keanu Reeves: 'The Future of Cinema' (2/14/13, published in The Guardian)
~ 'Side by Side' Trailer
~ Official Website for 'Side by Side'

**All photos of Keanu Reeves and Christopher Kenneally are the exclusive property of Zoey Francis and Zen For Zoey, 2018.**

CHRISTIAN BALE: A Legacy Beyond Batman

noreply@blogger.com (Zoey Francis (Pen Name) / Marianne Seavers ) — Sat, 23 Jun 2012 08:04:00 +0000

I've been a movie fanatic since I was six years old. When I immigrated to the U.S. with my family, I didn't speak a word of English. Imagine what it must have been like going to the theater, and seeing 'Jaws' and 'Superman' for the first time. These films left an indelible impression on me, and the images transcended cultural and language barriers effortlessly.

Over the decades, I've watched countless performances in movies. Of all of these actors, Christian Bale has stood out among the rest. Over the majority of his career, he thrived in the world of independent film. His preference for certain themes and his selection of projects, is a large part of why I was attracted to his work.

In 1987, he starred in Steven Spielberg's 'Empire of the Sun'. The film was based on a memoir by J.G. Ballard about a boy who was separated from his wealthy, English family when the Japanese invaded Shanghai during WWII. The character of Jamie Graham survived despite being imprisoned in an internment camp, and the theme of a loss of innocence was especially hard-hitting. Bale quickly rose to prominence with numerous accolades. However, as a young and especially shy actor, all of the attention was a difficult adjustment and he questioned at the time, whether he wanted to stay in the business.

In 1992, Bale appeared in the Disney musical, 'Newsies', as Jack Kelly. Many of his fans today would be surprised to learn that the actor could sing and dance, and was in fact, a very quick study. (He also starred in 'Swing Kids' in 1993.) The film featured memorable group songs and dance numbers, evoking performances by stars like Fred Astaire and Gene Kelly. The movie is based on an actual historical event: the Newsboys Strike of 1899 in New York City.

In 1994, Bale starred in 'Little Women' as the beloved character of Laurie. This movie showcased his transition from a young star to a romantic lead. It's a wonderful family and holiday film, and is based on the classic novel by Louisa May Alcott.

In 1997, Bale starred in 'Metroland', a British film portraying how much of a challenge surburban life can be to fidelity. The character of Chris feels a great deal of repression, and longs for his carefree days when he lived in France with a passionate young lover. As he questions whether his life with a wife and child is truly what he wants, his childhood friend persistently provokes him to leave, challenging his beliefs in marital bliss.

In 1998, Bale appeared in 'All the Little Animals' with John Hurt. The story focuses on his character of Bobby Platt, a young, mentally challenged man who recently lost his mother and is left to the merciless treatment of an abusive and greedy step-father. Feeling desperate, Bobby runs away and meets Hurt's character, who grows to care for him like a father, but hides a dark secret of his own.

In 2000, Bale made quite the impression on a wider audience and garnered critical acclaim as Patrick Bateman in 'American Psycho'. The movie is based on the Bret Easton Ellis novel, a satire and psychological thriller about the shallow, ambitious lifestyles of a group of young Manhattan businessmen in the 80's. This film is not for everyone, as it contains scenes that are explicitly sexual and graphic (and at times, sadistic) in nature. At its core, though, it's a very dark comedy.

In 2002, Bale appeared in a trio of movies. 'Laurel Canyon' is one of my favorites, a terrific character study about repression and what happens when people act on their deepest impulses. There's a specific scene between Bale and co-star, Natascha McElhone, that translates to one of the most sensual and erotic ever captured on film. The chemistry between them is brilliant and the interaction is so intimate that it feels real.

As for the other two films, I'm guessing that Christopher Nolan had observed Bale in 'Reign of Fire' and 'Equilibrium', and realized that he had found the perfect actor for his Batman movie. In 'Reign of Fire', civilization has been leveled to ashes by the rise of a species of dragons. A ragtag group of survivors lead by Quinn, their reluctant leader, is struggling to survive. The special effects are tremendous --- easily bringing these horrific creatures to life. There's a terrific action sequence where Matthew McConaughey goes head-to-head with one of the monstrous, prehistoric beasts.

In 'Equilibrium', Bale proved that he was more than up to the task of playing a futuristic, badass enforcer. In a society where the masses are drugged into submission and controlled by a tyrant, all forms of expression (books, music and art) are considered illegal and possession of any such item is punishable by death. As John Preston slowly awakens to the reality that he's on the wrong side of society, the rebels convince him that he's the only one capable of leading them to a successful revolt. I thoroughly enjoyed the plot to this movie and there were numerous fight sequences that were most impressive.

In 2004, Bale delivered another tour de force as Trevor Reznik in 'The Machinist'. The actor famously dropped his weight to 120 lbs. for the part, and wanted to lose more, but the filmmakers were concerned about the consequences to his health. Further weight loss was not necessary, as Bale resembled a walking skeleton in certain scenes. The movie is a superb psychological mystery, with enough atmosphere and paranoia to rival the work of Alfred Hitchcock.

In 2005, Bale starred as Bruce Wayne in 'Batman Begins', a brilliant interpretation of the superhero universe by Christopher Nolan. I actually prefer this film in the sense that it allowed Bale to fully flesh out the character, though it seems the majority of fans consider the follow-up to be the superior film.

Also in 2005, Bale appeared as the lead in 'Harsh Times'. He portrayed Jim Luther Davis, a Gulf War veteran who suffers from post-traumatic stress disorder, and has difficulty adjusting to civilian life. Bale delivers another searing, unforgettable performance in this somber drama.

In 2006, Bale starred in 'The Prestige', opposite Hugh Jackman. This film was also directed by Christopher Nolan. The complex and fascinating story deals with the themes of obsession and revenge. It explores the rivalry between two magicians who are willing to sacrifice anything in order to destroy the reputation and life, of the other.

Also in 2006, Bale appeared in 'Rescue Dawn' from acclaimed director Werner Herzog. The film is based on the true story of U.S. fighter pilot, Dieter Dengler, who was shot down in Laos during a covert combat mission in the Vietnam War. He was taken to a prison camp and after several months, managed to escape and was subsequently rescued. Bale's performance is absolutely riveting and the plight of the prisoners, truly heartbreaking.

In 2008, Bale reprised his role as Bruce Wayne in 'The Dark Knight'. The film broke box office records and won a posthumous Oscar for Heath Ledger, who delivered a riveting and terrifying performance as the Joker.

In 2011, Bale starred in the remake of '3:10 to Yuma' with Russell Crowe. Both actors delivered electrifying performances in the western. The plot involves a Civil War veteran who's desperately trying to keep his family afloat in hard times. He volunteers to aid in the delivery of a dangerous outlaw, whose deadly posse is determined to stop at nothing to free him. I'm not usually a fan of the genre, but this particular film is thoroughly engaging and full of action, drama and suspense.

In 2011, I was ecstatic when Christian Bale won an Oscar for 'The Fighter'. The movie is based on the true story of two brothers: Dicky Ekland, a naturally gifted boxer who forfeited his reputation and career for a drug addiction, and Micky Ward, who struggled to establish his own identity and success in the shadow of his older sibling. The film is a gritty and realistic portrait of family dysfunction, and also captures the excitement of the sport in all its glory.

Also in 2011, Bale starred in 'The Flowers of War', a drama that takes place during the Japanese invasion of China. He portrays John Miller, a drunk of a mortician who ends up posing as a priest, in order to save the young school girls and courtesans taking refuge in a church. Bale delivered an inspired performance, working with a non-English speaking director. He also managed to take an extremely flawed character and turn him into a believable hero by movie's end. A sad, but uplifting story based on true accounts.

As for 'The Dark Knight Rises', could anyone possibly be as excited as I am? Regardless of whether it surpasses expectations, I'll always be a Christian Bale fan. No other actor fits my movie sensibilities as perfectly, or consistently brings to the screen what I desire to see most: intelligence, humor and heart.

~ A Moving Tribute to David Bale, Humanitarian & Activist; Christian Bale's Father
~ 'Batman' Star Punched, Stopped From Visiting Blind Chinese Activist
~ Video of Christian Bale & CNN Crew In Confrontration With Chinese Guards
~ Chinese Activist Hopes To Meet Christian Bale After Escaping To The U.S.
~ Christian Bale Visits Colorado Shooting Victims
~ Christian Bale Flies Jayden Barber, A 4 Year Old with Cancer, and his family to L.A.