The Movie Show

A spanking for the senses: James Cameron's "Aliens"

joe@themovieshow.org (Joe Scott) — Thu, 05 Nov 2009 05:05:39 PST

If you listened to the show this week, you might remember that I mentioned Roger Ebert's somewhat puzzling review of James Cameron's 'Aliens.'

He bows to the film's many technical accomplishments, but what makes Ebert's take on the property so unique is that he is essentially faulting it for being such a taught, well-made thriller.

"Aliens" is absolutely, painfully and unremittingly intense for at least its last hour. Weaver goes into battle to save her colleagues, herself and the little girl, and the aliens drop from the ceiling, pop up out of the floor and crawl out of the ventilation shafts. (In one of the movie's less plausible moments, one alien even seems to know how to work the elevator buttons.) I have never seen a movie that maintains such a pitch of intensity for so long; it's like being on some kind of hair-raising carnival ride that never stops.

I don't know how else to describe this: The movie made me feel bad. It filled me with feelings of unease and disquiet and anxiety. I walked outside and I didn't want to talk to anyone. I was drained. I'm not sure "Aliens" is what we mean by entertainment. Yet I have to be accurate about this movie: It is a superb example of filmmaking craft.

Because of this, the Eeb gave the film three and a half stars instead of the four it so clearly deserves. But I guess if one would ever find fault with a film for being intense, it is Aliens.

As I described it to an old buddy of mine back in high school, the movie is a "spanking for the senses." Whether it's through lighting, editing, special effects, or the score James Horner wrote for the film, the second half of the movie does everything it can to scare the crap out of the audience. I was reminded of this while playing James Horner's score in the background of our last show. I'm the only one who can hear the audio due to the fact that there's one set of headphones in the studio, and while Horner would attempt to lull my attention with tubas and violin there were a few moments where he would suddenly POUNCE my ears with a shrilling blast of woodwinds.

It made me jump, throwing me off my script, and I can imagine Cameron would be glad to know that even the audio portion of his film still has that power.

--

The Mixed Tape Film Series presents James Cameron's Aliens tonight at 7:30 and 10 p.m. at the Carousel Luxury Cinemas on 1305 Battleground Ave. in Greensboro. Tickets are $4 each and are available here.

[PODCAST] The Second Amendment of the World

joe@themovieshow.org (Joe Scott) — Wed, 04 Nov 2009 10:41:59 PST

On this week’s episode of The Movie Show, Joe and Mike get viewers ready for Thursday’s (Nov. 5) screening of Aliens at the Carousel Luxury Cinemas (tickets here). Also, they review Michael Jackson: This Is It and Amelia before dishing on the potential demise of Miramax, a sequel for ‘Roger Rabit’ and Bronson star Tom Hardy’s big break.

Stream it!

Happy 10th birthday to 'The Iron Giant'

joe@themovieshow.org (Joe Scott) — Thu, 29 Oct 2009 06:25:52 PDT

Over at Aint-It-Cool, the writer who calls himself Mr. Beaks did a fantastic piece for a special 10th Anniversary screening of The Iron Giant that recently took place in L.A. His opening line truly nails what makes this film so special and unique:

Stirring in its simplicity, bold in its depiction of humanity's capacity for violence, ruthless in its ability to make grown men cry, THE IRON GIANT endures because, once upon a time, its visionary director Brad Bird refused to treat his audience like imbeciles.

Y'know, the last time I cried while watching a film was when I saw this one on video six months ago with my wife. She had never seen the film before, and was quite doubtful of its qualities, but she teared up a bit, too. That's a good thing, because I am of the opinion that if a person can watch The Iron Giant and not cry when the Giant says "I am Superman!" then they truly lack a human soul. Good to know I didn't marry a Cylon.

Beaks goes on to share some interesting tidbits gleaned from a Q&A with director Brad Bird that took place before the screening, only to demand that Warner Bros. re-release the film theatrically.

After the way it was treated during it's first go-round in 1999, I don't see that happening, but rather than moan and complain, I took a chance to do something about it myself. That is why I convinced the Carousel Luxury Cinemas (1305 Battleground Ave. in Greensboro, NC) to play a 35mm screening of The Iron Giant at 10 a.m. Saturday, November 7.

Definitely attend this screening if you can, and bring as many of the little ones as you can (they stand a pretty good chance of winning PRIZES if they show up). It's one of my all time favorite movies, and deserves a huge audience next Saturday that it never had in 1999.

Tickets are only $3 each, and you can purchase them here.

Remember that 'Avatar' trailer I wrote about yesterday?

joe@themovieshow.org (Joe Scott) — Thu, 29 Oct 2009 05:54:01 PDT

It's finally online, sorta.

Trailer Addict has the online scoop on the international version of the trailer.

See what I mean? This looks like a much more enticing than the last 'Hey look, it's James Cameron making a film with HUGE special effects' trailer we got in September.

I'm so there, dude.

Cameron a 'Man of Extremes'

joe@themovieshow.org (Joe Scott) — Wed, 28 Oct 2009 08:50:25 PDT

If you haven't read last week's issue of New Yorker, then you should check out Dana Goodyear's wonderful profile of filmmaker James Cameron.

You can tell that Goodyear really got to know Cameron during the many years it has taken him to make his newest film, Avatar (due December 18). She got a fantastic quote by Cameron as well as clips from Steven Speilberg and George Lucas. And it's clear that while it might not help Cameron as a person very much, one of the things which makes him a great filmmaker is the fact that he doesn't waste a lot of time being nice. He has a habit of being terrible to his crew - who refer to him as "Mij" when he's on an angry kick - and even worse to his producers.

Here's a couple of choice quotes from Cameron during his so-called Mij spells:

“Hiring you is like firing two good men”
-To a crew member.

“Do you want Paul Verhoeven to finish this motherfucker?”
-To Arnold Schwarzenegger, an inch away from the actor's face on the set of True Lies.

He is definitely a shouter, but he's also the most skillful director whoever lived on a technical level. The article goes on to portray Cameron's risk addiction. While making these mega-blockbusters like Terminator 2 and Titanic he burns bridges and stokes the ire of critics and detractors, only to save himself at the zero hour by producing films that audiences love.

Will the audiences come through for Cameron again with Avatar? Only time will tell, but I think the likelihood of this happening has increased greatly after the release of the new trailer, which is still not available online in a non-bootleg version. Rather than attempt to lure audiences with the facts that the movie is directed by James Cameron and has some revolutionary special effects, we're starting to get a better idea of story elements and who the main characters are.

In other news, don't forget that during November, The Mixed Tape Film Series will be playing two Cameron films at the Carousel Luxury Cinemas in 35mm, both of which were sequels.

First up, at 7:30 & 10 p.m. Thursday, November 5, we'll be playing Aliens.

Featuring Sigourney Weaver (who also appears in Avatar), here's what co-host Mike has to say about the film:
"In 1986, writer/director James Cameron laid the groundwork for how to properly make a summer blockbuster sequel. Keeping the claustrophobic terror of Alien, but abandoning its survival horror minimalism in favor of space marines and waves of xenomorphs, Cameron fused genres to create this action horror classic. As Bill Paxton says in his career defining meltdown, 'It’s game over, man.'"

Then at 7:30 & 10 p.m. Thursday, November 12, we'll be playing Terminator 2: Judgement Day.

From Mike again:
"Easily one of the best summer blockbuster films ever made, Terminator director James Cameron cleaned up the tech-noir sci-fi of his breakthrough film and crafted an epic that owned the summer of 1991 and stands today as an example of what big loud summer movies can do if handled properly."

I can't wait to watch both of these films with an audience, and you can buy your tickets for these films here and here.

See you at the movies!

[PODCAST] Is Will Smith a liar?

joe@themovieshow.org (Joe Scott) — Wed, 28 Oct 2009 07:58:35 PDT

On the final, 2009 Halloween-themed episode of The Movie Show, Joe and Mike relate a truly horrifying weekend at the cinema with reviews of The Vampire’s Assistant and Astro Boy. Also, they uncover why theater owners are mad with Paramount, the details behind Wes Craven’s hopes for redemption, and remake news for one of cinema’s all-time great masterpieces.

This week’s Soundtrack Selections:

“Digital Versicolor” by Glass Candy from Bronson;
“A Nightmare on My Street” by DJ Jazzy Jeff and the Fresh Prince (not?) inspired by A Nightmare on Elm Street;
-and-
“Let Her Dance” by Bobby Fuller Four from Fantastic Mr. Fox

Stream it!

Bill Murray: 'McG deserves to die.'

joe@themovieshow.org (Joe Scott) — Thu, 22 Oct 2009 06:31:10 PDT

During an interview with Times Online to promote Fantastic Mr. Fox, Bill Murray dropped the kind of bomb most celebrities can't say these days because of publicists and star-wranglers.

Writer Kevin Maher asked him about a statement his Charlie's Angels director Joseph McGinty Nichol - or McG - had made wherein the filmmaker claimed the actor headbutted him during a creative dispute on-set.

Murray's response? Epic.

“That’s bulls***! That’s complete crap!” says Murray, flushing slightly yet maintaining composure. “I don’t know why he made that story up. He has a very active imagination.” He pauses. The subject seems closed, but then a minor eruption. “No! He deserves to die,” he says, coldly staring, without breaking deadpan. “He should be pierced with a lance, not headbutted.”

You can read the rest of the story here.

No wonder Murray was replaced by Bernie Mac in Charlie's Angels 2: Full Throttle.

P.S. Have you seen the new 'Critics Say' trailer for Fantastic Mr. Fox? If not, check it out.

[PODCAST] Like 'Navy Seals' only good.

joe@themovieshow.org (Joe Scott) — Thu, 22 Oct 2009 07:16:45 PDT

Why is Jon Favreau not directing The Avengers? Will Warner Bros. recoup the $85 million they spent on Where the Wild Things Are? And can horror movie news get any scarier than the Trilogy of Terror that Mike delivered this week?

Also, Joe and Mike review Where the Wild Things Are, Paranormal Activity, and Law Abiding Citizen.

Stream it!

REVIEW: 'Where the Wild Things Are'

joe@themovieshow.org (Joe Scott) — Mon, 19 Oct 2009 07:01:15 PDT

Where The Wild Things Are is not so much a kids’ film as it is a film for adults about being a kid.

The filmmakers state this clearly by opening with a scene wherein young child protagonist Max chases the family dog around the house with a fork. All adults - and dog owners - should be upset if they witnessed a kid doing this in real life. For this reason among others, I’m not too jazzed about the idea of impressionable kids under the age of eight watching this film. On the other hand, as someone who remembers my own childhood, I would be a liar if I said the portrayal of such dangerous and manic behavior in a young person was not accurate.

Director Spike Jonze and his co-writer Dave Eggers take bold chances like this throughout the film, starting with the casting of Max Records as the lead. More natural and plucky than cute or marketable, Records does a fantastic job of portraying the raging id of a child. He pitches a most realistic fit while giving his mother grief for spending time with her boyfriend instead of admiring the lava-proof fort he built in his room via sheets and bedposts. When she tries to calm Max down, he growls, bites her and runs away into the woods nearby. Alone with nothing to keep him warm but a tattered wolf costume, the boy finds a small dinghy boat, and sails to an island inhabited by a small troupe of wild, ten-foot monsters who call themselves “Things.”

Voiced by James Gandolfini, Catherine O’Hara, Forest Whitaker and Chris Cooper, critics have described these monsters as being “too scary,” “depressed” and even “whiny.” At times, all of these statements are true, but more than that, these monsters represent Max’s inner turmoil and childish character flaws that will cause him many problems as an adult if he doesn’t start to wise up by the end of the film. His biggest flaw of all is represented by head Thing, Carol (Gandolfini), who is incredibly selfish as all children can be, and because of his enormous size and strength, is prone to destructive behavior if he feels threatened or ignored. By embodying these flaws in such large creatures, the effects of Max’s real-world behavior is amplified. So much so that he can observe the ramifications of his own behavior and leave the Thigns’ island in the final act with the hope that he is en route to becoming a better person.

On the same note, the film takes a grave misstep by allowing Max to leave the Things – especially Carol – before they achieve the same closure that he does. Perhaps Jonze was simply out of money by this point, but this choice makes the already somber film a little bit sadder than it needed to be. Abandoned, the Things look to Max while howling and on the verge of tears. Sure, they’re probably sad because their new friend must return home, but I was sad as well because they lacked same resolution that Max achieved.

Critics have made a big to-do about how director Jonze and Eggers attempted the impossible when adapting this film from Sendak’s original book. Yes the book was 38 pages with fewer than 350 words, but where Jonze and Eggers earn their kudos is the fact that instead of filling the feature length gap with dirty jokes or pop culture references, their additives consist of unspoken insights into their personal interpretation of Sendak’s brief text. With questions instead of forced answers and bogus sentiment, and many scenes devoted to child’s play instead of screenwriting contrivances and poop-humor, Where the Wild Things Are is a much better adaptation of a short children’s book than the dreadful recent films based on the works of Dr. Suess and Cloudy With a Chance of Meatballs.

If it should have been adapted at all, that is.

Favreau ain't directing 'Avengers.'

joe@themovieshow.org (Joe Scott) — Fri, 16 Oct 2009 05:59:39 PDT

When The Avengers assemble for the tentpole blockbuster planned for Summer 2012, it looks like they'll be doing so without Jon Favreau -- in a director capacity at least.

Favreau recently told MTV's Movies Blog that while he's on board to produce the film, he won't be available to direct.

See for yourself:

Movie Trailers - Movies Blog

His reason?

"It's going to be hard, because I was so involved in creating the world of Iron Man and Iron Man is very much a tech-based hero, and then with 'Avengers' you're going to be introducing some supernatural aspects because of Thor," he continued. "How you mix the two of those works very well in the comic books, but it's going to take a lot of thoughtfulness to make that all work and not blow the reality that we've created."

In terms of adapting Iron Man from the comic books to the big screen, Favreau's asset was always his thoughtfulness. He wasn't the most visually compelling filmmaker, but he made sure that Iron Man made sense in a live action world, and that the entirety of the first film centered on a solid theme. He also did a lot of groundwork to court the fanboy community and get them revved up for the project. I'm not saying he's the best man for the job of directing The Agengers, but considering the way Marvel Films lowballs their creative talent, of the directors who would make themselves available for this project, who else could do this project any justice?

Maybe Martin Campbell, if the whole Green Lantern movie fizzles out, that is.

Symalan too busy to write or direct his own stories.

joe@themovieshow.org (Joe Scott) — Fri, 16 Oct 2009 05:41:00 PDT

While I feel that M. Night Shyamalan's The Village was one of the most unfortunately maligned films of all time, the dude's career has definitely taken a tumble with Lady in the Water (a film Mike enjoyed, btw) and The Happening.

So with that in mind, I am not sure how to react to Empire's story on "The Night Chronicles," a film project wherein different teams of writers and directors take on stories concieved by Shyamalan, who is currently busy turning a Nikelodeon kids' series into a live-action film. There's supposed to be three films in three years, the first of which, Devil, will be directed by Quarantine's Drew and John Erick Dowdle and written by 30 Days of Night scribe Brian Nelson.

Chris Messina will play the lead.

(Messina)

Empire suggests that Shyamalan could be attempting to turn his name into a franchise the way that Hitchcock did with his beloved TV series years ago. Could be true, but definitely not deserved as of late.

I've always felt that Shyamalan is a better director than a writer, even though he has created some compelling characters and decent scripts in the past. But the worst elements of his more recent and very terrible films has always been his stories. Now he's planning to take these stories, which are getting progressively worse with each film, and hand them off to not-so competent directors and writers?

I'm not sure this is going to work.

My advice to Shyamalan is this: Try to direct someone else's story. Stories have been the weakest parts of his more recent films, and who knows, maybe he'll actually get better at telling his own stories again after spending two years planning, lensing, and editing someone else's. Film is a collaborative art, and not everyone must be the great auteur. At least not all the time.

One could argue that that's what he's doing with The Last Airbender, but don't even get me started on that one.

P.S. Messina was pretty awesome as 'Mr. Syrup' in Away We Go.

I'm a bad blogger....

joe@themovieshow.org (Joe Scott) — Wed, 30 Sep 2009 05:51:10 PDT

I've been so busy writing for the News & Record, planning movie screenings, and promoting, that I have seriously neglected this poor blog. If it were a digi-pet, I'm afraid it would be sick, dead and/or surrounded by its own poop.

Will address this situation immediately.

[PODCAST] "When there's something strange...."

joe@themovieshow.org (Joe Scott) — Wed, 30 Sep 2009 05:46:42 PDT

On this week’s episode of The Movie Show, Joe and Mike review both of the science fiction films that managed to come out on the same weekend (“Pandorum” and “Surrogates”). They also have updates on the “Cowboy Bebop,” “He-Man,” and “Ghost Rider” moves.

Stream it!

NOTE: Don’t forget to attend the Mixed Tape Film Series screening of “Ghostbusters” at 7:30 & 10 p.m. Thursday, Oct 1 at the Carousel Luxury Cinemas on 1305 Battleground Ave. You can buy your tickets here.

[PODCAST] Definite articles.

joe@themovieshow.org (Joe Scott) — Wed, 02 Sep 2009 05:54:28 PDT

On this week’s episode of THE Movie Show, Joe reviews THE Final Destination, Mike has THE final word on Woody Allen’s Whatever Works, and they also discuss what might be THE biggest news story of the year.

Among the Soundtrack Selections this week is THE newest single from Spike Jonze’s Where THE Wild Things Are.

Stream it!

Everything you ever wanted to know about 'TMNT' but were too afraid to ask.

joe@themovieshow.org (Joe Scott) — Wed, 02 Sep 2009 04:27:06 PDT

"No special features? No problem!"

That's all I had to say after the recent and very disappointing release of Teenage Mutant Ninja Turtles (1990) on Blu Ray.

So I grabbed an international phone card, called English director Steve Barron, and got answers to some questions that have plagued me for decades. The result is this comprehensive radio documentary that explores not only how this exceptional comic book film was made, but also unmade by studio interference.

You’ll learn of deleted scenes, the origin of the movie’s soundtrack, plus the inspiration behind the movie’s dark and gritty tone.

Stream it!

[PODCAST] Anne Hathaway vs. a dolphin

joe@themovieshow.org (Joe Scott) — Fri, 07 Aug 2009 06:44:31 PDT

On this week’s episode of The Movie Show, Joe and Mike discuss whether or not Judd Aptow and Seth Rogen are still Funny People before Joe gladly locks himself inside The Hurt Locker. They also discuss Spielberg’s next remake attempt, what’s up with ‘Pirates 4,’ and how Danny Trejo got creative with the DVD distribution for his latest star vehicle.

This week’s Soundtrack Selections:
“Dead Flowers” by Townes Van Zandt from The Big Lebowski;
“I Am Young” by Coconut Records from Funny People;
-and-
“Please, Please, Please, Let Me Get What I Want” by She & Him from (500) Days of Summer.

Stream it!

Greensboro to ‘Rock n’ Bowl’ with ‘The Big Lebowski’

joe@themovieshow.org (Joe Scott) — Wed, 29 Jul 2009 10:14:19 PDT

GREESBORO, NC – Get ready to laugh, bowl and rock n’ roll with “The Big Lebowski.”

On Wednesday, August 26th, the Mixed Tape Film Series and WUAG 103.1 FM will present the Big Lebowski Rock n’ Bowl, a city-spanning event that will be a celebration of bowling, White Russians and one of the most beloved comedies of all time.

The Big Lebowski Rock n’ Bowl kicks off at 7:30 p.m. with a 35mm screening of the Coen Brothers’ cult-classic “The Big Lebowski” at the Carolina Theatre on 310 South Greene Street. Immediately after the film, Lebowski fans can knock some pins and make some friends at the Brunswick Triad Lanes on 21 Oak Branch Road, where there will be unlimited bowling and a dance party featuring records spun by WUAG’s greatest DJ’s.

Released in 1998, “The Big Lebowski” follows the life of Jeff “The Dude” Lebowski, a man of simple pleasures and questionable means who finds himself in a world beyond his comprehension after an unfortunate case of mistaken identity. Jeff Bridges shines in the lead role, reacting to brilliant supporting turns by John Goodman, Julianne Moore, Steve Buscemi and a very young Philip Seymour Hoffman.

Film critics and audiences originally shunned the film upon its release, however, due to a series of midnight screenings across the country as well as DVD sales, the film has become the greatest cult success of the last decade. Rolling Stone even went so far as to call the film “the most worshipped comedy of its generation.”

Other events in the Big Lebowski Rock n’ Bowl include a costume contest for people who dress like one of the characters from the film and bowling tournaments.

Brunswick Triad Lanes will serve patrons discounted White Russians until they close at 1 a.m.

Tickets for the movie and all-you-can-bowl event are $14 and are available at any Mixed Tape Film Series event or online at www.wuag.net.

For more information, e-mail movieshowjoe@gmail.com or call (336) 662-5691.

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[PODCAST] "Ladies' Work"

joe@themovieshow.org (Joe Scott) — Wed, 22 Jul 2009 05:40:13 PDT

On this week’s episode of the Movie Show, Mike and Joe declare two actors and a whole mess of zombies who are getting a second chance in Hollywood, just like Mike Tyson. Speaking of, they also review Tyson as well as Sugar, before delving into a new and very emasculating film project starring Hugh Jackman.

This week’s Soundtrack Selections:
“Us” by Regina Spektor from (500) Days of Summer;
“Legendary” by Nas from Tyson;
-and-
“Blues From Down Here” by TV on the Radio from Sugar.

Stream it!

Wes Anderson's 'The Fantastic Mr. Fox' -- our first look!

joe@themovieshow.org (Joe Scott) — Fri, 17 Jul 2009 04:39:52 PDT

A couple of pics hit the net last night from Wes Anderson's The Fantastic Mr. Fox, the director's first stop-motion animated feature based on the novel by Roald Dahl. I actually read this book to my after school students, and realized that the casting of George Clooney as the voice of the lead was a brilliant move. After all, Mr. Fox is rather wily, and something of a Danny Ocean in animal form

But now we get a chance to see how the film looks:

Fantastic, indeed. I especially like the detail in the first picture. It's obvious Fox is standing in Badger's house with all those books and a painting of badger soldiers. Also, Anderson is working with actual fur, creating characters who very much resemble the original sketches from the book.

While it's sad that we've lost one and a half live-action Wes Anderson films so that he could take the time needed to make this project, I am glad that he and other quality directors like Spike Jonze (Where the Wild Things Are) are looking at children's entertainment as an avenue for quality filmmaking. Just because you're under 12 doesn't mean you deserve to only watch crap like Alvin and the Chipmunks and because the Pixar guys have been alone in this belief for so long, Brad Bird has became the most profitable cinema auteur by a long-shot.

If Anderson or Jonze's films are successful, I see a New Wave of children's filmmaking coming along.

[PODCAST] Harry Potter Week!

joe@themovieshow.org (Joe Scott) — Thu, 16 Jul 2009 07:28:25 PDT

It’s Harry Potter this week on The Movie Show as Joe Scott shares his views on Harry Potter and the Half-Blood Prince.

Mike chimes in on the jokes, homophobia, and limited social commentary of Brüno.

And they both dive into seven news stories including casting on WB’s Green Lantern film, Will Smith’s next potential project, and Sony’s new pitch hitter for Brad Pitt’s Moneyball.

Stream it!

REVIEW: 'Harry Potter and the Half-Blood Prince'

joe@themovieshow.org (Joe Scott) — Wed, 15 Jul 2009 03:30:24 PDT

For the last five films, the Harry Potter series has always been a subtle dance with innocence. Whether it’s innocence about the nature of death, which could very well claim boy wizard Harry Potter and his friends in one of their many devil may care adventures, or innocence about love, and dare I say human – or muggle – sexuality as well.

But in Harry Potter and the Half-Blood Prince, the movie’s sixth and newest installment, Harry and beloved confidants Hermoine Granger and Rod Weasly engage in their usual dance, only this time they walk away before the end of the song leaving innocence standing in the corner.

With only two more years left at Hogwart’s School of Witchcraft and Wizardry, Harry’s got a lot on his mind. Girls mostly, plus there’s the sneaking suspicion that Professor Dumbledore, the school’s venerable headmaster who always bailed Harry and his friends out in the past, is starting to look frail and not as powerful as he used to be. But the biggest concern is Draco Malfoy, the Aryan-haired foil from the previous films. Now that Draco’s father has been locked away after the crimes he committed at the end of The Order of the Phoenix, the dark lord Voldemort has requested a difficult task of Draco. As Harry snoops around to investigate, he realizes Draco’s plan involves more than a panty-raid or shooting spitballs during potions class.

Played by Tom Felton, the previous films went out of their way to make Draco look like a despicable fascist, but I must credit director David Yates and screenwriter Steve Kloves for making him appear sympathetic during a time when he considers his most vile deed ever. Felton especially deserves kudos for rising to the task, portraying his character as disgraced, conflicted and angry because of evil forces that are beyond his control.

Best part is that Felton’s not the only one. As Harry, Radcliffe shines during a moment when he drinks a magical potion that increases his luck. Ruppert Gint who plays Ron continues to prove he is the most hilarious part of the series, pinning over various women at his school despite the dismay of the lovelorn Hermoine. And at his character’s darkest hour, Michael Gambon adds a human touch to Dumbledore, which was sorely needed if what is to happen to him in this film is supposed to have any meaning.

The supporting cast was solid as well, especially newcomer Jim Broadbent, as the star struck professor Horrace Slughorn.

As both a fan of the books and the films, I could be part of a minority who doesn’t care that the filmmakers left out the epic battle from the final act. What they chose to do instead was focus on both Harry and Draco, two characters who will look upon the campus of Hogwarts, their shared childhood home, and realize that nothing will ever be the same again. They also omit the funeral scene of a major character, opting instead to show the students of Howarts raise their wands in the air to banish the dark clouds from the sky – one of the most magical moments of the film series to date.

This Friday is 'Dress like a Zombie Day'

joe@themovieshow.org (Joe Scott) — Mon, 13 Jul 2009 10:17:18 PDT

As most of you probably know, we'll be hosting a special midnight screening of Lucio Fulci's seminal horror classic Zombie at the Carousel Luxury Cinemas on 1305 Battleground Ave.

In honor of this, we thought it would be cool to host a special promotion called "DRESS LIKE A ZOMBIE DAY"

(ZOMBIES!)

How does it work? Basically you just dress up like a member of the walking dead and show up at the Carousel on Friday night before the movie. If you know your zombies, this isn't too hard. All you need is a bit of fake blood, torn clothes, white makeup or an avacado mud mask of some sort.

(Zombie couples are welcome)

The first ten Zombies to amble up to the theater will win a prize. We might also have a couple of other contests that night as well.

('Sexy' zombies are welcome, too)

So remember when you're getting ready to see Zombie this Friday, don't just see the movie, live it!

Death Racers, start your engines!

joe@themovieshow.org (Joe Scott) — Thu, 09 Jul 2009 11:02:38 PDT

The movie is ready, the retro trailers have been spliced. Now all we need is the wildest movie audience in North Carolina (i.e. you) to make tomorrow night a rocking awesome time at the movie theater.

Friday, July 10 at Midnight, David Carradine will ride across the screen once more in the cult Roger Corman classic "Death Race 2000."

Tickets will be on sale Friday morning when the theater opens at noon. You can also buy them online here.

I would suggest that no one wait on this. I pretty much get into all of my shows for free, but made the decision to purchase tickets for me and my friends to guarantee we got into this show. You cannot say nobody warned you. It's going to be the coolest show in town, and there's a slight chance that only 100 seats will be available unless my fellow year-round GSO peeps can show their numbers.

I'll see you at the movies.

P.S. Winston-Salem film critic Mark Burger gave us a nice write-up in
Yes!Weekly. Apparently, Night of the Comet gave Burger more action than what the rest of the audience saw on the screen.

[PODCAST] "The Worst of the Worst"

joe@themovieshow.org (Joe Scott) — Wed, 08 Jul 2009 04:25:48 PDT

Hollywood decided to commemorate the anniversary of our nation’s independence with some of the worst movie ideas of all time, leaving Mike and Joe to decide which idea is “The Worst of the Worst.” Needless remakes, sequels, prequels, and adaptations of ridiculous toys and video games -- the studios clearly left no corner unturned. When the guys aren’t wading through a veritable garbage week of movie news, the mull the future of N.C. native Zack Galifianakis and review Johnny Depp’s Public Enemies and the wonderful documentary Anvil: The Story of Anvil.

This Week’s Soundtrack Selections:
“High Noon” by Tex Ritter from High Noon,
“Ten Million Slaves” by Otis Taylor from Public Enemies,
-and-
“Metal on Metal” by Anvil from Anvil: The Story of Anvil.

Stream it!

[SURVEY] The Worst of the Worst

joe@themovieshow.org (Joe Scott) — Tue, 07 Jul 2009 12:00:09 PDT

We're having trouble deciding which movie idea presented in today's news stories was the worst of the worst.
Can you help us to decide?