Monday, September 3, 2007

Official "Saw IV" Teaser

Saw 4
After the Comic-Con footage and all the waiting, Lionsgate finally decided to release the official teaser for the upcoming fourth installment of "Saw." In it, are the many victims who will be forced to play Jigsaw's games, unfortunately, we won't find out how until the movie is released. This one is a real teaser.

After Comic-Con rejected the first five minutes of "Saw IV" and the film was awarded an 'NC-17' rating by the MPAA, the studio knew that edits had to be made. A little slicing took place and the MPAA came back with an 'R' rating for sequences of grisly bloody violence and torture throughout, and for language. That's better, now I can take the kids to see this.

You can check out all the grisly bloody violence for yourself, when the film hits theaters on October 26th.

Matt Damon Talks "Bourne Ultimatum" DVD Extras

The Bourne Ultimatum
With the release of "The Bourne Supremacy: Extended Edition" in the UK, fans have been complaining that there is nothing extended about it. In fact, the 104 minute running time is exactly the same as the original.

DeadlineHollywood contacted Universal, who had the following to say: "The Extended Version was released by our UK operating company (Opco); it includes extra bonus features, and so the DVD running time is longer but the actual film is not longer."

Seems like false advertising, but on top of that the bonus material is apparently not that great either. Speaking about previous DVD extras from the past two movies, Matt Damon said: "One of the DVDs came out and it said explosive extra scenes and it was all these scenes that were not good enough to be in the movie. It's kind of like walking into a house, holding a bunch of dog sh*t and saying, 'Hey look what I almost stepped in.'"

As difficult as it might be to accept, Damon wants to let us know that it will be different with the "Bourne Ultimatum" DVD. "I've seen the extras for the next DVD and they are very good. There is more behind the scenes footage."

Tuesday, August 28, 2007

The Bourne Ultimatum - Theatrical Review

The Bourne Ultimatum
There are actually three screenwriters credited for The Bourne Ultimatum, though it's hard to imagine what exactly they all did to earn their paycheck. "You don't remember anything, do you?" "It's Bourne." "It ends here." [insert car chase] That doesn't mean that this third installment of the popular shaky-cam travelogue spy thriller series doesn't deliver all that it's intended to, and occasionally more, it just means that you're more likely to hear barked-out commands or the sound of squealing tires and shattering glass than two or more actors exchanging full sentences as part of a conversation. This is a film that asks exactly how much traditional storytelling structure can you cleave away and still have a coherent and engaging piece of work? The answer: Nearly all of it.

Coming off last year's abysmally underrated United 93, director Paul Greengrass thankfully returns for his second film in the series about the titular amnesiac CIA-trained assassin (Matt Damon) with identity issues. Although the resulting film is not nearly up to the hard-to-match bar set by the preceding film, The Bourne Supremacy, it's hard to imagine any other director currently working who would be able to keep the relentless pace delivered by Ultimatum. Unfortunately, it's also all too easy to see that the filmmakers and Damon are coasting when they could be soaring.

The stripped-down storyline that powers the film with motorized intensity concerns Bourne's identity. Having lost his girlfriend in the previous film, and spent a few years now running from various rogue CIA elements who want to eliminate an embarrassment before it can cause them any political damage, at film's start Bourne is now hot on the trail of his missing identity. It's clear that somebody inside the Agency is talking, as Bourne is reading stories about himself in The Guardian by an investigative journalist (Paddy Considine, nicely twitchy) who must have a highly placed source. Those previously mentioned rogue Agency elements are pretty hot to keep Bourne away from the secret program that created brainwashed killing machines like himself, and so the assassins -- a number of whom seem as relentlessly lethal and mindless as Bourne himself, an interesting twist -- come out of the wordwork to give chase in a variety of locations, from Tangiers to midtown Manhattan to an extended and exceptionally taut chase and surveillance sequence set in London's cavernous, clamoring Waterloo Station. Needless to say, by brains and brawn, Bourne burrows ever closer to discovering the true secret of his identity that's been eluding him as he races from one exotic European locale to another.

It would be ludicrous to say that The Bourne Ultimatum is not a thriller worth notice. Greengrass's hyperfluid direction and Oliver Wood's documentary-style cinematography make for an addictive mix, a pared-down action series for the post-9/11 era, where it's more about speed, lethality, and moral grey zones and less about cartoonish villains and sarcastic quips. But there's a limit to how far you can push this style, and this film flirts with that limit quite seriously. There are long stretches where little to no dialogue is provided beyond shouted directions to the thankless drones monitoring surveillance footage for the CIA as they track Bourne around the globe. Once Bourne gets closer to his target (the occasional pained flashback cutting in, giving glimpses of the training program that turned him into the killer he currently is), it's difficult to feel the necessary emotional impact for him, since the series has worked so hard at turning him into such a robotic entity.

It's much easier to impress an audience with masterfully assembled chases or killer martial arts moves -- and there's a couple of extraordinarily bruising fight scenes here that are unlike anything Hollywood has produced in quite a while -- than it is to get that audience to feel a human empathy for the man negotiating all that lethal territory. The audience may clap for Bourne when he executes a particularly smart maneuver (has there ever been a screen spy who has so flawlessly mixed graceful cunning with predatory nerve?) but will they feel for him when he's confronted by a woman he loved from the past but whom the amnesia has erased from his mind? Does it even matter? Probably not; a fourth film is most likely on the way, but it would be nice if, in the future, the filmmakers remembered that Bourne was human, and treated him as such.

Thursday, August 23, 2007

The Bourne Ultimatum

The Bourne Ultimatum
Director Paul Greengrass
Produced by Patrick Crowley, Frank Marshall, Paul L. Sandberg, Doug Liman
Written by Novel Robert Ludlum
Screen Story Tony Gilroy
Screenplay Tony Gilroy and Scott Z. Burns and George Nolfi Tom Stoppard (uncredited)
Starring Matt Damon, Julia Stiles, David Strathairn, Scott Glenn, Paddy Considine,
Edgar Ramirez, Albert Finney, Joan Allen,
Music by John Powell
Cinematography Oliver Wood
Editing by Christopher Rouse
Distributed by Universal Pictures
Plot Outline: Bourne dodges new, superior assassins as he searches for his unknown past while a government agent tries to track him down.

Running time 111 min
Country USA
Language English
Budget $110 Million
Gross revenue $244,539,830 (worldwide)


The Bourne Ultimatum is a 2007 film loosely based on the Robert Ludlum novel of the same name.

A sequel to The Bourne Supremacy and the third film of the Bourne Trilogy, it stars Matt Damon reprising his role as Ludlum's signature character, amnesiac CIA assassin Jason Bourne. Julia Stiles, David Strathairn, Scott Glenn, Paddy Considine, Edgar Ramirez, Albert Finney, and Joan Allen co-star. The key cast members reprise their roles from the two previous Bourne movies, with additions such as Strathairn, playing a CIA department head; Paddy Considine as a British journalist; and Edgar Ramirez as a new assassin sent to kill Bourne. The film continues the saga of Jason Bourne after he survives the harrowing Bourne Supremacy car chase in Moscow, Russia, and follows the character as he travels to Paris, London, Madrid, Tangier and New York City to uncover his real identity, while the CIA continues to send assassins after him.

Paul Greengrass directed the film from a script by Tony Gilroy, Scott Z. Burns, George Nolfi and an uncredited Tom Stoppard.[citation needed] The producers were Patrick Crowley, Frank Marshall, Paul L. Sandberg and Doug Liman, who directed the first Bourne movie, The Bourne Identity.

The Bourne Ultimatum was produced by Universal Pictures and was released on August 3, 2007 in North America, where it grossed $69.3 million in ticket sales in its first weekend of release, making it the highest August opening. The film was released on August 16, 2007, in the United Kingdom, Ireland and Singapore.

By the end of August 2007, the film was said to be on track to exceed the international box office gross of the first two films in the trilogy.


Cast


* Matt Damon as Jason Bourne (Captain David Webb): an amnesiac who was previously a CIA assassin, Bourne is trying to escape Moscow police at the beginning of the film, shortly after stopping a Russian assassin in an auto chase near the end of the previous film.
* David Strathairn as Noah Vosen: a CIA Deputy Director, Vosen is the head of Operation Blackbriar, a renamed and upgraded Operation Treadstone.
* Joan Allen as Pamela Landy: a CIA Deputy Director, Landy is working with Vosen to track and capture Bourne.
* Julia Stiles as Nicky Parsons: formerly Bourne's Treadstone contact in Paris, she was assigned to Madrid after attempts to capture Bourne in Berlin and Russia failed.
* Paddy Considine as Simon Ross: a British journalist who has been uncovering the secrets behind the origin of Operation Treadstone, and Bourne's past.
* Albert Finney as Dr. Albert Hirsch: the CIA specialist who supervised Bourne's behavior modification training prior to Operation Treadstone.
* Scott Glenn as Ezra Kramer: Director of the CIA.
* Colin Stinton as Neal Daniels: CIA's Station Chief in Madrid.
* Joey Ansah as Desh Bouksani: a Blackbriar assassin quartered in North Africa.
* Edgar Ramirez as Paz: a Blackbriar assassin who is sent after Ross and Bourne.
* Tom Gallop as Tom Cronin: Landy's deputy.
* Corey Johnson as Wills: Vosen's deputy at Operation Blackbriar.
* Sam Dang as Raymond Sykes: Deputy commander of CIA New York branch. Former field agent attached to Vosen.

Saturday, June 23, 2007

Die Hard 4.0

Die Hard 4.0
Synopsis

In this action-packed sequel, John McClane no longer works for the police department, but his job chasing down dangerous hackers for the Department of Homeland Security still places him directly in the line of fire. When an attack on America’s vulnerable infrastructure begins to shut down the entire nation, McClane is assigned the dangerous task of capturing the mysterious figure behind the act of terror and preventing chaos and catastrophe.

Die Hard 4

Die Hard 4
The latest film in the “Die Hard” will start shooting later this month, with two new actors joining Bruce Willis.

As Variety reports, Justin Long and Maggie Q were chosen as the co-stars for “Live Free or Die Hard”, with “Underworld”'s Len Wiseman directing.

The 28 year-old Long previously appeared in “Herbie Fully Loaded” and “Dodgeball: A True Underdog Story”.
Maggie Q recently appeared in “Mission: Impossible III”.

Rumors of a fourth “Die Hard” film were in circulation since “Die Hard With a Vengeance” was released in 1995.

"Our villain is high-tech, but the way McClane deals with him is low-tech. A fist fight still solves a lot of problems", said director Wiseman towards the nature of the film.

”Live Free or Die Hard” is set to be released next June.

Transformers wallpapers

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Thursday, June 21, 2007

Fantastic Four - DVD Review

Fantastic Four
If you have been looking for an exciting movie, Fantastic Four is perfect for you. This movie has great special effects and loyalty to the comic book. This is an awesome film for everyone that is an old Fantastic Four fan and even for today's generation.

Volunteering for a voyage to an orbiting space station, four scientists are changed by cosmic rays. Johnny Storm, played by Chris Evans, creates and controls fire. Ben Grimm, played by Michael Chiklis, turns into an incredibly strong...thing! Dr. Reed Richards, played by Ioan Gruffudd, gets the ability to stretch his body. Sue Storm, portrayed by Jessica Alba, becomes invisible and can generate force fields.

Before leaving Earth, Dr. Richards approaches Victor Doom, played by Julian McMahon, with a business proposition involving research on genetics and finding a cure for a wide variety of diseases. They agree to use Doom's hovering space station to observe a unique space storm that contains the building blocks of life. Everything seems routine until the storm picks up speed and hits the station far ahead of schedule.

All at once, everyone on the space station is affected, though none of them are aware of it...until the genetic changes begin to happen.

Together, the "Fantastic Four", as named by the press, must intervene in the evil plans of Doom, a tycoon billionaire businessman. Being aboard the space station with the other four, Doom also changes gaining an invincible metal alloy body that absorbs and controls electricity.

Then it really gets complicated. Sue Storm and Reed Richards join forces to find a cure for their "special powers" and yet somehow, have to get past their old personal conflict. These two extremely intelligent scientists once were in love and had a painful end to their relationship. Now, suddenly reunited, they try to be professional with each other in order to figure out a way to change their bodies back to the way they used to be.

Ben Grimm really gets the short end of the stick. He has the most changes to deal with since his total appearance is altered to a walking huge hulk of living rocks. Even though he has a heart of gold, his girlfriend rejects him immediately, frightened by his new body. Ben Grimm endures even more humiliation when the press gives him the name, "The Thing". He cannot even use an elevator because his weight exceeds the limit of what elevators can handle, over two thousand pounds.

The movie grows more intense as Doom grows in his abilities and ambitions for power. Like his personality, he remains cold to human suffering, caring only for what he can use and control.

After being threatened directly by Doom, all four heroes, Reed Richards, Ben Grimm, Sue and Johnny Storm must band together to stop Doom from destroying the city and killing millions of innocent people.

"Fantastic Four" is Rated PG for sequences of intense action and suggestive content. This movie really delivers to the fan a lot of action, humor, and fun.

About the Author:
Tom Straub is a successful author and webmaster of the DVD Reviews website featuring online reviews of all your favorites.

Official site

Wednesday, June 20, 2007

Fantastic Four: Rise of the Silver Surfer - No.1 movie in sales

Fantastic Four
The 20th Century Fox sequel "Fantastic Four: Rise of the Silver Surfer" debuted as the No. 1 weekend flick with $57.4 million in sales, slightly surpassing the $56.1 million opening of "Fantastic Four" two years ago, according to studio estimates Sunday.

The new "Fantastic Four" reunites the quartet of astronauts-turned-mutant-superheroes, played by Ioan Gruffudd, Jessica Alba, Michael Chiklis and Chris Evans. This time, the comic-book heroes join forces with archenemy Dr. Doom (Julian McMahon) to take down the Silver Surfer, an emissary leading a planet-destroying entity to Earth, according to AP.

The studio and filmmakers toned down the action so the sequel could earn a PG rating to broaden the audience to family viewers. The first "Fantastic Four" was rated PG-13.

"A lot of the superhero comic-book movies are sort of geared toward being darker and edgier. We think 'Fantastic Four' is a more family friendly group of superheroes," said Chris Aronson, senior vice president for distribution at 20th Century Fox. "We wanted to make sure to cast a wide net and go after the family audience, and it worked."

Tuesday, June 19, 2007

Fantastic Four: Rise of the Silver Surfer

Fantastic Four
Genres: Action/Adventure, Comedy, Science Fiction/Fantasy and Sequel
Release Date: June 15th, 2007 (wide)
Distributors: 20th Century Fox Distribution


Riding the wave of success most comic book adaptations are receiving at the box office, the Fantastic Four are returning for a second helping. Not only am I extremely happy to see Jessica Alba in a skin-tight super costume, the next film introducing a new DC comic book character. Apparently the plotline reads: The Fantastic Four learn that they aren't the only super-powered beings in the universe when they square off against the power Silver Surfer and the planet-eating Galactus.

Thursday, May 3, 2007

Shooter

shooter
Starring: Mark Wahlberg, Michael Pena, Danny Glover, Kate Mara, more cast
Directed By: Antoine Fuqua
Released By: Paramount
Theatrical Release Date: 03/23/2007
Run Time: 124 min.

Synopsis:

A top Army sniper who previously abandoned the military after a routine mission gave way to tragedy is double-crossed by the government after reluctantly being pressured back into service in Training Day director Antoine Fuqua's adaptation of Stephen Hunter's novel Point of Impact. There was a time when Bob Lee Swagger (Mark Wahlberg) was the best trigger-man in the military, but after growing disillusioned with the system, he disappeared without a trace. After being located at his remote mountain retreat by high-profile government officials following an extensive search, Swagger is coerced back into service in order to stop a determined assassin from taking out the President of the United States. In the process of carrying out his mission, however, Swagger suddenly realizes that he has been betrayed when he becomes the subject of a nationwide manhunt. Now wounded and desperate to reveal the culprits behind the conspiracy before it's too late, Swagger sets into motion a revenge plan that will send shockwaves rippling to some of the most powerful and corrupt leaders in the free world. Danny Glover, Rhona Mitra, and Ned Beatty co-star in this conspiracy-driven action thriller that asks what it truly means to serve one's country.

Harry Potter and the Order of the Phoenix

Harry Potter and the Order of the Phoenix
Release Date: 07/13/2007
Starring: Daniel Radcliffe, Emma Watson, Rupert Grint, Michael Gambon, more cast
Directed By: David Yates
Released By: Warner Bros.
Genre: Family and Children, Fantasy, Action and Adventure

Synopsis:

In the fifth installment in the 'Potter' series, Harry and Dumbledore try to brace Hogwarts for the return of Voldemort, but find their warnings ignored and themselves targeted by the Wizard authorities. Meanwhile, an authoritarian bureaucrat slowly seizes power at the school.

'Shrek the Third' Sneak Peek

shrek 3
Release Date: 05/18/2007

Starring: Mike Myers, Eddie Murphy, Cameron Diaz, Antonio Banderas, more cast
Directed By: Raman Hui, Chris Miller
Released By: Paramount
Genre: Comedy, Animation

In Shrek's latest adventure, the green ogre with a heart of gold must find the rightful heir to the throne of Far Far Away -- or become king himself. Back for the ride are Donkey, Puss in Boots and Fiona -- but they're also joined by a slew of new characters, including a young King Arthur (voiced by Mr. Sexyback himself, Justin Timberlake). Meet the cast and get an exclusive behind-the-scenes peek.

Synopsis:

When Shrek married Fiona, the last thing he had in mind was becoming the next King. But when Shrek's father-in-law, King Harold, suddenly croaks, that is exactly what he faces. Unless Shrek (with the help of his trusted companions Donkey and Puss In Boots) can find a suitable King for Far Far Away, the ogre could be stuck with the job. The most promising candidate, Fiona's cousin Artie, an underachieving Medieval high school slacker, proves to be a more of a challenge than they bargained for.

Radcliffe, Grint and Watson Sign On to Final Harry Potter Films!

Harry Potter
Well, we can officially scratch those rumors that suggested Emma Watson was not going to reprise the role of Hermione in the final two Harry Potter films, Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows. According to a press release, Jeff Robinov, President of Production for Warner Bros. Pictures, made the announcement today. He says, "It would be inconceivable to imagine anyone else in the roles with which they have become so identified, so we are thrilled and proud that Daniel, Rupert and Emma have chosen to complete the arc of their characters in the final two films."

Reports circulated last week that claimed Watson had refused a last-ditch offer of around $4 million to appear in the final two films. Of course, Potter fans were not too happy about the news. However, it now appears none of it was true. With regards to her signing on, Watson states: "I could never let Hermione go-she is my hero! I love her too much and love what playing her has meant to me. I am excited and honoured to be finishing what I started and playing her in all seven of the films." In this day and age, it's pretty remarkable to retain the central part of a cast for a total of seven films. Kudos to Warner Bros. for pulling it off. This is shaping up to be a huge summer for Potter and his clan; the final book in J.K. Rowling's series, Harry Potter and the Deathly Hallows, hits shelves on July 21, one week after Harry Potter and the Order of the Phoenix hits theaters (July 13). Can you fans handle the excitement?

Spider-Man 3 -- Erik's Review

I decided to begin this review with a quote from the 10 year old (maybe 8 or 9) kid who walked behind me as we exited the theater. When his father asked him what he thought about the movie, the boy responded with, "I don't get what the big deal was." Although I kept walking, I wanted to turn around and tell him that if a film like Spider Man 3 came out when I was ten, I would've talked about it for weeks. The special effects alone would've infiltrated my dreams; I'd demand that my parents run out and immediately buy me any action figure associated with the film so that, within the comfort of my own home, I could let my imagination run loose. When I was ten, my friends and I prayed for films like Spider Man 3 - not because of the hotly-debated conversations we could have about the film's potential box office figures, but because it was bursting with the kind of energetic spirit us kids craved. I'm not sure whether kids these days know the power of imagination; part of the problem is that they've grown up in a medicated world without any surprises. And I guess if you're a kid who watched both Spider-Man and Spider-Man 2 on your HD flat-screen TV in between games on your PS3, while trying to decipher the coded text messages your friends are sending, then you might not get what the big deal is here. Or maybe you did get it ... and you're just not impressed.

If anything, Spider Man 3 could be looked at as a healthier form of Ritalin - heck, there's so much going on in this film, kids don't have a lot of time to lose concentration. If you've seen any of the trailers, then I'm sure you already know the basic premise. In between Spider-Man 2 and Spider-Man 3, Peter Parker (Tobey Maguire) has done a bit of growing up. Saving the day is no longer an overwhelming responsibility; instead, he's addicted to the attention. And though he's still madly in love with Mary Jane Watson (Kirsten Dunst), he's become consumed by his own greatness. The geeky, self-conscious kid from Queens has been replaced by a guy determined to be the best at every task he takes on, be it inside the suit or out. He's become the kind of guy who can't help but brag about his own adventures even when someone, like Mary Jane, is simply looking for a shoulder to cry on. Problem is, everyone is beginning to notice ... except for him. To Peter, life couldn't get any better. Sure he's still got some unsettled business with Harry Osborn (James Franco), but he has Mary Jane by his side. A woman he adores. A woman he wants to marry. Well, that's if she says yes.

The greatest thing about Spider-Man 3 is that it doesn't leap into your lap during those opening moments. Director Sam Raimi waits a good half-hour before serving his appetizer (which, in this case, is the first of many confrontations between Peter/Spider-Man and Harry Osborn/New Green Goblin). Some might criticize the film for not jumping right out of the gate, but there's this quiet build that's very enjoyable to watch. And when the rest of the film comes at you like a bloodthirsty pack of wolves, then it's the simple moments you end up cherishing the most. Though he's far from the awkward teenager he once was, Peter is having trouble making the transition from kid to adult. Thus, his relationship with Mary Jane is suffering. Whereas he used to find it tough to balance all these responsibilities at once, the immature side of him has become convinced that, because he's a superhero, he can do no wrong. Whatever doubts and insecurities he still has are now buried deep under several layers of Spidey coolness. Essentially, he's a little boy trapped in a grown-up body - a boy who's immune to real-life struggles, like losing a job or maintaining a successful career.

Once it's established that Mary Jane isn't crazy about the new (and improved?) Peter, the A.D.D. portion of the film begins. This consists of introducing one new character after another, while at the same time trying to tie up any loose ends left over from the previous two films. There's Eddie Brock (Topher Grace), The Daily Bugle's new photographer and Peter's greatest on-the-job nemesis. Eddie is determined to land a staff job by providing the newspaper with a handful of controversial Spider-Man photos. Yeah, like Peter would ever let that happen. There's Flint Marko (Thomas Haden Church), an escaped convict whose only goal is to reunite with his sick daughter and provide her with enough money to get better. (And though we're never really told what's wrong with her, it's nice to know that money solves all our problems.) Of course, along the way Flint stumbles into some sort of particle machine that fuses his body with a whole lot of sand, turning him into Sandman. At the same time, Captain Stacy (James Cromwell) informs Peter that Marko is the guy who killed his Uncle Ben (Cliff Robertson), and not Dennis Carradine (Michael Papajohn). While all this is going on, some sort of alien symbiote conveniently crash lands on Earth in the same spot that Peter and Mary Jane are hanging out. We're not sure what it is or where it came from, but it arrives complete with a fashionable black Spidey suit. Oh, and then there's Gwen Stacy (Bryce Dallas Howard). She's a waste of a character, but we'll get to her later.

All of these new villains begin to take time away from what I feel is the meat and potatoes of the Spider-Man story; that being the relationship between Peter, Harry and Mary Jane. I suppose it could be compared to hanging out with your three best friends in the same spot - your special spot - for years, until one day all of these strangers show up eager to join the party. Suddenly, that unique bond you once shared becomes infected by a slew of folks looking to share your memories. Are the special effects great? Yes. Are the action sequences fun to watch? Yes. But when Peter puts on that black suit, not only does he become a different person, but it also becomes a different movie. One that's too campy, too comedic. Whatever dark (but brief) moments Peter has while in the suit are overshadowed by a silly Saturday Night Fever sequence. Since Peter doesn't know how to be "cool," the alien symbiote helps him project his own ideas of being "cool." And folks, let's just say that none of it is very cool. That being said, it's all a bit too much to handle. And while I have to give credit to Sam Raimi for somehow packing it all in there (and still churning out a decent enough film), I would've been happier if some of this stuff was saved for a future installment.

Case in point: the Gwen Stacy character. Since Raimi and the gang missed the boat early on, failing to introduce Stacy in a spot that would've remained more faithful to the comics, including her here felt too forced. The angle they took (which involved Peter saving Stacy's life, then using her to make Mary Jane jealous) was an interesting one, but definitely rushed. Her character should've come into play in Spider-Man 2. But if you're the type of person who could care less about the silly romantic plot twists and are more interested in Spidey kicking some major ass, then this third installment will not let you down. Though, at times, the inclusion of two villains at the end of the film felt a little too much like Schumacher's Batman films, the battle scenes provide plenty of edge-of-your-seat excitement. If he failed to convince you before, Sam Raimi proves here that he owns this character. And if he refuses to helm another installment, then Sony should cash in their chips and call it a day. In the end, Spider-Man 3 succeeds at being a new form of summer blockbuster entertainment; one that's carefully constructed to appeal to a generation that's hard to impress. Like the character of Peter Parker, hopefully when these kids finally grow up they'll learn to appreciate the little things in life. In the grand scheme of things, Spider-Man 3 might not be a big deal. But getting to experience a major film like this in a packed auditorium with hoards of screaming fans is something to remember. And getting to do so in the company of your father is a memory no one can take away. That, my friends, is a big deal.

www.cinematical.com

Mel Gibson Wants to Do 'Maverick 2'

If you expected Mel Gibson to stick firmly behind the camera following his well-known and drunken tirade, guess again. Looks like the statute of limitations has worn off our collective distaste for the actor, and he's planning to celebrate by mounting a sequel to the 1994 flick Maverick. Word is that James Garner is interested in coming back -- but nothing on the participation of Jodie Foster has been offered thus far. (Which is a shame because Jodie, playing it light for a change, was one of the true highlights of Richard Donner's Maverick.)

According to Hollywood.com, Mr. Gibson is overstuffed with nifty new ideas for Maverick 2: "I think audiences will enjoy what we've got in mind. It won't be happening immediately, but I dare say, it'll happen." He then goes on to say that there'll be no more Mad Max or Lethal Weapon sequels because "there's nowhere to move with those characters." Right, but the characters in a sequel to a remake of an old Western series ... tons of latitude there. Kinda funny that he'd deride sequels with one breath while also floating teasers on a different sequel, but hey, Mel's always been a bit eccentric.

(For the record, this (Jewish) writer holds nothing against Mel Gibson for his nasty remarks. The guy said some stupid things, apologized for them, and moved on. Happens to "normal people" every day -- but it's still kinda tough to forget about it completely, you know? Having said that ... Maverick 2? The first one was cute enough, but ... nah.)

www.cinematical.com

Tuesday, May 1, 2007

'Grindhouse' Reviewed by Nick Schager

grindhouseIn a pop culture landscape as hungrily cannibalistic as today's, cinematic nostalgia and homage has lost much of its once enticing luster. The indulgent fun of referencing and rehashing the past has worn so thin that even VH1's gaggle of third-rate Best Week Ever and I Love the [Insert Decade] talking heads seem barely capable of mustering enthusiasm for the latest derogatory smack-down on their own industry brethren. The cultural infatuation with retro navel-gazing is now pronounced to the point that it brings into question whether the practice hasn't seriously debilitated our collective imaginations, which have become so narrowly focused that it sometimes feels as if half of our mainstream entertainment takes as its primary influence mainstream entertainment. It's an inward circle that - at least in the cinematic arena - proceeds with no clear direction and even less of a meaningful destination, with deconstruction often taking a back seat to regurgitation as countless filmmakers prove themselves stunted adolescents whose worldview is primarily confined to the movies and TV shows of their youths.

Which is a long-winded way of saying that my skepticism was high for Grindhouse, the nasty, sleazy love child of Robert Rodriguez and Quentin Tarantino that aims to recreate - with every celluloid scratch, Missing Reel title card, cheesy theater advertisement and titillating coming attraction - the experience of a '70s B-movie twin bill. A dutiful and reverential homage to their beloved exploitation flicks, Rodriguez and Tarantino's two-headed beast delivers separate full-length films, Rodriguez's Planet Terror and Tarantino's Death Proof, sandwiched together by hilarious phony trailers from Rob Zombie ("Werewolf Women of the SS"), Edgar Wright ("Don't!"), Eli Roth ("Thanksgiving") and Rodriguez himself ("Machete") that nearly outshine the main events. Theirs is a joint project of exacting replication, though the directors' intentions and execution are - surprisingly, given the "All for one, and one for schlock" unity that infuses the endeavor - far more divergent than one might expect. Rodriguez goes for full-blooded faithfulness, Tarantino goes for genre analysis and reconfiguration, and the results are, ultimately, about as coherent and fulfilling as a typical grindhouse double-feature.

The thrill of exploitation cinema came not just from its subversive, amoral extremism, but also from its furious, sexually-charged, who-gives-a-shit attitude. Such a mind-set was the byproduct of being made on the fringe by marginalized craftsman, and came through via its non-Shakespearean thespians' blunt performances and an aesthetic that radiated scraggly, no-nonsense cheapness. Grindhouse is gleefully dedicated to foisting three-hours-worth of unsavory grime on spick-and-span cineplexes. Yet as the creation of two celebrated and commercially successful directors working with star-studded casts and a heavyweight studio in their corner, its ethos - unlike its venerated predecessors -- isn't one of outsider rebellion but of insider movie-geek goof-offery. Consequently, both films' attempts to push the envelope are hampered by a sense that the whole raunchy thing is, first and foremost, a joke intended to satiate fanboys' hunger for allusions to their favorite under-the-radar actors (look, there's Tom Savini getting torn apart by the undead!) and films (yay, subtle nods to Zombie!).

In terms of straight-up gonzo B-movie madness, Planet Terror is Grindhouse's victor, offering up a Texas-set zombie outbreak saga that's equal parts George Romero, Lucio Fulci and John Carpenter. Rodriguez mimics with such expertise that it's tough to resist his increasingly maniacal tale, which centers on the efforts of mysterious, tow truck-driving bandito Wray (Freddy Rodriguez) and his go-go-dancer ex-flame Cherry (Rose McGowan) as they struggle to survive hordes of monsters created by a noxious military chemical weapon. It's a premise that the Sin City director lustily dives head-first into, piling on so much gushing blood, gnarly gore, tongue-in-cheek humor (the finest recurring bit revolving around Cherry's dream of being a stand-up comedian) and visual gags (prolonged zooms, bad lighting, film stock damage) that his uninhibited zeal becomes infectious. At the point McGowan's deliciously seductive Cherry has her amputated leg replaced by a machine gun – which gets a thorough workout during an explosive finale - the film comes close to achieving a giddy, trashy euphoria.

What holds Rodriguez's effort back from being an outright blast is the self-consciousness (and resultant toothlessness) that permeates all of Grindhouse, with the affectedness of every print blemish, excessively exploding head and corny one-liner undercutting the film's spirit of taboo-tweaking outrageousness. Still, Planet Terror benefits from its maker's ability to moderately subsume his CG-loving stylistic personality in service of slavish genre cliché devotion, a goal that Quentin Tarantino proves wholly uninterested in achieving with Death Proof. Beset by the Pulp Fiction auteur's trademark talkativeness, the second part of Grindhouse's twofer always keeps its "directed by Quentin Tarantino" pedigree front and center, spending the majority of its first half on scenes in which groups of girls engage in banal and insipid conversations about sex and movies. Shout-outs to obscure TV shows (Robert Urich's Vegas) and films (Vanishing Point, on numerous occasion) pepper the inane banter, which QT wants to use as a vehicle for eliciting empathy with his foxy ladies, but which instead merely diffuses most of the high-wire, anything-goes energy that the preceding Planet Terror and mock trailers had so robustly established.

Luckily, Death Proof has a few aces up its sleeve. The first is Kurt Russell, whose old-school charm and viciousness as Stuntman Mike - a facially scarred sexual predator whose lethal weapon is his crash-car - enlivens the film with macho electricity. The second is Tarantino's canny, ulterior modus operandi, as his synthesis of three distinct grindhouse genres - the serial killer thriller, the dragster flick, and the cheerleader film - is designed as both celebration and critique. Tarantino deliberately delivers misogynistic slasher-film goods at first, and then offers a corrective by turning the tables on vehicular rapist Stuntman Mike via a second foursome of hotties who, when not gabbing in a coffee shop (in a femme variation of Reservoir Dogs' intro), prove to be cheery ass-kickers intent on taking back the night. In its desire to comment on (rather than simply reiterate) its source material, Death Proof proves the cleverer of Grindhouse's entries. Unfortunately, that doesn't preclude it from also being the less exhilarating and amusing of the two, though if Tarantino doesn't match Rodriguez's avalanche of exploitation lunacy, he nonetheless at least finds in stuntwoman Zoë Bell - a badass whose car hood daredevilry is awe-inspiring – an authentic, go for broke B-movie goddess for the 21st century.

www.cinematical.com

Ocean's Thirteen Loses One, and is Back to...Twelve?

oceans 13
The final installment for Steven Soderbergh's Ocean's series, Ocean's Thirteen, is coming out this summer -- June 8th to be exact. Last August, Erik shared that this would be the end of the director's Ocean dalliances, and that this sequel was only being made to appease George Clooney. Obviously, this doesn't mean that someone else couldn't again revive the series, but for now it's the end. Of course, whenever you end something extremely popular, it has to go out with a bang. Big names, big action and big endings -- in more ways than one. (Stop reading now if you're antsy about potential spoilers.)

Well, we've already got extra big names added to the star-studded cast, Ellen Barkin and Al Pacino, as Scott Weinberg shared last year. The action, I'm sure it will be there. But what of the endings? Don Cheadle had some interesting things to say about the end of the series and what happens with his character, Basher Tarr -- explosives expert. MTV News says that while other actors have shown an interest in continuing the series, he's out: "It'll be [in theaters] June 8, and I'm taking Basher out in a way I couldn't have anticipated. I hope other people don't see it coming either." Does this mean that they're going to kill him off? If they were, I can't see him spoiling the surprise, so maybe this isn't about him being taken out of the mortal coil, but out of the business? Thoughts?

Rambo IV

Rambo IV
After seeing and loving Rocky Balboa, it's a lot harder for me to roll my eyes over the prospect of another Rambo film. That Sylvester Stallone looks ridiculous in these photos really can't be argued, however. We posted a fairly positive script review a while back that bodes well, and it's got a decent cast, but ... man. Seeing the 60 year-old Stallone in a mullet and a low-cut blouse, it's just too much. Most of these shots are of Stallone grimacing, but there's what appears to be a couple of action sequences in the mix as well.

Rambo IV is currently referred to as John Rambo on imdb, a decision that was likely made after Rocky Balboa did well. At various points the film has been called Rambo IV: Pearl of the Cobra, Rambo IV: Holy War, Rambo IV: In The Serpent's Eye, and Rambo IV: End of Peace. At press time, the "powers that be" were not giving serious consideration to my choice: Rambo IV: Electric Boogaloo. Stallone is directing the film, which is shooting in Thailand. The new film is said to open with the highly disgruntled Vietnam vet being recruited by a group of missionaries to protect them against pirates. I smell a Johnny Depp cameo!

Genre: Action/Adventure
Locations: Thailand
Release: May, 2008
Budget: Estimated: $60 Million

Produced by:
Rogue Marble
EMMETT/FURLA
Millennium Films Inc.

Distributors: Lions Gate Films Inc.

Directed by: Sylvester Stallone

Written by: Art Monterastelli and Sylvester Stallone (screenplay)


Kevin Bernhardt screenplay
Kevin Lund screenplay
David Morrell characters
T.J. Scott screenplay
Sylvester Stallone screenplay
Jeb Stuart screenplay


Characters:

Sarah Miller: 28-33, an idealistic, pure, young woman with a shy demeanor and a soulful expression. Her approach to her beliefs and manner is demure. Sarah is a member of a church in Colorado, and has come with other missionaries to deliver humanitarian aid to the persecuted Karen people of Thailand. Believing in the leadership Of Michael Burnett, Sarah is determinedly non-violent, and is initially horrified when Rambo is obliged to use ruthless means to protect them against pirates. Rambo is touched by her idealistic ways that prayer can bring change. But after she and the other missionaries are taken prisoner by sadistic Burmese soldiers, and she is brutally treated by her captors, Sarah is deeply grateful when a grim and merciless Rambo comes to her rescue. Lead;

Arthur Marsh: A hearty, prematurely aged 45-50 years old minister from Colorado, he comes to Thailand after the initial humanitarian mission ends disastrously. Like Sarah, he is an idealist and self righteous. He is meek in manner but passionate. He is way out of his element with all of the brutality and cruelty, unprepared for the violence endemic to Burma. Intent on getting back any of the surviving missionaries, he eagerly spends funds on some very un-Christian men - local mercenaries - and is determined to accompany them to the mouth of hell itself in order to get back Sarah and the others. Lead;

Dick O'Gara: 50s. A soldier. Tough and cynical, with a gritty charm to him, O'Gara is a hard-skinned former military man who has given up his patriotic duty for a desk job in a dank corner of the universe. He is charismatic in an earnest way. The pros and cons of life have given way to a simple gray fatalistic, embittered outlook on the world. A veteran professional with the "American Office of Overseas Activities," O'Gara has probably done more than his share of black bag jobs, and he's handed an unpleasant job of "unofficially" shielding the American missionaries during their illegal incursion into Burma. Amiably respectful towards Rambo, (they are both soldiers although have taken different paths) whose dossier he has clearly read a dozen times, he cajoles Rambo into helping escort the missionaries into Burma, and later talks him into riding to their rescue. He and Rambo are both soldiers but each went a different way. O'Gara later shows up to help escort Rambo and Sarah (the sole survivors) to safety. Lead;

Lewis: 29, British, a former S.A.S. commando, Lewis is the leader of a quartet of mercenaries, sent to retrieve the missionaries captured by Colonel Pa Tee Tint. A guy who wrongly thinks that Rambo responds well to teasing, Lewis wants to get in and out, and clearly wants to take the money and run. A cynical man without ideals, who regards the mission as a waste of time and firepower, Lewis is ready to bail at a moment's notice, convinced the missionaries are dead. Lead;

Schoolboy: 22. He is the youngest of the five mercenaries; six feet tall, lanky and strong enough to carry half his body weight in ammo, Schoolboy is a crack sniper who is as yet uninfected by the cynically greedy pragmatism of compatriots like Lewis. He comes to respect Rambo, and opts to follow his orders rather than accompany Lewis in fleeing the mission. Determined and tough, he dies honorably in battle against Tint's men. Lead;

Reese: The third of the five mercenaries, Reese is African-American, tough as nails, a veteran of three tours in Iraq, who is nicknamed "The Iceman." A man who has seen his share of combat, Reese quickly decides that Burma is a hell on earth, but he's determined to "hold it together" in the face of horror. He accompanies Lewis in an effort to flee Tint's compound, but winds up shot to death. Lead;

Diaz: 28, Panamanian, tan and easy-going. Diaz is the fourth member of the mercenary team, a man who loves to battle. When the others flee Tint's compound, Diaz instead ducks for cover, inclined to wait in hiding and strike, rather than flee in panic and be chopped down. A terse, taciturn warrior, Diaz tries to help Sarah escape while Rambo covers the rear, but he's instantly killed by an exploding mine. Lead;

En-joo: The fifth member of the quintet of mercenaries. En-joo is a barrel-chested former South Korean trooper, an expert in explosives who barely speaks during the mission to rescue the missionaries. Expert at assassination by garotte, En-Joo flees the compound after Lewis and Reese wrongly declare the missionaries to be dead, and winds up dying in battle when the three mercenaries are cornered and shot to pieces. Lead;

Michael Burnett: 45. Michael is the leader of the group of Colorado missionaries, who have come to Burma to bring humanitarian aid to the persecuted Karen tribes people. He's a do-gooder in an arrogant way and has almost a zealot feel to him. Another idealist who claims to have made five trips into the bush, Michael appears to know everything about "the risks," but he's emotionally overwhelmed by the horrors of the trip, and succeeds only in leading his party into the living hell of imprisonment and death in Tint's compound of sadists. Good looking and almost familiar. He and Rambo have a lot of tension as he is jealous of Rambo. Lead.


Story:
Rambo is living a monastic lifestyle in Bangkok and salvaging old PT boats and tanks for scrap metal. When a group of volunteers bringing supplies into Burma disappears, a relative of one of the missing missionaries begs Rambo to find them. He heads off with a team of young guns determined to rescue those that have been taken.

Review: The Hills Have Eyes 2

Directed By: Marin Weisz
Starring: Michael McMillian, Jessica Stroup, Jacob Vargas, Michael Bailey Smith
Released By: Fox Atomic
Released In: 2007

The Hills Have Eyes II (that's part two–not part eleven) is a follow-up to last year's gruesome hit. The Alexandre Aja directed film from last year, was actually a remake of a 70's Wes Craven film, and in fact, that original movie also spawned a sequel. This continuation has absolutely nothing in common with the original save for the title, so those expecting a dog flashback, will be sorely disappointed.

A couple of years have past since the events that occurred in the first picture. Military outposts have been set up in the hills where the mutants wreaked havoc, and when a group of soldiers go missing, a rag tag team of soldier wannabes are sent in to investigate the situation.

The Hills Have Eyes II is the goriest movie I've seen in quite sometime (it features a gruesome birth, a man drowning in fecal matter, brains being ripped from skulls, and flying limbs etc.), and while I don't exactly endorse the way the MPAA runs things, I'm truly surprised this flick bagged an R rating (reportedly, without much of a fight). Recently, I complained that Dead Silence wasn't edgy enough and felt that a PG-13 was would have been more appropriate than an R.

This movie represents the flip side of that coin. I guess it all boils down to context. Last year, director Alexandre Aja fought several battles with the MPAA and was forced to make cuts in order to acquire an R rating. By comparison, this film (directed by Marin Weisz) is much bloodier. The difference is Aja's movie seemed to be about real people in a horrifying situation, making the violent content far more palpable. The Hills Have Eyes II is simply about the gore and nothing else. There are no "real" people in this film. No one worth caring about, so no harm done I suppose. Furthermore, the mutants appear to possess super human strength this time around, so I guess the MPAA just figured no one would take any of this crap seriously.

If you want a movie specifically for the gore content, then you won't at all be disappointed by this movie. Gore, is to this film, what making love is to a porno.

The Hills Have Eyes II was written by Wes and Jonathan Craven, and it is the horror equivalent of pornography. There is no real plot nor any of the social commentary that brimmed just below the surface of the first film. This is simply a "give me my paycheck" project for those involved, made to cash in on what will undoubtedly be a big opening weekend.

The thing is, I like Wes Craven. Even the most exploitive of his efforts (i.e. The Last House on the Left) have something to say. This one doesn't. Perhaps if he would have directed the picture, he would have been able to establish some sort of defining tone. Weisz opts to cut to the chase with what is ultimately a lifeless slice of horror akin to that recent Texas Chainsaw Massacre prequel.

I must admit, I'm a big fan of gore, and there are some truly twisted moments in this picture, but they don't amount to anything. In the beginning, I thought perhaps the movie might go the comical route, but it doesn't. At least the similarly themed Wrong Turn had a bizarre sense of humor going for it.

Last year, I found myself in many heated debates revolving around Eli Roth's Hostel. I championed that movie for it's perversely dark message and solid direction, while other folks dismissed it as nothing more than pornography. To those folks, I present exhibit A: The Hills Have Eyes II. Watch Hostel, and then watch this. There are distinct differences. Hostel has a sense of style and the violence serves a purpose. The Hills Have Eyes II uses the violence as a hook. Beyond that it is style-less and absolutely disposable.

Saturday, April 7, 2007

Grindhouse

Grindhouse
Starring: Kurt Russell, Rose McGowan, Rosario Dawson, Freddy Rodriguez, more cast
Directed By: Robert Rodriguez, Quentin Tarantino
Released By: Weinstein Company
Release: 04/06/2007
Run Time: 140 min.
Genre: Horror, Science Fiction, Crime and Mystery, New Release

Synopsis: Kill Bill director Quentin Tarantino and Sin City director Robert Rodriguez join forces to offer a cinematic tribute to the blood-soaked exploitation ...

Kill Bill director Quentin Tarantino and Sin City director Robert Rodriguez join forces to offer a cinematic tribute to the blood-soaked exploitation epics of yesteryear with this hyper-violent coupling of two 60-minute features punctuated by a collection of outrageous trailers. The first segment, directed by Rodriguez and entitled "Planet Terror," details the violent struggle between a ravenous army of zombie-like humanoids who have taken control of the planet and the remaining survivors who refuse to go down without a fight. Freddy Rodriguez, Naveen Andrews, and Rose McGowan headline a cast that also includes Marley Shelton, Michael Biehn, Josh Brolin, Bruce Willis, and Tom Savini. In "Death Proof" -- director Tarantino's take on such peddle to the metal shockers as White Line Fever -- Kurt Russell stars as an engine-revving psychopath who prefers to take out his victims at 200mph. With a list of potential road-kill candidates that includes Rose McGowan, Jordan Ladd, Rosario Dawson, and Vanessa Ferlito, "Death Proof" takes viewers on an adrenaline-infused drive that's as sexy as it is shocking. Its tantalizing title borrowed from the term frequently used to describe the seedy, 1970s-era inner-city movie theaters that screened excessive, low-budget independent films containing copious amounts of violence and nudity as a means of offering counter-programming to the decidedly more restrained big-budget studio films, Grindhouse takes its love for these unabashedly sleazy efforts one step further by offering a jaw-dropping collection of fake exploitation trailers from such directors as Rob Zombie, Eli Roth, and Edgar Wright.

Ocean's 13

oceans13
Danny (George Clooney), Rusty (Brad Pitt), Linus (Matt Damon) and the rest of their merry band of heist-pullers are back in 'Ocean's 13,' and this time around things have changed ... a lot.

In order to pull off their most ambitious job yet, the crew teams up with erstwhile enemy Terry Benedict (Andy Garcia) -- yes, that Terry Benedict -- and Linus falls for a sexy older woman (Ellen Barkin). Oh yeah, and there's a new badass in town. Name's Al Pacino -- you may have heard of him.

Starring: George Clooney, Brad Pitt, Matt Damon, Al Pacino, more cast
Directed By: Steven Soderbergh
Released By: Warner Bros.
Genre: Comedy, Crime and Mystery, Drama

Synopsis: Cinema icon Al Pacino joins a powerhouse cast comprised of George Clooney, Brad Pitt, Matt Damon, Andy Garcia, Don Cheadle, Bernie Mac, and series ...

Cinema icon Al Pacino joins a powerhouse cast comprised of George Clooney, Brad Pitt, Matt Damon, Andy Garcia, Don Cheadle, Bernie Mac, and series newcomer Ellen Barkin for this, the third installment of director Steven Soderbergh's popular series of glitzy crime comedies. As earnest crew member Linus Caldwell (Damon) becomes enamored by a beautiful older woman (Barkin), the gang struggles to pull off their biggest caper yet.

Friday, April 6, 2007

Transformers

transformers
Cast: Shia LaBeouf, Tyrese Gibson, Josh Duhamel, Anthony Anderson,
Rachael Taylor, Megan Fox, with John Tuturro and Jon Voight.

Synopsis: Our world will be transformed on July 4 when aliens make Earth
their final battleground in "Transformers." As the forces of evil
seek the key to ultimate power, our last chance for survival rests
in the hands of young Sam Witwicky (Shia LaBeouf).

The interstellar battle between the Autobots and Decepticons rains destruction down on planet Earth as director Michael Bay adapts Hasbro and Takara's popular Transformers franchise into a big-budget, live-action summer tent-pole extravaganza in this ambitious sci-fi action feature starring Shia LaBeouf, Tyrese Gibson, Bernie Mac, John Turturro, John Voight, and, of course, Optimus Prime and Megatron. Enormous aliens have chosen the third rock from the sun as their ultimate battleground, and as the villainous Decepticons struggle to obtain the key to unlimited power, a young Earthling named Sam Witwicky (LaBeouf) may stand as mankind's last hope for survival.

Cast: Anthony Anderson, Peter Cullen (Optimus Prime), Josh Duhamel, Megan Fox (Mikaela), Shia LaBeouf (Sam Witwicky), Bernie Mac, Amaury Nolasco (Shep), John Robinson, Ronnie Sperling, Rachael Taylor (Maggie Marconi), Rachael Taylor
Maggie Marconi, Tyrese (Sergeant Epps), Jon Voight, Travis Van Winkle

Release: July 4, 2007

Sunday, April 1, 2007

Teenage Mutant Ninja Turtle's -- Scott's Review

Teenage Mutant Ninja Turtle's
I have a very clear memory of the Teenage Mutant Ninja Turtle's "arrival" in pop culture. Although I'd never read the original comic by Kevin Eastman and Peter Laird, it was some time in 1987 that I caught the animated series, and while I thought it was tongue-in-cheek amusing enough, I figured I was just a few years too old to get well and truly "geeked out" by the animated amphibians' adventures. I chuckled when I came across all the TMNT books, videos, toys and video games, but I never really felt a connection to the green guys. (OK, I played the arcade game a whole lot, I admit it.)

And then came the live-action movies (1990, 1991 and 1993), two of which I actually saw theatrically, and a third one that I've managed to avoid for the last thirteen years. (Let's just say I'm not a big fan of the flicks.) So while I'm certainly not a "know-nothing novice" when it comes to the cash cow that are the Teenage Mutant Ninja Turtles, I definitely wouldn't call myself a huge fan, either. I exist in that "live and let live" gray area, and it's there that I neither love nor dislike the pizza-chompin', skate-boardin', slang-slingin' crime-stoppers ... who are also giant, mutated, kung fu tortoises, of course.

Having said that, I quite enjoyed Kevin Munroe's all-new and very slickly animated TMNT. It's colorfully kinetic enough to please the new (young) fans, while maintaining just enough fanboy touchstones to keep the established (old) fans entertained. It's brief, it's boisterous, it's got a surprisingly entertaining screenplay, it's gorgeous to look at, and it's got three or four action scenes that are pretty damn dazzling. Basically, it's great to see Pixar-style CGI magic being used for slightly more "mature" material. That's not to say that there's anything too nasty or unpleasant found in Teenage Mutant Ninja Turtle's, but neither is it a cuddly little festival of family-friendly fluff, either.

The plot is your standard comic book affair: The turtles have semi-disbanded. Leonardo is off training in a distant jungle while his three brothers (Donatello, Michelangelo and Raphael) are left to putter around in New York. Don and Mike have taken to silly promotional gigs (not unlike the gang did in Ghostbusters 2) and Raph prowls the New York streets as a crime-bashing vigilante. But when old pals April O'Neil (Sarah Michelle Gellar), Casey Jones (Chris Evans) and Master Splinter (Mako) decide that the turtle rift has become too large, they step in to remind they guys what teamwork is all about. Of course these lessons arrive just in time, because the evil Foot Clan is up to a whole new batch of no-good.

Clearly we're not talking Shakespeare here, but taken at face value, the new-fangled TMNT is quite a lot better than what I'd expected prior to the screening. There's a whole bunch of fan-friendly in-jokes and references, the action sequences are really rather stunning, and the screenplay (while a bit too dramatic on occasion, all things considered) is packed with witty gags, crazy mayhem, and a few little morality tales that are presented with a small degree of subtlety. It's basically just an animated action-fest that'll thrill the old fans, enlist a few new ones, and confuse the holy hell out of the people who just can't wrap their brains around a concept this goofy. We are, after all, talking about giant turtles who can speak, skateboard, and kick some serious villain butt.

So I guess you can take this is a surprised-yet-spirited recommendation from a geek who knows (and kinda likes) the Turtles, but in no way considers himself an enthusiast of the series. I admire the fact that a concept this outlandish has become a bona-fide pop culture phenomenon -- and I'm always down for a new action movie -- but like I said: the Teenage Mutant Ninja Turtle's craze hit the scene just a few years too late for someone my age ... which makes my reaction to this new movie all the more pleasantly surprising.

Gone is the lame-o animation from the cartoon series and (thankfully) absent is the really broad sense of humor found in the live-action movies. I wouldn't go as far as to call Teenage Mutant Ninja Turtle's a "dark" movie, but Munroe and company clearly take these characters somewhat seriously. And without that approach, we'd still be looking at just another collection of corny, campy, kitschy, half-shelled Turtle escapades. Bang out a few more movies like this one, however, and I'll happily join the freaky fanbase.

Friday, March 30, 2007

The Hills Have Eyes II


What started with the Carter family, clearly didn't end with the Carter family. Some time later, as part of a routine mission, a unit of National Guard soldiers stop at a New Mexican outpost only to find the isolated research camp mysteriously deserted. After spotting a distress signal in a distant mountain range, the team decides to commence a search and rescue mission into the hills. Little do they know that these are the very hills that the ill-fated Carter family once visited, and that a tribe of cannibalistic mutants lies in wait. And this time, there is an even larger force of evil at work that is intent on the soldiers' very destruction.

War movie, horror movie—the difference is negligible in the grim sequel to last year's hit remake of Wes Craven's 1977 mutant thriller. After a grisly childbirth and some gory killings, the real action starts with a group of gung-ho National Guardsmen blasting their way through Kandahar. It proves to be a training exercise in the Southwestern desert, thank God, but the troops are being watched by a real menace: the man- eating spawn of 1950s nuclear testing, who have learned a few things about strategery as they lure the soldiers into a killing ground of rocky hiding places and booby-trapped tunnels. Yes, the most assured fighting men are the first to go; yes, the company peacenik (Michael McMillian) will undergo a Straw Dogs conversion to lethal force. Directed by Martin Weisz from a script by Craven and his son Jonathan, the movie has already bummed out the fanboys with its paucity of cool kills—this despite a genuinely unnerving who's-out-there use of shallow focus and a mortality rate in the high double digits. But for anyone other than hardcore gore-hounds, this flipbook of deliberately invoked global-unrest horrors, from friendly-fire killings to rape as a breeding weapon, is effectively mean and unrelenting—and pretty far from fun.

Genres: Suspense/Horror, Remake and Sequel
Running Time: 1 hr. 29 min.
Release Date: March 23rd, 2007 (wide)
MPAA Rating: R for prolonged sequences of strong gruesome horror violence and gore, a rape and language.
Distributors: 20th Century Fox Distribution
Production Co.: Midnight Pictures, Peter Locke Co.
Studios: Fox Atomic
U.S. Box Office: $20,380,497

Wednesday, March 28, 2007

Teenage Mutant Ninja Turtles

Teenage Mutant Ninja Turtles
Cast

James Arnold Taylor - Leonardo, Mitchell Whitfield – Donatello, Nolan North – Raphael / Nightwatcher, Mikey Kelley - Michelangelo, Mako Iwamatsu - Master Splinter, Sarah Michelle Gellar - April O'Neil, Chris Evans - Casey Jones, Patrick Stewart - Max Winters, Zhang Ziyi – Karai, Kevin Michael Richardson - General Aquila, Paula Mattioli - General Serpiente, Fred Tatasciore - General Gato, Kevin Smith - Diner Cook, John DiMaggio - Colonel Santino, Laurence Fishburne – Narrator.

Teenage Mutant Ninja Turtles is a 2007 film based on the Teenage Mutant Ninja Turtles franchise. The film sees the Turtles grown apart after their defeat of The Shredder and their sensei, Master Splinter, is trying to keep the family together. Meanwhile, strange things are happening in New York City. An army of ancient creatures threatens to take over the world and the Turtles must unite again to save the world.

It is the first Teenage Mutant Ninja Turtles film to be made of computer-generated imagery (by Imagi Animation Studios), with the previous films being live action. It is the fourth film in the franchise, and the first in 14 years, with the previous film having been released in 1993. Chronologically, the film takes place after the original films. Teenage Mutant Ninja Turtles was released on March 22, 2007 in Israel and Russia, on March 23, 2007, in the United Kingdom, Canada, and the United States, and will be released on April 5, 2007 in Australia as well as subsequently in numerous other countries. It was the #1 film in the U.S. on its opening weekend, bringing in $25.45 million dollars.

The film features the four Turtles — Leonardo, Donatello, Raphael, and Michelangelo — as well as Splinter, Casey Jones and April O'Neil. Its main villains are Max Winters, and Karai and the Foot Clan. Voices are provided by Chris Evans, Sarah Michelle Gellar, Patrick Stewart and Ziyi Zhang. It is also the last film by Mako Iwamatsu.

Production

The first of three films released in the TMNT franchise by New Line Cinema in the early 1990s was Teenage Mutant Ninja Turtles. Subsequently, The Secret of the Ooze was released in 1991, and finally Teenage Mutant Ninja Turtles III in 1993. The 1993 film was the last TMNT film released until 2007. A CGI TMNT movie was first announced in 2000, with John Woo supposedly at the helm. That movie languished in development hell, however, and John Woo ultimately moved on to other projects. TMNT departs from the previous films' live action style, and is the first TMNT film to be CGI. Writer/Director Kevin Munroe, who had previously worked with video games, comics and television animation said that he wanted to do total CGI instead of live action and CGI turtles because it would be easier for the audience to "suspend disbelief for such an offbeat story" as there would be no break in the reality between CGI and live action. Producer Tom Gray explained that the decision to depart from the live action franchise was due to escalating budgets for the three films, and with each film making less than its predecessor, a CGI film became a reality. For example the first film made $132 million on a budget of $11 million, and the third made $42 million on a budget of $20 million. The rights expired with Golden Harvest, and Gray, at an animation company, said the question arose there over a CGI TMNT film in 2004.

Before Kevin Munroe was hired as director and writer, Munroe first had to gain the approval by Turtles co-creator Peter Laird. Not knowing if they'd ever meet again, Munroe brought an original copy of the first issue of the Teenage Mutant Ninja Turtles comic book for Laird to sign. After spending a day discussing his ideas with Laird, Munroe left the meeting unsure if he would get the film. Later, he would open the comic to see a drawing Laird had done of Raphael, one of the turtles, with the words "Dear Kevin . . . make a good movie . . . or else."

Munroe stated in terms of the story line that ideas were floated as extreme as the Turtles being in space, but eventually it just came back to New York City, and the theme of the family that had fallen apart. When scripting the screenplay, Munroe wanted to take on a less lighthearted tone as shown in the 1987 animated series and emphasis on dark elements as shown in the original comics to appeal to the mature audience. "I had a very specific tone because mixing that sort of action and comedy is a very specific thing. Most people were just coming and wanting to make it too funny. I think that version of the movie could do really well, but we wanted to do something where it sort of pushes the envelope a little bit more and says that animation is more than just comedic animals bumping into each other and farting!" Munroe said that both in design and in the rendering of the animation he was after the feel of a comic book.

Production for TMNT began on June of 2005 with a budget estimated between $35 to 40 million. Other sources stated the budget is $34 million. Development and pre-production took place at Imagi's Los Angeles facility and then the state-of-the-art CG animation were produced in Hong Kong, followed by post-production in Hollywood. For designing the New York backdrop, art director/concept artist Simon Murton stylized the familiar Manhattan skyline and urban landscapes to make them appear uniquely "TMNT." "We began with cinematic cues from certain black-and-white films from the 1940s and '50s," notes Murton. "I really wanted to push the lighting and the environments to create the look and feel of an alternate reality."[11] The animators that worked on the fight sequences were inspired by Hong Kong action films. Animation director Kim Ooi explains since it was in CG, they were able to "push and stylize beyond the limits of live action." Imagi used Maya with Pixar’s RenderMan for the production pipeline’s back-end.

The cast is basically a new one compared to the older films. Jim Cummings is the only past TMNT actor to appear in this film. Cummings has previously contributed voice-work in the 1987 Teenage Mutant Ninja Turtles series. TMNT was Mako Iwamatsu's last film prior to his death. Mako was announced as the voice of Splinter at the San Diego Comic-Con on July 20, 2006. He then passed away the next day. It has been reported that he had previously recorded a majority of his dialogue for the film, making this his last film. A dedication to Mako appears at the end of the film's credits.

Plot

After the defeat of their old arch nemesis, The Shredder, the Turtles have grown apart as a family: Leonardo has been traveling the world for the last year, honing his skills. Raphael has been scouring the streets at night as a masked vigilante, the Nightwatcher, taking a page from Casey Jones' book. Michelangelo, in order to bring money in, has taken a job as a masked children's birthday party character (known as "Cowabunga Carl"), and Donatello works as an information technology consultant. Struggling to keep the family together, Splinter then realizes that strange things are starting to happen in New York. Immortal tech-industrialist Max Winters, who attempted to conquer the world three thousand years ago by amassing an army of monsters using an ancient device to open a portal during an alignment of nine stars, is seemingly at work at the plot again. In the process, he reawakens his siblings, called the "Stone Generals", from their sleep (the four having been recovered unknowingly by April). Furthermore, Winters has enlisted the help of Karai, a minion of the erstwhile Shredder, who is intent on restoring the glory of her late master. Karai has assumed leadership of the fearsome Foot Clan and throughout the majority of the film, she is an elusive, adept ninja and commander who directs her troops in accordance with Winters' wishes of opening the portal.
As the film progresses, the Turtles reacquaint with one another and enlist the help of their old allies, Casey Jones and April O'Neil, in order to put a stop to Winters' plans and save the world. Leonardo returns to New York City and re-assumes the leadership of his brothers, though this creates much contention between Raph and Leo; much of the second half of the film focuses on the discord between the two, ending in a duel between the two that Ralph feels will determine the true leader of the Turtles. The battle grows on and ends with Raphael the victor. Raphael's sais were intertwined with Leonardo's katanas and the last strike was waiting to happen. Raphael made the strike, breaking the katana blades and pinning Leonardo to the ground. Coming to the realization of what he had done and fearing what type of being he had become, Raphael runs off in complete shock. Suddenly, Leonardo was hit by a dart that weakened his senses. Added the fact that he had broken katana blades and was all alone, Leonardo was subject to capture by the Stone Generals. Hearing Leonardo's painful scream, Raphael runs back to track the usurpers, though to no avail. He returns to his deep-sewer home and, much like Leonardo before him, calls upon Master Splinter for leadership advice. He admits to Splinter that he understands why Splinter chose Leonardo as the leader over him (as proven on the roof where Raphael gave into his rage to deliver the final blow). Splinter tells him that he is no less or more than his brother and confirms that Raphael's aggression is partially the reason he was not considered as the leader of the Turtles, though that it not to say that Raphael lacks the potential. The three brothers then set out to save Leonardo and, with the help of Splinter, Jones, and O'Neil, they took on the Foot in their attempt to rescue Leonardo. They were finally able to do so and Raphael had new katana blades for Leonardo. Raphael then asks Leonardo to lead them and mentions that they needed him. In a touching scene of brotherly love, Leonardo returns the statement, "I need you, too [on this team]!" With that statement, the team was finally whole.
Though Winters is considered evil by the Turtles and their allies throughout the film, he ultimately is redeemed by his good intentions; his motives for opening the portal were to return thirteen beasts already released to where they came from, return his siblings to mortality and flesh, and restore his own mortality. One of the Soldiers realizes Winters' true intentions and begins to rally the others into mutiny, though the Turtles ultimately thwart this attempt, with the help of Jones, O'Neil, the Foot Clan and Master Splinter.