This is it guys ... the final episode of Flixistentialism as we know it. The gang plus some old (white) faces of Flixist past get together and reminisce on this long journey of a podcast we've all embarked on. There's fantasy...
After watching this latest Red Band trailer for Seth Rogen and Evan Goldberg's latest film, The Interview, I think I'm okay with its push from October to December. There are some good jokes here as the trailer reveals more of the plot, but it still feels off. I'm hoping the best jokes are being saved for the film.
All right. Everyone calm down. I know we were all excited when we heard that the Deadpool movie was actually going to happen, but this is Hollywood and just like they screwed up the character the first time around they're aiming to do it again. Evidently one of the reasons the movie finally got off the ground was because they "figured out" a way to do it PG-13. Speaking in the latest Meet the Movie Press over at Schmoes Know, Mark Reilly said:
“I heard from the director that they finally figured out the script and it was right before this was announced … that they figured out, and you guys are all gonna hate this, they figured out how to make it PG-13 and therefore not lose its soul – that’s a quote – of the script so that they can make it.”
Not lose its soul? You just lost it. Half the soul of Deadpool is cursing, violence and crude jokes and the half is more cursing. PG-13 is losing Deadpool's soul fair and simple. Obviously there are tons of financial and logical reasons to go PG-13, but none of those reasons are that it would make a better Deadpool movie. If this is how it is going to be let's just keep it at that awesome test reel because the idea of the movie is going to be far better than whatever they make.
David Ayer is one of my favorite folks in the business right now. Although he's only directed a few films (most notably End of Watchand the upcoming WWII tank film, Fury), he's a great screenwriter who's really put in the work. He's especially great at creating notable characters and his focus on the smaller interactions between them is truly something. Which is why him handling WB/DC's adaptation of the Suicide Squad is such a good idea (unless they really do forbid jokes).
The Suicide Squad is a rotating lineup of six DC supervillains that get roped into secret military operations, and DC's been trying to get a film off the ground since 2011. According to THR, Warner Bros has been looking for directors this year (probably to fill in one of its NINE planned films) and David Ayer is circling the project. It's not set in stone, but I can't help be excited over the prospect. Ever see that Batman: Assault on Arkham animated movie? Imagine a big budget version of that, and you'll know why I'm so pumped right now. We'll keep you posted.
Since Tim Burton's latest string of films have all been of the family variety, sometimes I forget that he's always got something big up his sleeve. That looks to be his latest project, Big Eyes. Starring Amy Adams and Christoph Waltz as artists Margaret and Walter Keane in the 60s (Margaret paints while Walter gets the credit), the film explores their marriage, divorce, and eventual fight over the right's to Margaret's work.
This first trailer for the film really works. Adams and Waltz look great, the world has a nice pastel touch, and even Burton's creep factor seeps in. Big Eyes hits theaters December 25th.
After several weeks of bland releases, we're now hitting the end of Slumptember with another slew of so-so releases. Although favorites likeThe Guest andTusk also hit last week, neither of them earned enough to crack the top ten. Instead, The Maze Runner took top earners with over $32 million. A Walk Among the Tombstones comes in second with $13, and This Is Where I Leave You rounds out the top three with $11 million.
Hit the jump for the box office performances for September 19-21 weekend. It's almost over!
The Planets, by Andy Martin, is a wonderful short film "told in twelve parts." The short features 12 mini-stories, each on its own planet and each with its own brilliantly unique animation style. Towards the end the larger story comes together but I don't want to spoil it!
The Planets as a whole is super cute and each planet/style feels somehow both fresh and cohesive. The Planets also shows an impressive variation in style from Martin, who did all of the visuals, acting and sounds in the short. His whole process, single animations and illustrations are viewable here. More of Martin's awesome videos can be watched here.
While I would say that the written pitch is probably the most important part of a Kickstarter project, the video is definitely the face of it. And it’s also vital. While you aren’t required to have a pitch video, campaigns that do use them raise 40% more than those that don’t. Even if you don’t know much about video editing, it’s highly recommended that you have some kind of something.
With any kind of video project, it’s all but mandatory. I couldn’t imagine funding a film that wasn’t accompanies by some kind of basic proof of competence. So for Reel, we knew we had to do something. And what we ended up with wasn’t particularly fancy or high tech, but it was what we were looking for.
Here’s what we did, how we did it, and why we did it that way.
[Alec is doing a Kickstarter. You can (and should) back it here. Through the project's duration, he will be writing a series of articles about the process. More about that here. Check out the other entries here.]
When I choose to review a film it's because something about it speaks to me. Whether it's the premise, the setting, the look, or the cast involved, I'm willing to take a chance on pretty much anything if some of those things are there. I chose to review The Scribbler because it happened to have everything on that list: great cast, interesting idea, and it's based on a graphic novel. I'd figure that maybe I'd stumble into something great.
The Scribbler taught me not to blindly choose films anymore.
The dramatic family comedy. A staple in our modern day film scene. Throw is some folky pop music and a few stars and you've got yourself a big giant cliche ready for the theaters. There are ways to do it right, though. If you can pull your film out of melodrama and into actual emotion then you can hit the nail on the head. It happens.
It only half happened here. This Is Where I Leave You boldly teases at pushing its characters and feelings in interesting directions, but holds back far too much. It leaves us with a family dramedy that works on basic levels, but never transcends its genre.
If you were at all worried about the state of Genndy Tartakovsky's (the man who brought us Hotel Transylvania, Dexter's Laboratory, and Samurai Jack) take on Popeye, there's no need to worry anymore. Although this first footage is a mere animation test (and Tartakovsky's said it's not completely reflective of the final product), it looks absolutely stunning. The guy really gets Popeye's loose physicality.
I really hope we get a trailer soon, but this'll tie me over nicely. Sony's Popeye releases sometime in 2015. If it keeps looking like this, the wait is going to be excruciating.
Looking back over Liam Neeson's career since Taken turned him into an action hero one could argue that he's basically made the same movie over and over. A vengeful individual in some sort of manly battle involving life and death. And, yes, that is a valid argument. But it also isn't.
See, while Neeson's films have all been pushed the same way, they actually haven't all been that similar (both in tone and quality). From the outstanding The Grey too the awful Taken 2 Neeson has basically played around with the theme of the bad ass, elder hero in a variety of ways. Now they haven't always worked, but one thing remains consistent: Neeson is awesome. That pretty much describes A Walk Among the Tombstones perfectly. It doesn't always work, but Neeson is awesome.