Jeff bridges

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Rumor: Tron 3 to star production in the Fall


Hollywood stockpiling neon colors
Mar 11
// Matthew Razak
When TRON: Legacy was released it was announced that it was the launch of a new franchise, and usually when a film is highly successful and is part of a franchise the rest of the movies come out pretty quick (disregardin...

Review: Seventh Son

Feb 09 // Megan Porch
[embed]218924:42201:0[/embed] Seventh SonDirector: Sergey BrodovRelease Date: February 6, 2015Rating: PG-13  In a world where only men who are the seventh son of seventh sons can learn to fight witches, and witches seem to be all over the place, Seventh Son starts out with a ton of over-dramatic cheese. Master Gregory (Jeff Bridges) and his apprentice, Bradley (Kit Harington), are asked to exorcise a demon out of a young girl. Gregory doesn't seem too interested, but Bradley drags him along to get the work done. It turns out it's not a demon possessing the girl at all; it's a horribly evil witch named Mother Malkin (Julianne Moore). Malkin had been sealed away years ago by Gregory, but thanks to something called a Blood Moon, she's back and is getting stronger than ever. So just when you think the story is about to get going, Gregory lets Bradley die by Malkin's hand, and he's out an apprentice. Enter Tom Ward (Ben Barnes), a character who's also a seventh son of a seventh son. He grew up on a tiny island with his family, and dreams of doing more than just feeding pigs. Gregory shows up at the island, throws some gold at Tom's parents, and the two of them are off on their adventure. This is the moment when the pace of this movie comes to a screeching halt. Yes, there's action, but none of it's all that interesting or engaging. Tom and Gregory have banter that's supposed to be funny and cutting, I guess, but a lot of it just feels like it's written by a fifteen year old running his first Dungeons & Dragons campaign. There's a lot of cutting back and forth between what Tom and Gregory are up to, and what Malkin and her evil lackies are doing, but it never feels like anything is happening because the movie just plods along, taking its time to make any progress. Despite the fact that Tom wants to learn how to fight witches and "things of the dark," he doesn't really seem to listen to anything that Gregory says. When told not to fall in love with a witch, the moment he sees one getting carried off to be burned in a very Monty Python-ish scene, he saves her and immediately falls in love with her. The romance between Tom and the witch, whose name is Alice (Alicia Vikander), is so shoe-horned in it's painful. Tom just doesn't really seem to care about anything that he's doing, regardless of what the consequences might be. But if I delve any more into the story, we'll get into spoiler territory, so instead... let's talk about the actors themselves. First of all, Jeff Bridges has been in a lot of other movies that are generally good. I totally loved him in True Grit, for example. He was funny, but he also knew when to be serious, and his character in that was believable either way. In Seventh Son, however, he doesn't really seem to know how to handle Gregory. The character is written like he's supposed to be this crusty old spook/witch-killer/whatever you want to call him, but then there are other times when he's written to be super serious. So because the personality of the character isn't very clear, Jeff Bridges just kind of... does whatever he wants, which also involves talking like he's got a mouthful of peanut butter. Julianne Moore is another actor who I usually like, but again, she didn't seem to know what to do with Malkin. It was obvious in a lot of scenes that she wanted to get really campy and silly, but the other actors were all so dull that she just decided to be boring, too. The worst one out of the main cast, though, was Ben Barnes. If this movie had been made a year or so after it actually was, I think he and Kit Harington would've had their roles swapped. While I don't think Kit is a great actor, I think he could've made Tom a bit more likeable than Ben Barnes did. Either way, the two of them are pretty much interchangeable in this movie. Also, why was Djimon Honsou in this movie? He can do so much better. At the end of the day, Seventh Son is a nonsensical, plodding adventure. This is better suited to being watched on TV with your friends so you can heckle it than in a movie theater.
Seventh Son Review photo
Jeff Bridges chews his way through a generic adventure
Many moons ago, at San Diego Comic Con 2013, my friend and I were sitting through all the panels in the infamous Hall H waiting to get to the Marvel movie panel. One of the panels we sat through showed some footage and brough...

Seventh Son photo
Seventh Son

Trailer for Seventh Son, starring Jeff Bridges as a wizard knight thing


Sep 02
// Nick Valdez
Seventh Son has had nothing but trouble till now. It went into production late 2012 for an intended early 2013 release, was pushed back to October 2013, then early 2014, and after Legendary Pictures split from Warner Bros, i...

Review: The Giver

Aug 15 // Alec Kubas-Meyer
[embed]218195:41746:0[/embed] The GiverDirector: Phillip NoyceRelease Date:Rating: PG-13 I've gotten into an unnecessary number of philosophical arguments about the color red. There are those who argue that "red" isn't really a thing. They say that we're all point at a thing and calling it red without having any real sense of what red is. But the reality is that "red" is the reflection of a particular wavelength of light. Red is a thing that we can measure, and thus a thing that exists. But unless they're colorblind, even those who would argue that red is just a social construct would admit that a red shirt I pointed to was the thing we had all agreed on as red. The Giver is about the color red. Sort of. The color red is not in and of itself important to the narrative, but it's the first color that Jonas can clearly see. In this future world, color has been eliminated in favor of Sameness, and though the early trailers didn't show it, it's been removed from the film as well. (The difference between the look of the first trailer and the final film is completely bizarre.) Everything is monochromatic (which I'm only now realizing probably has some kind of racial component), and everyone looks the same, sounds the same, and acts the same. Unlike 1984, they have neglected to actually remove emotional words from their speech, instead focusing on "Precision of Language" and chastising those who do use them (which I'm only now realizing makes literally no sense). It's been long enough since I've read The Giver that I don't really remember the narrative; I only remember details. I remember the shock that The Giver could turn off the loudspeaker that barked orders in every nook and cranny of Sameness (a detail the film lacks), I remember the color of an infant's eyes (oddly less striking onscreen), and I remember the sled (they kept the sled). Jonas (Brenton Thwaites) has recently graduated and is ready to be sorted into his assigned job. But whereas everyone else seems to know their plan in life, he feels like there's no place for him in society. At the big sorting ceremony, Jonas is skipped and everyone else gets a place. Then he is told that he will be the new "Receiver of Memory." He meets with Jeff Bridges, the former Receiver of Memory and now The Giver (of Memory). Their job is simple: To see the world that the elders of Sameness have worked so hard to eradicate. They feel emotions and see colors and know the true meaning of pain and death and violence. He gets memories of all kinds. But his first memory is the sled. A simple sled ride down a snowy hill is a revelation to someone who doesn't know what hills are or snow is. It's a completely new sensation, and a wonderful one. It opens his eyes and he wants everyone else to feel it too. If you remember the book in any detail (again, I do not), you'll probably have noticed the modern YA influences, and that comes before I mention the whole romantic subplot. The Giver is conventional, although its dystopia is far less bleak than those from in newer stories. Conventionality is not inherently a problem, but it is a shame, given that The Giver was ahead of its time. The thing is, The Giver's biggest failing is a conceptual one. When Jonas doesn't know what the color red is, The Giver has to explain it to him. He has to explain that there are other colors to be seen and he will soon be seeing them. But the problem is that you and I and everyone else in the theater knows what red is. We know what a sled is, and snow and the sunset. As a novel, The Giver can make us imagine (potentially even recall from our own memories) these things, but with a film we can see them. We don't need what we just saw explained to us, because we understand it already. The fact that the protagonist is stupid and doesn't isn't our problem. We're lightyears ahead of the guy, and that's a problem. Even when he stops having things explained to him and starts making grand proclamations about culture and emotions and etc., he's not saying anything new. Going into the theater, we already know literally everything that Jonas will know by the time the credits roll. The Giver is not transformative. It isn't even informative.  But despite all that and against all reason, I found myself enthralled by some of the imagery. GoPro shots of kayaking rapids are pretty spectacular on the big screen, and the footage of poachers shooting elephants, real or not, is pretty upsetting. The images of the dystopia fail to make their mark (although the way color seeps into the world as the film continues is a nice effect), but those from our own world are often beautiful, or at the very least interesting. Unlike its peers, The Giver has a reverence for life and for humanity. Montages of footage, new and old, are reminders of why Planet Earth itself is so amazing, but also just how different its billions of inhabitants are. The Giver is not a good movie, but its optimism is invigorating. Right from the first trailer, the marketing for the film highlighted Meryl Streep's line, "When people have the freedom to choose, they choose wrong." It's a powerful statement, but in context it's completely different. This isn't the statement of an authoritative figure casually explaining her ideals; this is a woman at the brink of losing everything, pleading for reason against emotion. She is beaten back by a literal wave of human optimism. And while The Giver is not particularly successful as a narrative or a film, I must celebrate it for that.
The Giver Review photo
Through grey-tinted glasses
It's been more than 20 years since Lois Lowry's The Giver first hit shelves, and more than a decade since I first read it. It's one of those transformative books, and before the recent YA trend towards totalitariani...

RIPD Trailer photo
RIPD Trailer

Trailer: R.I.P.D.


Jun 14
// Nick Valdez
I was won over by R.I.P.D. very easily because its lead character is named Nick (and of course it features of one my boos, Mary Louise Parker). Now if all movies could feature a guy named Nick forevermore, I'd be totally coo...
RIPD Trailer photo
RIPD Trailer

Trailer: R.I.P.D.


Ryan Reynolds is RIPPED. Get it? Because he's sexy and...that's the title...and...
Apr 18
// Nick Valdez
R.I.P.D. (which stands for Rest In Peace Department instead of Rest In Peace Death like I'd secretly hoped) is an adaptation of a graphic novel starring Ryan Reynolds as Nick (that's a cool name, bruh) who dies but joins the...
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Phillip Noyce might direct an adaptation of The Giver


With Jeff Bridges looking to star.
Nov 08
// Nick Valdez
I first read Lois Lowry's The Giver in sixth grade. As far as I remember, it was the first book I really cared about since it was also the first time I cared about what happened to the protagonist (which is more than I c...
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Lebowski cast reunion video


Aug 18
// Glenn Morris
[Update: Well it happened, and it was amazing. Moderating an actual Q&A with the cast of The Big Lebowski proved nearly impossible for the guy charged with it. The actors could barely even hear each other, let alone the ...
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SDCC 11: Liveblogging the Legendary Pictures panel


Jul 22
// Jenika Katz
After standing in a line that loops around the building and waiting out a Halo panel, I am ready to let you (yes, you) in on the exciting news from Legendary Pictures, and all from the comfort of your own home! Guillermo...
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I Can Get You A Toe: Noir in The Big Lebowski


May 14
// Sam Membrino
In celebration of the forthcoming release of L.A. Noire, Flixist has teamed up with its sister sites Japanator and Destructoid to give a bit of background on what noir (we're spelling it that way) is all about. ...
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True Grit breaks the $100 million barrier for Coen Brothers


Jan 10
// Bob Muir
The Coen Brothers have long been one of my favorite creative teams on Hollywood. I can't think of a film they've done that I haven't at least liked, if not adored. But despite all the great work they've done, their films' lif...

Review: True Grit

Dec 23 // Tom Fronczak
Coen brothers movies can be hit or miss for some but the one thing they always are is memorable. It's worth reminding everyone up front that this is actually a remake of the 1969 version of True Grit that starred John Wayne, so it's hard for me to know how much of the credit goes to the Coens, but it's not hard at all for me to say I absolutely loved this movie. Read on to see how the heck I can claim that this is the Arrested Development of western movies.{{page_break}} Out of all the scripts we've seen in 2010, none come even close to the amount of skillful dialogue that True Grit has. Almost the entire movie is talking, yet there was never a moment it lost my attention or adoration. From start to finish this film will talk in circles around you while your grinning head spins trying to enjoy it, but not for too long in fear that you'll miss out on the next great line of dialogue. As much as I loved the conversations in True Grit, I'm certain I'll love it even more when I discover countless new gems on the many rewatches it deserves. With such a deliciously wordy script, Mattie (Hailee Steinfeld) is the definitely the precocious and persistent engine that drives every scene's loquacious interactions. It doesn't matter who she opens her mouth to, you can be sure there's a vivid debate to follow. A simple money transaction? Watch her haggle an actor so hard that his sweat looks believable because of how quickly he has to deliver his lines to keep up with her. It's amazing that she could even handle this as her debut role in the film industry. As for the plot, it's your basic western that picks a formula that revolves around needing something or someone, although with a fun spin to the norm. When Mattie asks a local sheriff who the best local bounty hunter is, he lists Rooster Cogburn (Jeff Bridges) and LaBoeuf (Matt Damon), though he praises LaBoeuf as a skilled and fair Texas ranger. Mattie picks the other, and sets off on a quest to find her father's killer (Josh Brolin) alongside Rooster, a drunkard who shoots first and asks questions later, of which there are many in one of the opening court scenes that has him explain his way out of how several people unnecessarily died on his last bounty hunt. As we vicariously tag along on their adventure we visit scenes that aren't just convincingly fitting for their time period, but instead they also go the extra mile to interact with the characters and plot. Whether it be characters comically walking through food hanging from a ceiling, finding other uses for a chimney, or having a truly unique morgue interaction, scenes themselves often stand out as stars in this spectacular film. Another thing this movie does amazingly well is turn some cliches on their head to the point that True Grit is the iconoclastic example of how to make something new out of something so stale. The shooting contest between Rooster and LaBoeuf completely caught me off guard and was even milked for so many extra laughs that it shows how deep each scene is in this movie. If this is what happened in the original, then I don't know why it's not mimicked more often to this day. I could go on and on about all the small things I loved on this journey but I'll leave you to find out for yourself. The last piece of praise I'll give for True Grit is that I love how it does what all adventure films should do, but often skimp on: use a full 60 seconds to do nothing but show their travels. Let the landscape speak for itself, and let us realize that what we're watching is completely unedited because there are still ancient and beautiful places left to explore out west. America truly has some breathtaking locations and it's great that it didn't rush through them when they wanted to show the passing of time. It's okay to spend excessively long staying silent and just having us watch them ride across a few horizons. I'd sit and watch this film take me anywhere it wanted to and I really hope everyone reading this gives it that same opportunity to impress them. Overall Score: 8.95 – Spectacular. (Movies that score between 8.50 and 9.00 are some of the best films its genre has ever created, and fans of any genre will thoroughly enjoy them.) Glenn Morris: Overall Score: 6.85 -- Coen brothers innovation didn’t thread together the better western that we hoped for. True Grit only finds its dramatic legs in the epilogue, but it’s still well worth watching Jeff Bridges reshape an iconic John Wayne role to be less El Dorado and more El Duderino. You can read his full review here! Matthew Razak: Overall Score: 8.90 --  True Grit is easily one of the best westerns made since the time the genre was in its prime. Packed with a fantastic script, great actor and sublimely simple directing there's no reason to miss this film. You can read his full review here!
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Coen brothers movies can be hit or miss for some but the one thing they always are is memorable. It's worth reminding everyone up front that this is actually a remake of the 1969 version of True Grit that starred John Wayne,...

Review: Tron: Legacy

Dec 16 // Tom Fronczak
Even though I'm the kind of guy you'd expect to have seen Tron dozens of times, I've regrettably never seen the original. Walking into its sequel I was really hoping I would be bought and sold by the world it introduced me to, and I can honestly say that the first thirty minutes are so entertaining and immersive that I was obsessed with every detail and fully drinking the Tron hype. One of my biggest desires of the movie industry is to make more films where someone is dropped into a bizarre world that’s completely strange to the audience so that we’re on the same page as the main character while we figure out the world together. For that reason, I can’t stress enough that the nonstop motion and curiosities unraveling in the first third is so immersive and convincing that I was enthralled by everything. After a brief real world introduction everything is shown to us – not told. Cyber frisbee jai alai is just as new to Sam Flynn (Garret Hedlund) as it is to us, and it’s awesome to see him try to both understand the rules and survive essentially a boss fight even though he just started playing this bizarre game. Immediately after this is another ten minute game that introduces fantastic light cycles – motorcycles that leave walls behind their trail to crash enemies – and the whole time you’ll be holding your breath and the real world will completely melt away. I love that Hedlund was picked for Sam despite his resume listing lots of film duds, because he was the perfect pick for a rich orphaned son with no social life who is inexplicably cool and lets everything slide off his shoulders. I love that he loves reckless motorcycle driving in the real world and that we don’t need some unrealistic chase scene with quick camera cuts to prove it. Jeff Bridges returns to his role as Kevin Flynn and Clu after all these years, and after the twenty minute os nonstop action we're finally introduced to Quorra (Olivia Wilde) in a great scene. At this point it slows down and we're finally able to take a breath, but the sadly movie never regained my full adoration from then on. I absolutely love how Quorra’s this amazingly sexy cyber chick with skills to back up her looks, yet acts like she’s an early teen who’s still childish, goofy, innocent, and has tons of questions about the real world outside of Tron. I also like how Kevin Flynn’s personality has changed to that of a yoga loving mild zen hippy after a decade of being trapped in Tron’s isolation. They’re all great characters, but when they finally start to all interact it doesn't elevate anyone. The dinner scene where they reunite and play catchup is fine but from here on it's like the years of separation never occurred and the director (Joseph Kosinski) and screenplay hiccups start to pop up. Then there’s a superb bar scene shortly after in town that has an excellent Matrix feel to it and introduces Michael Sheen as an incredibly memorable character that looks and feels like A Clockwork Orange had sex with Alice in Wonderland's screenplay. To make this scene even more fun, there’s a delicious cameo by Daft Punk as the DJs. Everything else in the last half after this is done wrong. The characters submit to an incredibly simple plot: all we have to do is get from point A to point B as fast as we can, yet they move incredibly slow. No more exploration of the environments or culture within the world. There's a train station and a sea and some more towers that look like all the other towers but it all looks the same over and over. An army is being built but both them and the villain don't work hard to instill any fear in the last hour at all. The three main characters continue to not mesh in any memorable ways and I don't mind that Kevin becomes nothing more than a one-liner machine, but the other characters don't carry the plot's weight -- it's just all about getting from one point to another. By the end of the movie it's like we've only explored six rooms in the entire environment leaving me with dozens of questions about the world and its inhabitats. It's great to leave a lot up to our imagination, but it didn't answer nearly enough. I don't even know what a normal day in Tron is like by the end. If it's meant to be a buggy, hollow beta world then show broken architecture and glitchy corners and use them in the plot. To just try to fill the void with Daft Punk's soundtrack that awesomely fit every scene doesn't cut it.  Quorra is really the only character who changes by the end, leaving us no one else to care about. The villain squandered his dictator potential and should have taken notes from BioShock. Even worse is that the resolution of the father and son makes very little sense and brings up even new complaints about the rest of Tron's world mechanics. More importantly though, for a movie named Tron: Legacy, the character Tron is only given three terrible five second scenes. He could and should have been far more involved, which would have been a great tool for further exploring the virtual landscape that feel so hollow when looking back on the film. If you're interested in the 3D experience then Matt's review will be a great aid, though I've got to say I wasn't nearly as impressed as he was. As for my final score, the first half deserves far higher and the last half deserves far lower, so I met it somewhere in the middle. Josh Parker: 8.40 -- Great. A mind-melting sci-fi action light show with light cycles and disc battles aplenty, TRON: Legacy delivers everything most moviegoers could want from a TRON film - and it boasts a fantastic musical score to boot. You can read his full review here! Matthew Razak: 7.70 -- Good. Tron: Legacy might let people who have been constructing a deep and meaningful story behind the franchise down, but for anyone looking to see some amazing action and stunning special effects this movie is going to deliver. See it in IMAX 3D if you can. You can read his full review here!
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A solid legacy to build on
Tron: Legacy is a hard movie to review overall. If I could review it in pieces then it would be easy to say the first third is amazing, the middle is okay, and the last third is bad. The characters that are actually used are ...


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