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First trailer for 'The Maze Runner' is intense

Gotta go faster, faster, faster-faster-faster
Mar 18
// Isabelle Magliari
The first trailer for the film adaptation of James Dashner's The Maze Runner has succeeded in making me curious about an upcoming film/ book trilogy that I didn't know existed until a few hours ago. This intense tr...
Trailer of the Apes photo
Help me Dr. Zaius!
Rise of the Planet of the Apes is boring, plain and simple. It has a cumbersome title, odd looking CGI mashed against live actors, and it's ultimately rendered utterly pointless by film's end. If we know humankind ...

The Monkees photo
The Monkees

Dawn of the Planet of the Apes gets posters, release date

Dawn of the Rise of the Fall of the Revenge of the Planet of the Apes
Dec 12
// Nick Valdez
Dawn of the Planet of the Apes, the sequel to the reboot Rise of the Planet of the Apes, hopes to capitalize on the potential Rise left behind. Showing off one last battle between the humans who survived the virus in the last...

Bong Joon-Ho's Snowpiercer may not be cut for Weinstein

Apparently it's all under negotiation still
Sep 10
// Hubert Vigilla
Not too long ago we reported that Bong Joon-Ho's Snowpiercer would be getting cut by 20 minutes for US release because The Weinstein Company thinks flyover country is full of slackjawed dummies with short attention spans. It ...
This is the End photo
This is the End

This is the End getting re-released in theaters soon

The end is back, alright! (Sooner than you think!)
Sep 02
// Nick Valdez
This is the End was the best film of the Summer hands down (Fast & Furious 6 notwithstanding). It brought the biggest surprises, biggest laughs, and most memorable moments (that finale had to be the greatest thing I've se...

Trailer & animated prequel for Bong Joon-ho's Snowpiercer

The film opens in South Korea next week
Jul 25
// Hubert Vigilla
Bong Joon-ho's Snowpiercer will be out next week in South Korea, and here's the final trailer for the film (at least until it goes international). Everything's looking wonderfully intense and apocalyptic. Given, it's shorter...
This is the End photo
This is the End

Flix for Short: The Real World: This is the End Edition

"I should've been more polite and stopped being so f**king real."
Jun 13
// Nick Valdez
This is the End is one of the funniest films of the year so far if you're a fan of Seth Rogen and his gang. Even if you're not, you're still going to find yourselves laughing. A good gauge of how funny This is the End is goi...

Review: This is the End

Jun 12 // Nick Valdez
[embed]215805:40193:0[/embed] This is the EndDirectors: Evan Goldberg and Seth RogenRating: RRelease Date: June 12, 2013 Adapted from the short film, Jay and Seth vs. The Apocalypse, This is the End is all about Jay Baruchel (Jay Baruchel) and Seth Rogen's (Seth Rogen) friendship. Jay is visiting L.A. and staying over at Seth's house. Although Seth wants to go a to a big party at James Franco's (James Franco) house, Jay is timid and has generally grown tired of Seth's new friends and lifestyle. While partying with the likes of Craig Robinson (Craig Robinson), Jonah Hill (Jonah Hill) and Danny McBride (Danny McBride), the entire world goes to hell as the apocalypse begins. Then Jay and Seth (as well as some famous friends) have to fight to stay alive.  Now let me say this before continuing the review. This is the End is most definitely a self-depreciative comedy with an emphasis on "self." If you have never seen a Seth Rogen comedy at this point but have some semblance as to who these comedians are, you may still find yourself confused. Much of the film's humor (and especially one loving, yet alienating tribute to one of Rogen and Franco's more notable films) comes from prior knowledge of Rogen's career and the image these comedians have concocted for themselves in Hollywood. While it's entertaining, it can create a bubble around the film which prevents most of the general audience from completely investing in it. They'll still laugh at the jokes and well used cameos, but they'll completely miss the deeper thematic resonance.  Much of This is the End is set up like a standard "bottle episode" of any given sitcom. You have a group of people trapped in one place for numerous reasons, and the dramatic beats of the narrative stem from how these few folks learn to adapt to their new situation while dealing with their friends/enemies/frenemies in close quarters. In that respect, This is the End is a surprisingly compact film given its premise. Much of the action takes place in one area, and for most of the film, the outside is painted in a foggy, yellow color. It works well enough to give the setting a sense of dread while not really having to do much. In fact, when you think of the framing of the film as a sort of postmodern stage play (where characters came leave and exit the stage) it's borderline genius.  But is it funny? Yes, yes it is. As stated above, if you're familiar with these comedians and their films, you'll never stop laughing at This is the End. But unfortunately, it's going to take a bit to get there. This is the End is truly strong as soon as the apocalypse kicks in. The scenes of Franco's party are clunky, full of cameos that tend to misfire, and when folks begin to kick the bucket, it's some of the worst shot scenes of the film. Thankfully, once the cast is boiled down, the humor and suspense kicks in at full force. Much of the exchanged dialogue comes off as wonderfully natural as each comedian is allowed to play an exaggerated version of their Hollywood persona (although I'd like to believe Craig Robinson is really that suave in real life). And because of the nicely put together script (with much of it I'll assume is adlibbed due to the quickfire nature of the jokes), each actor in this case is at the top of their game, with Danny McBride being the standout.  With a film so focused on comedy, I couldn't blame you for expecting every other aspect of the film to fall apart. Luckily, that doesn't happen here. There is a plot to the film, rather than just a thin premise in which to tie endless jokes to one another, and that plot is handled well. Since it focuses on a small setting (and even smaller core theme of Jay and Seth's friendship) it never feels like it's trying too hard to be funny or heartwarming. It just works out. The smaller dialogue exchanges escalate naturally and bring out the best in the cast. There are a few moments during the film also that perfectly marry heart and action while somehow getting a laugh or two. I know I'm speaking in generalities, but if I give an example of any of the moments, it'll completely wreck the foundation of the film. But that's odd too. At least the action is filmed well beyond the initial "giant hole opens up and swallows all the famous people" scene.  I'd be remiss if I didn't mention how much I loved the final 15-20 minutes of the film. By that point, I had been won over by the characters, and gotten used to the brashness (and crudeness) of the jokes despite looking at a giant phallic image, as the most deliciously goofy sequence takes place. It's certainly a dramatic moment, but it's mixed with humor (and some of the greatest song choices) in such a way that tells the audience to stop being so serious. As soon as it was over, I had a huge smile on my face.  Of course not everyone will react to This is the End in the same way. It's a niche film (for fans of raunchy Rogen comedies who understand the meta-narrative) that does sometimes drag as it gets to the next scene, and at other times the humor does feel forced from one of the individuals. And while I hope it has the tenacity to withstand multiple viewings, the film's jokes may very well verge on "one and done" in most cases. Whatever the case turns out to be, the dialogue exchanges between these guys is well worth the price of admission (especially if you're a fan of Pineapple Express).  This is the End is the Rogen comedy to end all Rogen comedies. 
This is the End Review photo
It's the end of the world as we know it...and I feel fine.
I've been harsh toward This is the End from the very beginning. First batch of trailers painted the film as a "Hey look at [enter famous name here] acting wacky!" sort of comedy, but as the trailers rolled on and hinted at th...

This is the End Trailer photo
This is the End Trailer

Trailer: This is the End

"Take it easy, Dumbledore."
May 31
// Nick Valdez
Opening in just a little under two weeks, we have one more trailer for This is the End. This is the international version of the trailer so there's mostly repeat footage, but the new material? The new material is just fantas...
This is the End photo
This is the End

New This is the End posters take yo panties off

"Take em off take em off take em off take em ooooofff!"
May 30
// Nick Valdez
I'm still holding firm in my belief that This is The End, the post-apocalyptic Rapture comedy starring famous funny guys like Seth Rogen and Jay Baruchel as themselves, is going to go either one of two ways. It's either going...
Rapture-palooza Trailer photo
Rapture-palooza Trailer

Trailer: Rapture-palooza (Red Band)

Still looks as bad as it did last time.
May 15
// Nick Valdez
Rapture-palooza (with a newly minted hyphen) should be taken as is and nothing more. It's a straight to VOD (with a limited theater run) comedy about the Rapture that happens to star lots of recognizable faces releasing arou...
Michael Cera dies in this photo
Michael Cera dies in this

Trailer: This is the End (Red Band)

Emma Watson has an axe. You want to see this now, don't you?
Apr 03
// Nick Valdez
This new Red Band trailer for This is the End has enough new content and hints of plot (it seems to be a biblical apocalypse) to help you figure out what kind of movie it's going to be. It's filled to the brim with comedians...

Trailer: Pineapple Express 2

Uh, ha, well, uh, no not really
Apr 01
// Flixist Staff
Well, uhhh, the fools they are in April. Those fine fellow actors of mine have, uh, created a humorous trailer for their upcoming film This is the End. The joke is that it is a trailer for a movie that, well, uh, doesn't exi...

This is the End is somewhat more nigh

Mar 29
// Matthew Razak
This is the End might be one of the more anticipated comedies of the year. We'll all be anticipating two days less now as the film has been bumped up to a June 12 release instead of a June 14 release. Those two days shou...

New Oblivion TV spots have the moon getting blowed up

Mar 26
// Hubert Vigilla
There's something about mayhem perpetrated against the moon that I find kind of absurdly funny, whether it's threats to blow it up or Chairface Chippendale trying to write his name on it. In this new TV spot for Oblivion, a ...

Trailer: Rapturepalooza (Red Band)

Mar 06
// Nick Valdez
Rapturepalooza is a comedic take on the Rapture, that biblical story that Jesus Christ will leave behind all sinners on Earth as the Antichrist tries to take over the world (For better reference, watch that "Rapture's Deligh...

Trailer: Oblivion

The plot thickens, still about Tom Cruise
Feb 13
// Matthew Razak
Oblivion has gone from quite the mystery in its first trailer to quite the intriguing film in this one (HD here). We learn a lot more about the film's plot and the "enemy" that Tom Cruise will be fighting in this d...

Mad Max: Fury Road production vid shows off vehicles

Jan 22
// Nick Valdez
If we lived in the Mad Max world, my name would be Bruiser Shovelpit, a man who carries around the shovel he used to bury his former pet Goldfish, Jamal (and I would hope I looked as good as Tom Hardy does). A...

The Cult Club: Six-String Samurai (1998)

Jan 11 // Hubert Vigilla
There is a very short distance between high art and trash, and trash that contains the element of craziness is by this very quality nearer to art. -- Douglas Sirk Douglas Sirk was referring to melodrama when he said that, but I think the same holds true for cult movies, and even a lot of postmodern art and writing. Whether it's the childlike anarchy of Nobuhiko Obayashi's House (Hausu) or the surreal Mexico City of the mind in Alejandro Jodorowsky's Santa Sangre, the crazy elements are essential to the art of the cult movie -- sometimes the cult movie is an argument for the art of craziness. So many cult films are set apart by their willingness to do what many other films are unable or unwilling to do, and in this excess and exploitation is a kind of ecstasy. In Six-String Samurai, it's all about bringing things together into sort of Mulligan stew version of alternative history. (A Mulligan stew is something hobos used to make, basically throwing whatever they could into the pot for flavor: beans, chicken, vegetables, boots. It's a crazy concoction, like the childhood potions I used to make out of whatever was in the refrigerator.) Alternate history stories ask an essential question, and I think there are two in Six-String Samurai. The first: what if the Soviet Union used nukes on the United States in the late 1950s? The second: what if Buddy Holly didn't die with The Big Bopper and Ritchie Valens and then became a supreme stoic badass in the style of Ogami Itto and Mad Max? Though it's never explicitly stated this is Buddy Holly we're watching in the wastelands of America, the glasses and the clothes heavily imply it. For a long time I wondered where his Stratocaster went since he's carrying a semi-hollow in the wasteland. Now I just assume he traded in his Strat for a katana after the bomb fell because it would be more useful; the hollow body he must have taken from the bucko who broke his glasses. In the world of Six-String Samurai, the last bit of proper civilization is Las Vegas, renamed Lost Vegas after the nuke. Elvis, that former King of Rock and Roll, has died and left the throne empty. Buddy (Jeffrey Falcon) is en route to Vegas to claim his destiny, but he winds up having to care for a recently orphaned boy simply known as The Kid (Justin McGuire). The Kid is mostly inarticulate, which I assume is partly out of PTSD from seeing his parents killed and partly out of affectation since it's a kooky conceit. On Buddy's trail is Death himself, less like Bengt Ekerot's Grim Reaper from The Seventh Seal and more like Slash from GNR. I wonder if Death's already taken out Valens and The Bopper; I hope Jerry Lee Lewis gave that son of a bitch hell; I dream that Roy Orbison fought like Zatoichi until the bitter end. Written and directed by Lance Mungia, Six-String Samurai is a hodgepodge of Americana merged with post-apocalyptic ideas. You have a bit of narration provided by Wolfman Jack (or at least someone who sounds a lot like him), there are weirdos in astronaut suits, a cannibalistic nuclear family, the coonskin cap is a holdover from the Davy Crockett craze, there are bowling team buddies who no one messes with. But on top of these quintessentially American things are little touches of internationalism that were en vogue for cineastes who came of age in the 80s and 90s, the era of home video, cable movie shows, rising interest in cult entertainment, niche film clubs, etc. There's obviously a lot owed to Lone Wolf and Cub and the Mad Max movies, but the added flair comes from the surf rock soundtrack by The Red Elvises -- think Dick Dale hanging ten on the Volga -- and the martial arts choreography by Falcon himself. Falcon had played bit parts in Hong Kong movies (most notably some films with Cynthia Rothrock), and Buddy's fights are done with the style of a Hong Kong flick of that decade. This blend of everything is an example of that time capsule and time machine aspect to Six String-Samurai. This is the epitome of the 1950s frozen in a state of peachy keen fashion and Cleaver family values following the explosion of a bomb, but it's also tying in heavy metal, a music genre that wouldn't have reached its fetal state without the 1960s. There's a meta level to all this as well since the movie is so much an object of its decade while reflecting a warped version of decades past: Six-String Samurai has all the flash of 90s indie filmmaking (think Robert Rodriguez) as well as the referentialism (think Quentin Tarantino, who would make his own Mulligan stew with Kill Bill). In a sense, post-apocalyptic films are all a little bit fantastical in a strange way even if they technically have science fiction roots. Each story opens with an implicit, "Once upon a time after the world ended..." It sounds like a post-apocalypic Spaghetti western waiting to be made. We're asked to fix a time given the surviving artifacts and bits of culture that we're shown, but we're also asked that the storytellers be given some wiggle room since they're using whatever pieces of culture they want to present a world that comes after the one we know. Maybe in addition to being time machines and time capsules, post-apocalyptic movies are like assemblage works of art: you take a bunch of junk and refuse and put them together in an interesting way, like Robert Rauscheberg or a Joseph Cornell. (Mulligan stew at MoMA.) In this case, the Cornell box contains Buddy Holly, samurais, and loads of visual style to keep things moving. Or, given the crazed, childlike quality of the storytelling, maybe it's like destroying the world and peopling it with your favorite action figures. Everything about Six-String Samurai feels like a hyperactive kid's weekend spent in the sandbox. (I still think if they ever made a sequel or spiritual sequel to Six-String Samurai, it would have to star the noisy Japanese punk band Guitar Wolf; it would also have to be a post-apocalyptic western as part of some American/Japanese cult movie exchange program. Maybe they can call it Once Upon a Time After the World Ended.) But in addition to the action and the bizarre assemblage of 1950s stuff and 1990s stuff -- the movie seems like it'd be king of the Island of Misfit Toys if it was an action figure -- what makes Six-String Samurai so enjoyable is the handful of quotable lines, which have needled their way into my brain since I first watched the movie on VHS. Knowing the context or not, there's just something hilarious about the line, "Only one man can kill this many Russians"; ditto the flatout goofiness of, "Nice tuxedo. Nice tuxedo to die in!" My own personal favorite: Mesh-Head: If I were you, I would run. Buddy: If you were me, you'd be good-lookin'. That's as smooth as the action on Buddy's semi-hollow. Ever since seeing Six-String Samurai, I've been waiting for a moment to say that line. It hasn't happened yet. Six String-Samurai seemed forgotten for so long even though there's so much craziness that makes it memorable. It was a festival darling of the 1990s, a peculiar indie oddity in a decade full of them, but for a while it felt like I was the only person I knew who saw it, dug it, and pushed it on friends. (When I was in college, I once heard a film studies professor champion the movie after class. In that warped way that litmus test movies work, this incident made her seem 20 times hotter even though she was really attractive to begin with.)  I was happy to hear about the nod to the film in Fallout: New Vegas, that's damn snappy, but I wasn't all too pleased with the less-than-happy fate of Mungia's and Falcon's film careers. Six-String Samurai had a budget of $2 million, and despite the buzz it got from lots of online reviews, the movie was a total bomb at the box office. Mungia has only one other feature to his name: the 2005 direct-to-video sequel The Crow: Wicked Prayer. I haven't watched it, but I was contemplating seeing it prior to writing this piece. I just ran out of time, unfortunately. Maybe it's for the best given its reception. The Crow: Wicked Prayer currently holds a 2.8 on IMDb, and I doubt it's done with the same goofy glee as Six-String Samurai. For Falcon, Six-String Samurai was his final film credit. Accounts online say he started living in China after the film, though his last known whereabouts as of 2005 was working at an airport in Los Angeles. It's a little sad what happens after the end of the world, at least in actual history. In an alternate history of our world, I'd like to imagine Mungia got to do a few more crazed bits of assemblage, and Falcon got to be a decent cult star. But in actual history, I think they can both be legitimately happy, even with the box office drubbing. Six-String Samurai still has its devotees; it survived the box office apocalypse. Like Hunter Thompson said of Dr. Gonzo in Fear and Loathing in Las Vegas (another bomb): There he goes. One of God's own prototypes. A high-powered mutant of some kind never even considered for mass production. Too weird to live, and too rare to die. That's my Buddy. Hail! Hail! Rock and roll! [embed]214031:39440[/embed] Next Month... You boys like Mexico?! That's where Nick Valdez is taking you for El Mariachi (1992). PREVIOUSLY SHOWING AT THE CULT CLUB December: The Warriors (1979) November: Funky Forest: First Contact (2005) October: Casino Royale (1967) September: The Man Who Fell to Earth (1976) August: Blood Feast 2: All U Can Eat (2002)
The Cult Club photo
If you were me, you'd be good lookin'
[The Cult Club is where Flixist's writers expound the virtues of their favourite underground classics, spanning all nations and genres. It is a monthly series of articles looking at what made those films stand out from the pa...


Flix for (Not So) Short: Overture

Jan 07
// Nick Valdez
Overture, directed by Dan Sachar, is an Israeli short film about a man who is struggling to recover pieces of his memory. The whole film is minimalist in nature with very little spoken dialogue, a slim cast (most of the film surrounds a singular man as he finds a beautiful woman in the forest), and it has a stark, lonely feel. It's simply gorgeous. [Dan Sachar, via Twitch]

First pic of Tom Hardy as Max in Mad Max: Fury Road

Forgive the poor quality
Dec 20
// Thor Latham
Even though there were initially doubts, it looks like this pic of Tom Hardy as Max from Mad Max:Fury Road is the real deal. Warner Bros. confirmed earlier today that the pic was a keepsake signed by Hardy and given to t...

Trailer: Oblivion

Tom Cruise is all post-apocalyptic
Dec 10
// Hubert Vigilla
Even though Tom Cruise is busy taking five guys at the same time, we now have a trailer for his next film, Oblivion. Directed by Joseph Kosinski (Tron: Legacy), Oblivion looks like a strange mash-up of Wall-E and The Om...

Flix for (not so) Short: Threads

It's the end of the world as we know it, and we're all gonna die
Nov 30
// Hubert Vigilla
With the end of the world coming up (so say the Mayans, who were clearly never wrong about anything), here's an apocalyptic installment of Flix for (not so) Short. Threads was a 1984 BBC-produced film written by Barry Hines ...

Anne Hathaway enters the Robopocalypse

Which of the following would you most prefer? A: a puppy, B: a pretty flower from your sweetie, or C: a large, properly formatted data file?
Nov 12
// Xander Markham
Anne Hathaway is soon to grace our screens as Fantine in Les Misérables, while Steven Spielberg's biopic Lincoln is currently partying on, dudes, in New York and LA cinemas ahead of its nationwide release this Friday. ...

The World's End gets teaser poster and release date

Oct 12
// Nick Valdez
Edgar Wright and Simon Pegg's The World's End has to be my most anticipated film of...ever really. It's the third and final film in the Three Flavours Cornetto Trilogy and there's no doubt this is going to be amazing. No...

New Mad Max: Fury Road info confirms 'Word Burgers'

Aug 17
// Nick Valdez
Although we've known that George Miller's Mad Max reboot/sequel Mad Max: Fury Road has been going through some rough patches for awhile now, principal photography for the film has finally begun. Tom Hardy is still going to st...

Craig Zobel and Tobey Maguire go post-apocalyptic

Aug 16
// Hubert Vigilla
During our interview with Compliance director Craig Zobel, he mentioned how he made that dark and uncomfortable film to challenge himself as a filmmaker. It was unlike his first feature, The Great World of Sound, and it looks...

NYAFF Review: Doomsday Book

Jul 09 // Alec Kubas-Meyer
[embed]210670:38414[/embed] Doomsday Book (Inlyumyeolmangbogoseo | 인류멸망보고서)Directors: Kim Ji-Woon and Yim Pil-SungRating: NRCountry: South Korea There is no "book" in Doomsday Book. In fact, none of the three shorts in the anthology have the faintest thing to do with literature of any kind. Perhaps the title is a reference to the film's status as an anthology? But then why not just call it Doomsday Anthology? Or A Series of Shorts About Doomsday Done by Famous Korean Directors? Both of them would be more appropriate titles, and neither of them would seem so out of place given the films themselves. First, there's Brave New World, Yim Pil-Sung's take on the zombie genre. Then there's Heavenly Creature, directed by Kim Ji-Woon, which looks at a world where robots are Buddhas. Then Yim Pil-Sung returns (with Kim Ji-Woon as guest director) for Happy Birthday, which serves as a warning against purchasing things from strange websites. They are all entirely self-contained stories, and none of them are really anything like the others. As three separate stories they would be just as effective as they are in a collection. That does not, however, mean that they are bad as a collection, because they absolutely aren't. A quick look at Wikipedia's list of zombie movies shows that the last two years have seen a dramatic decrease in production. But even if Brave New World had come out during some of the more zombie-heavy years, it would still stand out. Unlike most zombie films, Brave New World is about Patient Zero, played by Ryu Seung-Beom. Although it's never explained how exactly the virus comes to exist, it's very interesting to see how the disease comes to infect large portions of the population. Even though there is a Patient Zero, Patients 1-30 become infected at essentially the same time he does, though not in the way you would think. Happy Birthday is about a family preparing for the apocalypse. A giant meteor/thing is hurtling towards them (note: the meteor in the trailer is actually different from the meteor in the film), and they have to figure out how to survive. Fortunately, they have a doomsday bunker complete with TV, computer, internet, and bikes that can generate some electricity. Three of those things would obviously be useless following the collision, but they are important in the context of the plot, so it's good they have them. Both of Yim Pil-Sung's segments spend a lot of time with TV news. Using the news as a narrative device is an interesting one. It's a very easy way to set the mood or explain events without giving characters overly expository dialogue. Usually you see it used in more political films, but these shorts use it to give updates on the crises at hand. These updates also offer some of the best moments in the whole of Doomsday Book. As I mentioned in the beginning, both of those sections are funny, and a lot of that comes from these newscasts. Watching as the people onscreen devolve while the world goes to hell is as funny as it is poignant. Unfortunately, I was very disappointed with the middle segment, Heavenly Creature. Kim Ji-Woon, who directed both I Saw the Devil and The Good, the Bad, the Weird, is one of my favorite Korean directors, so I had high expectations. They were not met. But I think that even if I had gone in with no expectations I would have been disappointed by the segment. The problem is simple: too much talking. In a near-future world that seems to be like a Korean version of I, Robot, the film focuses on a Buddhist monastery. The moments in the outside world are tantalizing and fascinating, but they are too few and far in between. Instead, we're stuck with characters philosophizing about the role of robots, their capabilities, and what it means to be Buddha. This could be interesting, but it's not. It's a static location with static characters. Some of these characters are defending the robots, some of them are attacking the robots, but even though a robot is really the central character, the robots are peripheral. They are simply there as a way to justify long speeches about the role of technology in modern society. Rather than showing the audience how detrimental they are, the film seems content with telling us. If this were a book, pages of monologue would be fine, if a bit boring to read. In a movie, though, it's almost insulting. That being said, I still liked Heavenly Creature. It could (and should) have been much more than it was, but it was nonetheless very well done. The moments in the world outside were especially cool, and I would be okay with a future that looked like that. It's also intensely dramatic, jarringly so, given the comedic nature of the shorts around it. That is neither a good nor a bad thing, though, simply something to be aware of. As a whole, I really enjoyed Doomsday Book. Despite a disappointing second segment, it had some really amazing moments. Happy Birthday is excellent, Brave New World is great, and Heavenly Creature is good. There is no greater meaning that comes from them being together, but there really doesn't need to be. Originally, the anthology was set to feature a third short (in place of Happy Birthday) directed by Han Jae-Rim, but budgetary concerns made that impossible. I'm curious what that would have been like. Perhaps there would have been a clearer progression from one film to the next. Maybe it would have had something to do with a book. It's an interesting thing to think about, but it doesn't really do any good, especially since it would have replaced Happy Birthday, and that would have been a shame. Hubert Vigilla: Anthology films can be an odd duck since you're thinking about the parts of the whole and how they function together. It's rare that any of them cohere as well as a mix tape. In Doomsday Book, each of the three films deals with a version of the end of the world: a zombie apocalypse, the end of human spiritual supremacy, and (essentially) an asteroid strike. The Yim Pil-Sung bookends to Doomsday Book are much wackier, more inventive, and more dynamic than the Kim Ji-Woon center, which is more meditative and philosophical, though it's also on the talky side. It gets by on its fascinating conceit -- what if a robot thought it was the Buddha -- and its remarkable sense of design. There's a feature-length film in that could be extrapolated from the middle section, or at the very least a good novella. But even then, nothing feels like filler in Doomsday Book, and each of the films stands solidly on their own. 77 - Good [Doomsday Book will be screening at Lincoln Center's Walter Reade Theater Wednesday, July 11th at 8:15 PM and Thursday, July 12th at 1:00 PM]

[For the month of July, we will be covering the New York Asian Film Festival and the (also New York-based) Japan Cuts Film Festival, which together form one of the largest showcases of Asian cinema in the world. For our NYAFF...


Bruce Lee's last script to be produced

Jun 19
// Jason Savior
Once adapted posthumously into 1978's Circle of Iron, martial arts icon Bruce Lee's final script, The Silent Flute, co-written with James Coburn and Stirling Silliphant, is now due for a more rigid production partially financ...

Well it took 'em long enough! Yesterday, Deadline debuted the news that Edgar Wright and Simon Pegg's third installment in the Blood and Ice Cream Trilogy, The World's End, will start production this September. That's only li...

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