Monday, May 31, 2010
Going into June we have X-Men: First Class (Directed by Matthew Vaughn (Kick-Ass)), Fast Five (yes, that means the Fast and the Furious 5 for those who don't quite understand), Green Lantern, and Cars 2. I'd be happier about Cars 2 if there were actually something to be happy about. I love Pixar, but in all honesty, Cars didn't meet their standard. The month looks like it might be open for one more hit, so I'm going to say that if Super 8 can't find a place in May, it's certainly a good fit for June.
Then in July, Transformers 3 (without Megan Fox), Harry Potter and the Deathly Hallows: Part 2, Captain America, and Cowboys vs. Aliens. Overall that's a much stronger month than this year, where the only real movie worth seeing is Inception. I'm sorry I keep bringing it up, but until I have credible reason to believe the film won't be good, I'll continue promoting the film. Then to close the summer we have The Smurfs (starring Neil Patrick Harris), War Horse (Directed by Stephen Spielberg), and Spy Kids 4. Alright, it's still August, so don't be disappointed. The month is already disappointing.
I know it's strange to look so far off into the future, but it honestly looks so much more awesome than the present. Below is my rankings of my top 5 most anticipated films of next summer. Feel free to weigh in on your own opinions.
5. Pirates of the Caribbean: On Stranger Tides
4. Super 8
3. Transformers 3
2. The Hangover 2
1. Harry Potter and the Deathly Hallows: Part 2
Sunday, May 30, 2010
Prince of Persia: The Sands of Time, brought in modest, but not spectacular $30 million this weekend, but wasn't able to truly captivate audiences. I don't see it being a smash hit in the following weeks, nor do I predict for Sex and the City 2. Iron Man 2 took another small drop of 39%, bringing it's total to $274 million. The film will probably make it to $300 million in the following two weeks. This weekend was down 14% from the same weekend last year when Up and Drag Me to Hell released to critical acclaim.
Saturday, May 29, 2010
Friday, May 28, 2010
On top of the the studio announced that they'd be aiming for a Holiday 2012 release for the Christopher Nolan shepherded reboot of Superman. I'm not fully sure if they'll get the film finished in that time, and I'm personally not worried about it if it gets pushed back a few months. Quite a few film studios have shown reluctancy in releasing a film in 2013 or past then, simply because the world is to end in 2012. It's not going to, but studio execs are clearly superstitious enough to believe that. Either way 2012 will certainly be an interesting year, with the release of both the Dark Knight sequel, and the Superman reboot.
Wednesday, May 26, 2010
Tuesday, May 25, 2010
If everything goes as it should, the movie could be off the ground and into production within the year, and released either sometime next year, or summer 2012. I'm not very familiar with the series 24, but the finale was pretty interesting to me, and set up for what I could see as a good film. The only huge problem I see facing the film is that the format of taking place in real time, and the fact that it's titled 24, as in 24 hours. So I don't know what they'll do with that, but it seems like an interesting concept.
Monday, May 24, 2010
Sunday, May 23, 2010
Palme d’Or: Uncle Boonmee Who Can Recall His Past Lives
Grand Prix: Of Gods and Men
Best Actor: (tie) Javier Bardem, Biutiful and Elio Germano, La Nostra Vita
Best Actress: Juliette Binoche, Certified Copy
Best Screenplay: Lee Chang-dong, Poetry
Best Director: Mathieu Amalric, On Tour
Jury Prize: A Screaming Man
Camera d’Or: Año Bisiesto, Michael Rowe
Best Short Film: Chienne d’Histoire
Alright, I must admit, Uncle Boonmee Who Can Recall His Past Lives is a kind of intriguing name. I want to find out more about that.
That's certainly not befitting of such a good film, but I doubt the film could've managed a sequel. Iron Man 2 continued it's downward descent, hauling in $27 million and bringing its total to $251 million. The film may indeed make it to $300 million by the end of it's run. Robin Hood fell as much as expected with $19 million, adding up to $66 million right now. It may not see the light of $100 million. Next weekend marks the release of Prince of Persia, and Sex and the City 2.
Saturday, May 22, 2010
Friday, May 21, 2010
So if you have half a brain, and you rightfully decide to skip Shrek, I suggest going out to see MacGruber. If we can get past the fact that it's based on a 2 minute SNL skit, I think we can all get into it, and enjoy it for what it is. Not a smart movie, but a damn funny one. I'm getting an idea of what it'll be like before I see it, which probably isn't the best idea, but I don't care. I don't expect the film to be hugely successful, because it just doesn't have the same following as Shrek, or Iron Man, or... Twilight. I know. The world isn't just. Still I see the film getting around $15 million this weekend, hopefully.
Then we have the holdovers from past weeks. Expect Robin Hood to take a 50% dive this week, landing around $15 million. As for Iron Man 2, I can see it dropping to around $25 million. It now seems somewhat unlikely that it will reach the coveted 400 million mark it was hoping to get to. And as for Babies, expect it to get somewhere in the area of 100,000 this weekend. Other than that, I can't think of anything else in the market worth seeing this weekend. Wait until next weekend when... Wait until the week after next weekend when... You know what? Just skip the theatres until Toy Story 3 comes out. It's probably for the best.
Thursday, May 20, 2010
The series was good for one film, but then the concept became self-degradating, and repetitive. Lets start with the main reason you make a sequel: to advance the plot. That's something the Shrek franchise has failed to do. The third film had absolutely no reason to exist. It was, and continues to be Dreamworks milking the franchise for everything it has. Can we really expect the franchise to end after what is being called The Final Installment? I'm going to say no. I'm going to be seeing MacGruber this weekend, because it generally looks like an entertaining film.
Wednesday, May 19, 2010
At least not fighting alien robots. This is perhaps the most shocking news of the year. I was really motivated by how many good actors were signing on to Transformers 3, I started to forget the main reason why we went to Transformers 2: Megan Fox. Now it turns out that she will not be returning for the third installment. She spends two movies bonding with Shie Labeouf over the end of the world, and now they're just ending it? I'm sorry that such horrible news has come from my 200th post.
Either way, they're immediately looking for somebody to play the new love interest for Sam, prefferably one with breasts. If it were to be somebody famous, who would you vote for? Personally, I find myself holding out for Emma Watson, Ellen Page, or some other attractive girl who can act and whose name begins with the letter E. Then again, there's the obvious chance that they could go with somebody unknown. Currently the front-runner is Gemma Atherton, who is suddenly the romantic girlfriend in every disapointing action movie (Prince of Persia, Clash of the Titans), so I hope that doesn't happen.
I could go on about this film, and how much I despise that it won't be releasing until December, but ultimately nothing new's been said about the film, so this may be it for my Cannes Coverage. Unless something else hits it big, which if it does I will report it, I'm out.
Tuesday, May 18, 2010
Originally my guesses for this award would've been Inception, Harry Potter and the Deathly Hallows: Part 1, and The Last Airbender. Nobody can doubt Nolan's film, Harry Potter rarely disappoints in terms of whatever visual effects it has, and despite the promise of a crappy movie, the visual effects of The Last Airbender are amazingly beautiful. But if it comes to pass that this expansion is approved, then I'll have to add Tron Legacy and Chronicles of Narnia: Voyage of the Dawn Treader.
Iron Man 2's visual effects were just not as well conceived as the first one's. What's your opinion of this decision? Is it a good or bad idea? Is it better for a year where there are more effects driven films? I want to know what you think, so comment below.
The trailer makes the film look like a fusion of The Bourne Identity, some Romeo and Juliet-ish film, and some poorly executed contemporary sci-fi film. Also, the men of the Adjustment Bureau come off like the Observers from Fringe, except old and less intriguing and mysterious. It concerns me that this trailer is getting similar praise as the Inception trailer. Inception's trailer was more entertaining than the film it played before. I can't say the same for Adjustment, and it played before Robin Hood. I might be way off on this, but for the time being I remain unconvinced of this film's merits.
You thought I was critical of the last trailer? I can't even describe my disgust with the Easy A trailer. The film basically follows a girl who fakes sex in order to gain popularity. She then does similar favors for other boys. After it's suggested she sew a red A onto her clothing for adulterer, she does that, and Amanda Bynes plots her destruction. First of all, Amanda Bynes is one of the ugliest people on the planet. It's as if the director decided he wanted to gather the most unattractive people to be in his movie.
Then we get to the plot, and it's completely stereotypical high-school drama. Only one entertainment enterprise has been able to stem critical acclaim from high school drama, and that's Glee (and to a certain extent Mean Girls). This won't be that, and I can guarantee now that it will be instantly forgotten once the film is released.
The Adjustment Bureau trailer
Easy A trailer
Monday, May 17, 2010
Now there are plenty who are ready to line up to praise the film, such as Kirk Honeycutt of The Hollywood Reporter, saying "More than any of the director's previous films including Babel and 21 Grams, which came loaded with star power, Biutiful is destined for the art house. There it should enjoy a warm reception since its only star, Javier Bardem, delivers a knockout performance as a hero whose last days are detailed with Joycean elan, filled with ambiguity, contradictions and lyricism."
But every rose has it's thorn. Playing the thorn is Sukhdev Sandhu from The Telegraph, describing that "Biutiful is another laborious stretch of designer depression, a remorseless headache that begins with a mysterious chap telling a ponytailed Javier Bardem: “When owls die they spit hairballs out of their beaks.” Does that sound profound? Or does it reek of cod-spiritual phooey?" The film hasn't been playing too well domastically to critics as it has been internationally. It'll be a long road to the Oscars for the film, but I think Bardem has a good chance at snagging Best Actor.
Tamara Drewe- How can people be so depressed about comedy films? It may be because most of the comedy output these days is crap (Grown Ups, because you know it will be). However, people have been downright joyful about Stephen Frear's latest comedic venture. Below is a rather large excerpt from Kirk Honeycutt's review of the film for The Hollywood Reporter, but he really sums up the consensus about the film.
"Posy Simmonds' (the author of the source material) fans should be happy as Frears and screenwriter Moira Buffini make pleasing work of her material with plenty of laughs. Cinematographer Ben Davis also makes the heaths, woodland and vale plus the cottages in the county of Dorset look ravishing enough to please Hardy himself. Alexandre Desplat's agile score employs gifted soloists along with the London Symphony Orchestra to help paint the pretty pictures."
I'm a collosal fan of Alexandre Desplat, and any film he does has at least the guarantee of a beautiful sound. The film may be a departure from Frear's usual works in the vein of The Queen, but I have no doubt that he hasn't lost his touch.
Sunday, May 16, 2010
Saturday, May 15, 2010
When King Richard is killed in combat, his arrogant brother John takes the crown, and starts taxing the people of his country heavily. Meanwhile his seemingly faithful servant Godfrey plots for the french to take over the country while it's at its weakest. Through both honesty and dishonest, Robin assumes the name of Robert Locksley, a man who was murdered by Godfrey, and begins wooing the lovely Lady Marion (played by Cate Blanchett).
The film may be too long for it's own good, and somewhat confusing at points, but Scott is able to keep the audience interested for every moment of the film. Where the script begins lacking, the actors give it their all to boost up the quality. Russell Crowe does brilliantly in a role he's played several times before, but never ceases to be interesting in. Cate Blanchett is the sort of female love interest that takes action, and simply doesn't miss a beat in her role. It's been a while since she got a role like this where she can really flex her talents around.
Mark Strong continues his ill-advised stint as the bad guy in every movie, but he does so with class. One of the moments that will stay with audiences well after the film is over, is his character riding off smiling, with an arrow driven right through his neck. Oscar Isaac does a passable job portraying King John as the self-spoiled brat he is. He's really what Simba would've been like had he not had Mufasa to guide him through his childhood. Kevin Durand is great in every film he shows up in, and totally sells me on his version Little John. He offers some much needed comic relief in the darker portions of the film.
The cinematography on this picture is very textured, but the camera zoom-ins, and frantic movements during the intense battle sequences don't prove too impressive. Mark Streitfeld's musical score is definitely too small scale for a film this size, but it captures the tone decently. I would've been more impressed if Hans Zimmer took on the score. Ridley Scott has excelled at directing epic battle sequences in the past, and he does so again here. In the end, Robin Hood is the summer action movie we see a lot of during this time of year, but do we really want anything more?
We know the Potter films have been getting progressively darker, and the final installment will likely be the darkest. So where will parents take their younger kids while the older ones are at Potter? Winnie the Pooh, not only because it's a kids film, but because it's such a loveable series. If I were a 10 year old kid, I'd choose Pooh over Potter, and I realize how sinful a statement that is. Adding to the anticipation of this project, Hans Zimmer is doing the score for Pooh, so that's going to be an obvious draw. I think it will be a classy film, but it's dangerous whenever you open against such a film as Potter. It's going to get thrashed, and that makes it much more dreadful.
Friday, May 14, 2010
The most practical idea would be to end the first half at the mid-point of the novel, which would either be at The Life and Lies of Albus Dumbledore, or after Ron returns during The Silver Doe. Either of those would be nice places to leave the audience at. Either a revealing cliffhanger, or some sort of success seems necessary to end the first one. Of course the original idea of where to split the film ensures that the Deathly Hallows of the film's title is actually referred to in both films. This is probably one of the most difficult decisions facing the crew of the film, because their choice affects whether the audience will return opening weekend of Part 2. The ending can make or break the film. It may be better not to know where the split is, because it adds some mystery to the series for those who have read the books and know how the film plays out. What's your opinion? Where should they split it? Should they tell us?
Thursday, May 13, 2010
Leo Robson of the Financial Times completely bashed the film, stating "If Ridley Scott’s aim was to bewilder, then Robin Hood must be counted a storming success. From the opening scene, we are offered little idea of who is doing what to whom. As for why: forget it." Depending on how this weekend goes, the film could either prove to be a hit with audiences, or this year's Narnia: Prince Caspian.
Wednesday, May 12, 2010
Either way, I'll do whatever I can to give you an in depth look at the films premiering at Cannes, as well as the different deals that are made, and the awards that are doled out. Tomorrow I'll give you a heap of reviews concerning the opening night release, Robin Hood, and so it will be until Cannes finishes. I'll still try to keep up on the latest news and regulars.
Tuesday, May 11, 2010
Next is the new trailer for the adaptation of the Grindhouse trailer, Machete. I'm excited to see this film, because when Robert Rodriguez takes on a dark subject, he turns it into a visual feast. When he takes on a childrens film (Spy Kids), it's a trippy childrens film nobody wants to see ever again. But Machete has been under his wing for a while, and to see that it's actually coming is just an amazing thing in itself. The trailer isn't too different from the original, but it does add some new characters, and cheesy but enjoyable dialogue ("We didn't cross the border! The border crossed us!"), so it actually seems like there will be an actual reason to go to the movies this Labor Day.
Winters Bone Trailer
Now it looks like we may actually get an amazing X-men film, since Matthew Vaughn (Kick-Ass) has taken the reigns of the series. As much as I love Kick-Ass and want a sequel to that, the box office gods don't seem to be favoring such an occurence. So now I completely believe that X-men: First Class will be a return to form for the series, seeing as it's being penned by two of my favorite Fringe writers, Zack Stentz and Ashley Miller. The film is currently set for release in June of next year, an already awesome summer for movies (ex. Harry Potter 7, Hangover 2, Super 8, etc.)
The most applause I heard was at the Inception, and Super 8 trailers, which were admittedly better than the actual film. I got the feeling that the audience wasn't quite embracing the film. There's a point where it's too grounded in reality, and yet too corny. The film wasn't bad, but it's not the type of film I'd ever want to see again. It doesn't merit a second viewing, which is something that's very important for a film to do. I guess we'll truly get a scope of the success of the film after this weekend when Robin Hood releases and takes much of the audience.