The Last Witch Hunter is an intriguing entry into the world of cinematic fantasy genre. While it doesn’t particularly revolutionize the way we see witches and warlocks nor does it herald “the next great franchise” of feature films, it is a solid tale packed with great special effects, excellent pacing, a presentation designed for an intellectual audience (relatively speaking, of course), and charming characters that are fairly believable in terms of their place in this witchy world.
We’re living in what is likely the peak age of reboots, remakes, rehashes, reimaginings, and every other “re” you can think of that would mean original ideas are taking a back seat to bringing old stories back to life. In the ultimate switcheroo, then, it’s always fun to see what movies made today might have been like if they had created “back in the day.” Thanks to one avid YouTuber, we can now get a glimpse at a “retro-ified” version of this year’s top-grossing movie, Jurassic World.
Vin Diesel‘s latest movie, The Last Witch Hunter, pits him once again against the forces of evil. He’s not alone though, Michael Caine (Kingsman), Elijah Wood (Wilfred), and Rose Leslie (Game of Thrones) join in on the fun. If this trailer looks familiar, don’t beat yourself up over it, it is familiar, perhaps too familiar. (more…)
You ever notice these days that when you are watching a movie the dialogue seems way too low in comparison to the soundtrack and special effects? It’s like the sound engineer has failed to stick a compressor on the audio, it’s categorically annoying (similar – if not worse – than a baby crying in the near vicinity of your personal sonic space on a two hour flight), and it is becoming ever more popular within the film industry. It started off as a Bay-ism, were one would find themselves either becoming a manual compressor with the power of the remote control, turning it up at the talky dialogue based parts, only to turn it back down when the action kicked pack in – we find ourselves sitting in our homes behaving like automated oscillators. There is also the subtitle option, which is quite handy if one decides to sit and watch a movie in the small dark hours of the night. Then there is the headphone option – that’s when s**t just starts getting crazy. Well, you catch my drift; it’s a problem, and it’s goddam annoying (goddam you Michael Bay, why you gotta go ruin everything…). (more…)
A new trailer hit last night for Matthew Vaughn‘s Kingsman: The Secret Service featuring a brand new track from Iggy Azalea along with singer Ellie Goudling. Based on The Secret Service comic book created by Mark Millar and Dave Gibbons. All indicators point toward a fun super secret spy agency type movie, although I do have to say that when I saw this trailer my first thought was, Harry Potter goes to Spy school. Give the trailer a go and then let’s discuss it below. (more…)
When it was first announced that Christopher Nolan’s next motion picture would be a return to original, hard science fiction, I was filled with joy. It’s not that I don’t appreciate his Batman films (The Dark Knight still stands as one of the best pieces of commercially-minded filmmaking made during my lifetime), they just don’t stack up to Inception — a film whose humanistic spirit is as big as its brain. While Nolan’s Batfilms are undoubtedly thrilling on a technical level, they still lack the eloquent investment of an artist utilizing a massive canvas to express deep-seated personal issues. However, now that he’s put his franchise days behind him (for the moment, at least), Christopher Nolan is again able to explore titanic ideas employing near infinite resources.
Today we get our first long look at his upcoming space travel film, Interstellar, which is attached to Godzilla in theaters this weekend (Sarah says you should see it!), and the spot promises a truly awe-inspiring journey.
For a long time it’s been on his to-do list, but because of the big money involved, David Fincher just hasn’t been able to get his update of Jules Verne‘s 20,000 Leagues Under the Sea off the ocean floor and out of dry dock. He even had Brad Pitt attached to star for crying out loud, but even hooking one of the biggest fish in the Hollywood sea isn’t always enough to get you a green light these days.
But maybe Fincher’s now got something better – tax incentives.
The Age is reporting that Australia’s Federal Arts Minister Simon Crean is extending a sweet tax incentive deal to the Disney production if they should happen to choose to film in Australia: 30 per cent. Translated back into dollars that’s $20 million to the studio if they lens Down Under, which is no small potatoes when we’re talking about a budget of around $200 million total for Leagues.
Typically, foreign productions make a return of 16.5 per cent when shooting in Australia, but the Aussies negotiated the unprecedented 30 per cent with Fox in order to attract the recently wrapped The Wolverine production last year. According to The Hollywood Reporter, The Wolverine employed some 2,000 locals and generated $80 million in local investment, and according to Crean, a mega-production like 20,000 Leagues, would be an even bigger boom to the local economy.
”If it comes off [20,000 Leagues] will be a bigger production than Wolverine,” he said. “In fact, it will be the biggest production ever filmed in Australia.”
The original 1954 film starring Kirk Douglas, James Mason, Paul Lukas and Peter Lorre is considered a Disney classic. And although there’s been several different re-tellings of the story in the last 60 years, including two made-for-TV efforts starring Michael Caine and Ben Cross respectively in 1997, the last time Captain Nemo and crew were seen on the big screen was 2003’s League of Extraordinary Gentlemen, and I’m sure that’s another outrage that Nemo himself would seek revenge for in order to resolve.
So will Disney take the deal? Time will tell, and we’ll keep you posted.
Greetings from the new year of 2013! And with a new year comes all new details from the upcoming Justice League movie, written by Will Beale. With the film slated for a release date some time in 2015, Warner Bros. is busy gathering their resources to step up against Joss Whedon and The Avengers.
At this moment, there are minimal details available about the Justice League project. One of the few known details is that the film will be based off Gerry Conway’s 1980 Justice League Of America issues 183-185. You would think, then, that the film’s details would be under some tight wraps right now. Not so, according to Cosmic Book News, who claim to have insider information on the character breakdowns for the Justice League and its roster of heroes that have made the cut. The information itself is slim — we know, for example, that Lois Lane and Alfred Pennyworth will be making cameos, but there are some connections to a few DC Comics related films underway.
Check out all the details after the jump.
Fans of DC Cmics, more importantly the Batman mythos, will know the back story behind faithful Wayne Manor associate and Bruce Wayne’s pseudo-father figure, Alfred Pennyworth. Besides dealing out words advice to Bruce, the butler was at one time – depending on the storyline, writer, etc – a variation of a spy, retired actor and intelligence agent.
Sounds awesome, too bad we never saw Christopher Nolan use any of that in his Dark Knight trilogy – kind of. While Alfred’s background was alluded to with his connection to the special forces in The Dark Kight Rises only bits and pieces were fully realized, which is kind of a bummer when you think about it. With sixty-nine years of information to pull from, all we get is a story about watching the world burn? Makes you wish there was more to it.
But this didn’t stop Michael Caine from building a complex backstory for the butler. He discussed the history while doing press for The Dark Knight Rises DVD and Blu-ray release. Jump ahead to the 1:05 mark for Caine’s take on the man behind the suit and tie.
We have to wait a little longer to see Christopher Nolan‘s The Dark Knight Rises, and NerdBastards’ Matthew Jackson is dealing with the wait by filling his head with as many other Batman tales as possible. In the six weeks leading up to the flick’s release, he’ll be revisiting all six Batman franchise films so far (yes, even the crap ones) and writing retrospective essays on what worked, what didn’t, and what each film means to the franchise at large
The Long Dark is over. I made it through the Schumacher era and I’m on to the Nolan era. Writing about these is going to be interesting, because they’re basically universally revered as the best big-screen interpretations of the Dark Knight to date, and so much has been written about them already that it feels like any analysis I do will be to some extent simple regurgitation. I don’t have much critical to say about either of the Nolan films, and I apologize if the points I’m about to make have been made elsewhere before, but I am here to attempt to lay out some thoughts on just why these films matter so much to Batman and to the superhero genre as a whole. We begin, as Nolan did, with Batman Begins.