New Trailer for MANDELA: LONG WALK TO FREEDOM

October 22, 2013 by Jill Landon Posted in Trailers

A new trailer has been released for Mandela: Long Walk to Freedom, the upcoming Nelson Mandela biopic by The Weinstein Company. Directed by Justin Chadwick (The Other Boleyn Girl) and starring Idris Elba (Luther, Prometheus, Pacific Rim) as the titular peace activist, Mandela: Long Walk to Freedom explores the topics mentioned in Mandela’s 1994 biography and premiered at the 2013 Toronto Film Festival. The second trailer released thus far for the film focuses less on the guerilla-warfare like protests of Mandela’s movement, instead zeroing in on the stark contrast between the life Mandela had and dreamed of for his family and the brutality of the Dutch South African regime.

We go from Elba’s voiceover as Mandela, embracing his wife (Naomie Harris) and opining on wanting them to walk free in their own land, to Molotov cocktails and the armored riot-control vehicles now ubiquitous to protests within the first minute. The tone shifts darker with Mandela addressing a packed movie theater imploring them that “we are the pople of this nation but we don’t have rights. There comes a time when there remains two choices: submit or fight!” superimposed with clips of the heavily armed shooting at the assembled South African protestors and the following chaos. The people cheer “fight” and march into the street with Mandela as the march continues with a montage of resistance and white goons coming after Mandela, intimidating his wife and chasing him into a road block, guns trained on him. Whisked away to a court room, Mandela is handed life in prison, and as his fingers disconnect from his wife’s, the new U2 song “Ordinary love” – the band’s first in three years, written for the film – plays as Mandela is brought into prison. The campaign to Free Nelson Mandela begins, and the montage continues into a happier tone, ending with Mandela walking with his wife and supporters and the line “Love comes more naturally to the human heart.”

Rife with topical imagery yet firmly anchored in the subject matter, this new trailer seems more restrained in it’s contemporary call-outs than the first trailer and drives home for fully the gravity of the oppression that Mandela fought against, which given the subject matter seems only fitting. Set for limited release in the US on November 29^th after doing a run of film-festival screenings including Chicago International Film Festival and Austin Film Festival, Mandela: Long Walk to Freedom has as high aspirations for it’s reception as it’s subject matter warrants. Only time will tell if it will stand up to it’s equally weighty competition come Oscar season.

Mandela: Long Walk to Freedom is directed by Justin Chadwick and stars Idris Elba, Naomie Harris, Tony Kgoroge, Riaad Moosa, Jamie Bartlett, Lindiwe Matshhikiza, Terry Pheto and Deon Lotz. It hits theaters on November 29, 2013.

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Bruce Campbell Confirms He'll Reprise Ash in ARMY OF DARKNESS 2

October 21, 2013 by Jill Landon Posted in Casting News Tagged Army of Darkness, Army of Darkness 2, Ash Williams, Bruce Campbell, Evil Dead, Sam Raimi

Good news, fans of the Evil Dead series, especially the 2013 remake of the original Evil Dead: Bruce Campbell has confirmed he will return as Ash in the upcoming sequel to Army of Darkness. The director of the original series Sam Raimi has had a slower schedule since directing Oz the Great and Powerful and producing the Evil Dead remake, reportedly due to writing the sequel to the Army of Darkness, the 1992 spin off of the Evil Dead series. Potentially drawing on the teaser at the end of the credits of 2013’s Evil Dead, this may hint at a melding of the two timelines for a crossover film coming later.

55-year-old Campbell has played Ash Williams, the original hero of the Evil Dead series voted the “24^th Greatest Movie Character of All Time” by Empire Magazine, in 4 films not including the upcoming Army of Darkness sequel. Speaking at Wizard World Nashville Comic Con, Campbell spoke on the role the possibilities of him reprising it given the time that has passed: “The last one was twenty-two years ago. I just haven’t been racing to do it. Sam Raimi is just a little bit busy making the biggest movies in Hollywood. I used to be busy. Now I’m not. That’s why I’m here. Ash would have to stop occasionally from chasing some deadite to catch his breath. Maybe we could do that, I guess. That would be exciting. Fight in a walker. That would be all right. Hit them with my cane. Fake them out, have a fake heart attack, distract a zombie. I like it…[Seriously] All right, sir, the answer is yes.”

Amusingly enough, this story has yet to be confirmed by Campbell himself. Rumors for the sequel have circulated since March, and the teaser at the end of the Evil Dead remake has primed the pump for a triumphant return to the role, no matter how long the role might end up being. No release date has been given for the sequel – it’s in 2016 – and no word has been given as to who else will be cast or whether Raimi or Fede Alvarez, the most recent Evil Dead’s director, will helm the Army of Darkness remake. However, as the Rumor wheel spins up and Raimi finishes writing the script, more information about Campbell’s involvement, other casting, and the overall production will come to the service. In either case, it’ll be a long three years.

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Four New Marvel TV Shows in the Works

October 18, 2013 by Jill Landon Posted in Television

When people look back on this era of entertainment, they will wonder why we are so obsessed with super heroes. As if two Marvel movies a year weren’t enough, the superhero studio is working on four new shows and a miniseries, to accompany their recent show Agents of S.H.I.E.L.D.

According to Deadline, the shows are in the very early stages of development, as they are still looking for a network to take a 60 show deal. Ambitious as this goal is, it could be an enticing offer for struggling networks. Potential networks are Netflix, Amazon, and WGN America.

Anything with Marvel’s name on it tends to be a sure thing, these days, so confirmation of these rumors should be out shortly. Marvel’s unrelenting march towards global domination shows no sign of slowing down.

To No One’s Surprise, Aronofsky’s Noah Sees Backlash from Religious Community

October 18, 2013 by Jill Landon Posted in Film Editorials

Darren Aronofsky’s sure-to-be-controversial new film Noah, based on the Old Testament story, is already getting less than stellar reviews from religious test audiences. Paramount is pushing for a different cut, in order to broaden the films appeal, even if it means going against Aronofsky’s artistic vision. Paramount has a huge investment in the 125 million dollar picture (Aronofsky’s most expensive yet), so they have reason for concern.

However, it should come as no surprise to them that anything less than “Kirk Cameron presents Noah” would rub religious fundamentalists the wrong way. The irony is that the atheist, Darren Aronofsky, is probably more familiar with the story of Noah than the zealots who decry his interpretation. Paramount’s best course of action is to trust in their award-winning filmmaker and embrace the controversy. As Life of Brian and Dogma have shown, religious protests will actually generate more revenue for the film.

Aronofsky has reportedly been dismissive of Paramount’s suggestions. Hopefully, he stays true to his vision, as the March 2014 release isn’t far off and this has the potential to be a truly original artistic endeavor. To make a half-assed biblical analogy, Aronofsky should continue to treat Paramount the same way Noah treated skeptics, with inattention.

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Out in Theaters: ESCAPE PLAN

October 18, 2013 by Jill Landon Posted in Out in Theaters Tagged 50 Cent, Action, Arnold Schwarzenegger, Escape Plan, Jim Caviezel, Mikael Hafstrom, Mystery, Review, Sylvester Stalone, Thriller, Vincent D'Onofrio 1 Comment

“Escape Plan”
Directed by Mikael Håfström
Starring Sylvester Stallone, Arnold Schwarzenegger, Jim Caviezel, Faran Tahir, Amy Ryan, Sam Neill, Vincent D’Onofrio and 50 Cent.
Action, Mystery, Thriller
116 Mins
R

There’s a lot to be said for how entertaining a shoot-em up picture can be if handled with tact and the right people. Escape Plan dispenses with tact and focuses entirely on the “right” people, serving as a vehicle for the film’s stars to get into fights and be brooding, tough-guy stereotypes over a page-one rewrite of Escape from Alcatraz. Crass in all the wrong places, Escape Plan is a superficial viewing experience that takes the prison break formula to its extreme, both in plot elements and in believability. Where it should soar in scope, it exploits its star power, avoiding “setting the scene” or providing any action sequences that are even on par with the films that Escape Plan tries to emulate.

The film stars Sylvester Stallone as a prison break-out expert who literally wrote the book on reinforcing prisons alongside Arnold Schwarzenegger as his later accomplice, Jim Caviezel as their diabolical warden, and Vincent D’Onofrio as Stallone’s business partner. D’Onofrio and fellow cast members Faran Tahir, Amy Ryan, Sam Neill, and 50 Cent barely get a couple one-liners each on screen in a film focused entirely on Stallone and Schwarzenegger’s conflict with Caviezel, which isn’t terribly surprising. It’s obvious this is a B-movie, one that seems to exist entirely so that Schwarzenegger and Stallone can remind fans that they’re tough action heroes, even though both are in their sixties. The casting is rife with stereotypical roles that are never fleshed out, and even for a pulp film the portrayals are pretty shallow.

Stallone, we’re told, has made a living for the better part of the last decade breaking out of prisons and writing about prison security as part of his partnership with D’Onofrio at the security firm they jointly own. When a job comes Stallone’s way from the CIA to break out of a private prison where the “worst of the worse” are held, Stallone signs up after about a minute’s hesitation, only to discover that he’s been set up. He meets Schwarzenegger in this supposedly state-of-the-art successor to the black box prisons America utilizes and the rest of the movie is them using ingenuity, their muscles, and all the guns they can find to get out of the place alive. No elaborate stage-setting here, just Schwarzenegger and Stallone as they face the worst excesses of American imperialism. Their back stories and even names pale in importance in comparison to their stoicism and prison beat down skills.

The film deals with a number of surprisingly dark topics – private prisons, prison brutality, lack of transparency and accountability, American imperial overreach – with cavalier and fascicle levity, the themes serving as shallow reasons for the two aging stars to get themselves into a hard spot they have to punch and shoot their way out of. The formula of a prison break has been given much higher stakes here than in many previous iterations – Stallone is an expert on prison breakouts and the prison he’s at is the best private prison for the worst (read: mass-murdering, insane, anti-American) prisoners. While this would tow the line for a lot of B-movie criteria if it were more tongue-in-cheek or even slightly more visually descriptive, instead we’re left with a simple treatment of extraordinary problems without the assurance of a campy joke or at least some amusing action thrills.

The problem that this film has as its core is that it pretends to take itself seriously and then fails to deliver on its gravitas. Instead of embracing it’s camp and going over the top, the fight scenes and prison breakouts are remarkably commonplace to the genre and feel muted. The strongman act that both Stallone and Schwarzenegger have made wonderful and storied careers out of needs to be balanced by overwhelming action – typically violent – that these silent-types end up employing in the pursuit of their goal. Escape Plan falls short in this regard, making you wait instead for the one shot that reminds you of Rambo or whatever film you’d rather be seeing these stars in. There are a lot of problematic depictions of Islamic inmates and of gender dynamics that are a little too phobic and regressive for discerning tastes, and if they’d only made the action more intense and the setting a little better, it might have started to compensate for these foul-breathed shortcomings.

The prison, pitched as an ultra hi-tech Panopticon, is aesthetically unimpressive. With block names like Babylon and an aspiration to present the best prison ever built, you’d think they’d have spent a little more effort on the spectacle. Instead, you get Plexiglas boxes on stilts and prison guards who, despite their black face masks, look more like mall cops then deadly security contractors. The visuals and set pieces don’t have the kind of hellish quality you’d expect from a place where the most dangerous international figures are housed. Even the other inmates barely looked like they belonged in Oz, much less in the Alcatraz of the War on Terror era. The styling of the place wouldn’t cut in in the 80’s films that Escape Plan wants to be like, and that apparently no effort was made to bridge that gap is disappointing.

Even when those moments come up, the moments that the film was made for – Schwarzenegger machine-guns a bunch of goons, the villains gets their comeuppances, and Stallone delivers the beat down of the movie to the head guard – aren’t as satisfying when taking the movie in as a whole. The explosions aren’t as big as they should be, the final lines aren’t catchy enough, and the fighting scenes are so poorly executed that you never really feel like the heroes are in any danger. Sure, they may have had torture to put up with, but they were never so broken down that they didn’t have the upper hand against their over-maniacal and wonderfully incompetent jailers. That the film shortchanges audiences in those smaller, establishing scenes lessens the glory of the moments that were the most visceral, leaving all but the most ardent Stallone/Schwarzenegger devotees feeling stiffed.

You want to like a film like Escape Plan if you’re into low-budget action films, but they didn’t put in enough effort to sell the premise and they didn’t make the action scenes extravagant enough to compensate for that lack of scene-setting. It lacks enough camp to B-movie homage and is not bold or funny enough, unintentional or otherwise, to be a regular B-movie. This is the kind of film that would go straight to DVD if it had other stars then the ones it has, making the many missed opportunities for action or spectacle hurt even more. If you have to see everything that Schwarzenegger or Stallone has been in, you’ll see this anyways. If not, do yourself a favor and rent Predator or First Blood instead.

D

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Out in Theaters: MACHETE KILLS

October 11, 2013 by Jill Landon Posted in Out in Theaters

“Machete Kills”
Directed by Robert Rodrgiuez
Starring Danny Trejo, Mel Gibson, Demian Bichir, Amber Heard, Mechelle Rodriguez, Sofia Vergara, Charlie Sheen, Lady Gaga, Antonio Banderas, Cuba Gooding Jr. and Alexa Vega
Action, Crime, Thriller
107 Mins
R

Machete Kills is not a work of autership. The latest in a series of grindhouse-revival films kicked off by director Robert Rodriguez’s collaboration with Quentin Tarantino, Machete Kills diverges as a sequel from the original Machete in McGuffin more than form or content. Then plotline is as raggedy and half-baked as the first and the character development and motifs are of the same post-modern cloth: entirely over-the-top, in reminiscence of actual grindhouse films while simultaneously mocking all movie premises that bear any likeness to the farces contained within. Although as one-note and as hackneyed as the original, Machete aspires to bev, and boy does it deliver.

Danny Trejo reprises his role as the eponymous Machete, archetypical silent action hero cum serial killer with a Mexican twist, as he continues his work of tracking down the bad guys and slaughtering them in gory fashion. More so then the original, Machete Kills’ cast is studded with stars both falling and rising, including Charlie Sheen as Carlos Estevez (as the president of the United States), and Demian Bichir as Mendez – a rouge freedom fighter and cartel hitman who’s got a nuke pointed at Washington. The rest of the cast, including Michelle Rodriguez, Sofía Vergara, Lady Gaga (in her first film role), Amber Heard, and Mel Gibson have equally topic roles that are heavy on style without too much introspection or substance, each one a vicious killer (naturally) and saddled with so many stereotypical character descriptors that it would get repetitive to enumerate them all.

Much like with the characters, the movie’s plot is also a big middle finger to gradual and realistic movie arcs, going for broke from the minute the opening preview for the next Machete sequel (Machete in Space) ends, a tactic that pays off over and over again as the movie progresses. Much as the film is saturated with the camp sleaze and mindless violence, it also abounds with plotlines, starting at first with a sting gone bad – Machete’s love interest from the first movie Sartana (Jessica Alba) gets killed after a confrontation with the military, a cartel, and a gang of thugs in wrestling masks – and then crescendoing endlessly into a hit on dangerous Mexican vigilante Mendez, a race back across the border with him, and enough twists and turns to confuse even the most obsessive viewer. No plot line is too flimsy and no action is the final action as the body count grows and the sleazy action gets ever more creative. Attempting to seriously follow this windy road will leave you disappointed and, in any case, distracts from the movies true gifts: it’s sex and violence.

Like any good grindhouse movie, Machete Kills is stuffed with sleaze, radiating from every skimpy, barely more than a bikini outfit and from it’s numerous contrived excuses for grindhouse aesthetic choices, sexual innuendos, and 80’s mood music. So frequent and unexplained are these homages to blatant sexuality, which are impossible to take as serious plot developments due to their frequency, that the scenes end up being laughable sight gags and wonderful opportunities for pulp, drenched in bad taste and 70s nostalgia. Notable moments include Vergara’s multiple weaponized bras and “sex” scenes so schlocky as to make you laugh in remembrance of all the other awfully arranged trysts that movies have used over the years.

This constant, humorous barrage of outdated sexuality is buffeted by nearly non-stop violence, reminding the audience that, yes, they are watching Machete Kills and thus will be treated to instance after instance of Machete killing hundreds of nameless goons with machetes, guns, and other weapons both modern and futuristic. Assassins of all stripes attempt to take Machete down, with El Chameleon’s many actors holding center stage as the tertiary antagonist du jour in this splatter fest. At once heavy-handed comments on America’s long running obsession with firepower and Mexico’s cripplingly violent drug culture, these scenes alternate between absurd and downright creative, Machete in turns kills dozens of attackers without breaking a sweat, then pulls off truly devious fatalities, death by helicopter blade and death by speedboat propeller being some of the more obtuse but fun scenes.

There are a couple things missing from Machete Kills that were present in the original: violent, noir-gone monologues that made the original such a pleasure are missing here. The conceit of Machete trying to live an average life instead of the murderous action hero he is has disappeared completely, and some of the more tender, believable, and slower paced beats that allowed audience time to breath when watching Machete have been removed. Although a noticeable loss for the film, Machete Kills overcompensates the original film’s core competencies, and comparing fight scene to fight scene, gore to gore, and sleaze to sleaze leaves Machete Kills a more resounding, if not more enjoyable, movie experience. It has left the artistic clutching at the grindhouse aesthetic behind in favor of actually being a grindhouse movie, which when all is said and done is really refreshing.

That eros and pathos in their grimiest, campiest, and most Americanized forms dominate this film is in line with the original grindhouses of the 70s and 80s and highlights the reason their resurgence in the current era was so popular: they were honest and up front about not being junk and were not to be taken seriously. Pure food for the id, Machete Kills doesn’t pretend to have a moral or some high-minded plot that’ll challenge your views or bring you to a deeper understanding of anything. Unlike so many movies released these days that purport to be meaningful works of art while just giving their audiences more of the same, Machete Kills doesn’t masquerade for a minute. It is an indiscriminate banquet of sex, death, sleaze, and cheapness and doesn’t apologize for it, a gluttonous feast of bad acting and cheesy effects in the vein of Plan 9 and other pinnacles of trash film.

Machete Kills is not for everyone. There are plenty of things about this film that, if taken in anything less than a humorous and accommodating mood will offend many outright, offensiveness being part of the currency of grindhouse films and the reason so many of them were considered “exploitation” films. It is an easily forgotten film that doesn’t stretch it’s concept to compete with the likes of 2011’s Hobo With a Shotgun and lacks the snappy, 70’s-cool dialogue of Reservoir Dogs or Death Proof, but as far as splatter fests goes, Machete Kills stands up there with best. The writing isn’t as terse and memorable as Machete, but Machete Kills makes up for it with sheer spectacle and grindhouse pageantry, and if that’s why you came – most people did at my screening – then you’ll go away happy.

B

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Harrison Ford Talks Potential Role in BLADE RUNNER Sequel

October 9, 2013 by Jill Landon Posted in Casting News Tagged Blade Runner, Casting News, Harrison Ford, Interview, Ridley Scott

In an interview with IGN, Harrison Ford has confirmed that he and Ridley Scott have been in preliminary talks around an as-of-yet unnamed sequel to Blade Runner, a much anticipated follow up to the 80’s cult-classic. Ford, who has been a household name since George Lucas’s wildly popular Star Wars films, originally played the lead in Blade Runner as Rick Deckard, jaded hunter of an fugitive androids known as replicants in the gritty and high-tech future of the movie.

Given that the book the original film was based off of, Phillip K. Dick’s “Do Androids Dream of Electric Sheep?“, has several sequels with the second happening only months after the first, it is unclear whether or not this sequel will have Ford reprising his role. Further, the official silence and thus rumor surrounding the sequel make it difficult to conclude what this interview could mean.

Ford revealed that he had Ridley had been “chatting about it” when asked whether or not he would reprise his role, but when pressed about his sometimes acrimonious relationship to the first Blade Runner, he responded, “Everybody has an ambition when they come into a film and that everyone’s ambition may not be so focused on the same thing. I truly admire Ridley as a man and as a director and I would be very happy to engage again with him [in] the further telling of this story.”

A script for the project is currently being written by Michael Green, who wrote the screenplay for 2011’s Green Lantern along with scripts for TV series like Heroes, Everwood, and Smallville, along withHampton Fancher, the writer of the screenplay for the original Blade Runner. Previous details to emerge are that this sequel will probably take place years after the original and feature a female protagonist, although nothing will be certain until the screenplay is finished.

Scott, who will follow upcoming film The Counselor debuts will religious drama Exodus and potentially a Prometheus sequel on his plate before he starts work on the Blade Runner sequel, has confirmed none-the-less that the sequel will be coming up in the future: “It is happening.” About his talks with Ford, he remarked, “With Harrison Ford? I don’t know yet. Is he too old? Well, he was a ‘Nexus-6’ so we don’t know how long he can live.” Given Scott and Ford’s production schedules and the dearth of much more information regarding Ford’s likelihood of being cast, or any of the other potential casting decisions for that matter, the rumor mill will no doubt keep turning for a while to come before more tangible information about this production is released.

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New Trailer for Coen Brother's INSIDE LLEWYN DAVIS

October 8, 2013 by Jill Landon Posted in Trailers Tagged Carey Mulligan, Coen Bros, Garrett Hedlund, Inside Llewyn Davis, John Goodman, Justin Timberlake, Oscar Isaac, Trailers

A new trailer has landed for the Coen brother’s film Inside Llewen Davis,a drama focusing on the ailing career of folk-singer Llewen Davis (played by Oscar Isaac who also stared in 2011’s Drive and 2008’s Body of Lies) in the middle of the 1960’s pre-Dylan New York music scene. Inspired in mood by the life of Dave Von Ronk and his notion that this scene was dominated by acts from all over the US to the chagrin of New York native musicians, this new trailer shows Davis’s career, life, and relationships disintegrating as he grasps at straws offered from people still willing to give him a shot. Passed over, neglected and berated at every step of this 3-minute trailer, Llewen remains unvanquished and, with the help of the heartfelt music we’re meant to assume is off Llewen’s titular album, the prospect of hope for the folk singer seems less of impossible than in previous trailers.

Llewen has yet to respond adequately in these trailers to the near constant criticism he gets for his failures from his already-taken and newly-pregnant paramour Jean (Carey Mulligan), other musicians, and various acquaintances. However, this trailer has less barbs directed at him and a quicker pacing. Llewen’s brooding looks are less hopeless then previously shown, and beats shown in previous trailers are fleshed out with more of Llewen’s persistence in the grit in the face of his detractors. The scenes of him traveling what we’re given to understand by sequence is away are grouped closer together and coincide with swells in the soundtrack (an old folk song produced by T-Bone Burnett of O Brother, Where Art Thou? fame along with Marcus Mumford of Mumford & Sons), making it seem less like a retreat and more of a stand taken against the growing clouds over Llewen’s future. Unlike in previous trailers, Llewen’s charisma is easier to spot, and Isaac’s performance is put center stage instead of just setting the scene. In this trailer, he seems actually likable, which is saying something.

The film, which won the Grand Prix at the 2013 Cannes Film Festival, is debuting on December 6th during the bulk of Oscar season releases. Although not as grave as the Coen’s previous couple of films, the personal tragedy of the artist unable to compromise for personal success that the film revolves around is just as serious and just as moving. At turns funny, downtrodden and uncertainly hopeful, this movie has a lot going for it, both for the Coen brother’s fans and for the upcoming academy awards.

To see the IMDB exclusive trailer, click here.

Inside Llewen Davis is directed by Joel and Ethan Coen and stars Oscar Isaac, Carey Mulligan, John Goodman, Garrett Hedlund, and Justin Timberlake. It Hits theaters December 6^th, 2013.

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DiCaprio Replaces RDJ for Iron Man 4

October 7, 2013 by Jill Landon Posted in Casting News Tagged Iron Man, Leonardo DiCaprio, Robert Downy Jr.

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