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AMAZING SPIDERMAN 2 Trailer Features 3 Villians Because That Worked So Well Before

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In a move of unprecedented studio genius, The Amazing Spiderman 2 has decided to go big or go home, introducing a stable of villains for this second installment of a franchise that people could not be more excited about. While the film originally seemed like it would just be a Spidey vs. Electro showdown, the villians have been adding up piece-by-piece to make up the much-loved triple villain assault. As you’ll probably remember, fans and critics alike swooned over Spiderman 3, easily the favorite of Sam Raimi‘s trilogy, with many pointing to the inclusion of three separate villians, each with their own origin storyline, as the highlight of the film. Celebrated critic Roger Ebert said, “Spiderman 3 soars but I couldn’t help but wish that there were 4 villians.”

Joined by Rhino – Paul Giamatti in a big Rhino-shaped robot suit – and Green Goblin – Harry Osborn (Dane DeHaan) encouraged to be a dick to ol’ friend Peter Park by a bed-ridden Norman Osborn (Chris Cooper) – Electro aims to wipe out Spiderman because he’s a man dressed like a spider and that kind of nonsense just won’t fly. Because, honestly, what’s worse in life than a wackjob in a costume going around stopping petty crime? That’s right – nothing.

Even more exciting is the fact that you can clearly see hints for EVEN MORE VILLAINS TO COME in this trailer. The most obvious of which is Doc Octopus’s evil eight-armed-suit that is chilling in a tank. It likes like even though dear Robert won’t have lived to see the day when his dream came true, the rest of us living will finally be granted our ultimate wish of seeing four (no five, oh god let it be six) supervillains in one Spiderman movie.

Take a look at this trailer which looks nothing like a video game and makes complete sense. 

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HER Wins National Board Of Review Best Picture

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The National Board Of Review has awarded Her best film and Spike Jonze best director. Her, 12 Years a Slave, Dallas Buyers Club, Gravity, Inside Llewyn Davis, American Hustle and The Wolf on Wall Street have each thrived throughout the precursor awards receiving a wide spread of nominations and wins, proving that this Fall season looks to redeem a very poor summer at the movies. Although, Her won’t see a wide release until January 10, 2014, it’s been screening to select audiences and critics who have received the film very, very warmly. This expected win will surely boost its chances in the upcoming Oscar season.

Spike Jonze’s track record speaks for itself and the trailer provides a haunting and thought-provoking cinematic landscape. Expect Joaquin Phoenix to be in the running for this year’s very competitive Best Actor category but considering how crowded it is, he may not quite make the grade. If he keeps turning The Master caliber performances, it’s only a matter of time until he is considered as much of a shoe-in as the likes of Daniel Day Lewis or Tom Hanks. 

What does this mean for the rest of award season? It’s anyone’s game really. 12 Years a Slave has seemed to lose some serious moment in these precursor awards but I would still be surprised if it didn’t do some serious damage at the Oscars. The aforementioned films however have certainly been delivering the proverbial chink to 12 Year’s armor.

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Gal Gadot to Play First Big Screen Wonder Woman

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Zack Snyder’s much speculated on new film, Batman vs. Superman, released a non-Ben Affleck related news item today: Gal Gadot will be playing Wonder Woman. The internet responded with a collective, “Who’s Gal Gadot?” Speculation on her ability to carry the role has been expectantly absent, as she only has five film credits to her name, three of which have the words “Fast” and “Furious” in the title.

What does it say about the target audience for these films, when Ben Affleck’s announcement to play one of the most iconic vigilantes of all time is met with uproarious disapproval, but when an actress is announced for an iconic role, our only criteria is her hotness? Snyder gave his take on her, “Not only is Gal an amazing actress, but she also has that magical quality that makes her perfect for the role.” A magical quality? Spot on analysis, Zack.

I, for one, am glad they went with a more unproven actress. It should be exciting to see what other heroes are announced for the film, as this is quickly turning into the Justice League film that has been long anticipated. Plus, it’ll be the first time that one of DC’s most iconic superheroes will grace the screen – unless you count the x-rated 1979 spinoff, Superwoman, which starred Jesie James and has been called “a comedy porn classic.” Hopefully this will be a more, ahem, forward looking debut for Wonderwoman.

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Out in Theaters: MANDELA: LONG WALK TO FREEDOM

“Mandela: Long Walk to Freedom”
Directed by Justin Chadwick
Starring Idris Elba, Naomie Harris, Tony Kgoroge, Riaad Moosa, Jamie Bartlett, Deon Lotz, Terry Pheto, Gys de Villiers
Biography, Drama, History
139 Mins
PG-13

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Nelson Mandela deserved better than the dour glossary of events present in Mandela: Long Walk to Freedom. Failing to capture the spirit of the apartheid, except in bursts of violence amidst a rotation of disconnected massacres, Justin Chadwick‘s film replaces thoughtful reflection on a cultural epoch with as many headlines events as possible. Idris Elba‘s turn as the titular South African hero is the easy highlight of this otherwise throwaway film but the real motivation of Nelson and wife Winnie Mandela are trapped somewhere in the performances, left on the editing room floor, and never given enough room to breathe and evolve into the epic struggle we know the world around.

The biggest problem Mandela encounters is that it doesn’t seem to know what to keep and what to cut. Running over two hours and twenty minutes, the film is a definitive slog. From seeing Mandela as a young child growing up on the tribal plains of Mvezo to his election as president of South Africa, no detail is spared. Rather honing in on a number of significant events in Mandela’s life, William Nicholson‘s screenplay just blasts every minuscule detail in there. Inevitably, they land with as little impact as possible because of the snapshot nature of their inclusion. Had this host of details been incorporated into part of a larger scheme, or even a Mandela miniseries, this all inclusive tactic may have worked fine and given meaningful chapters to a meaningful life, but within the framework of a two-and-a-half-hour movie, the film feels bloated to the point of bursting.

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Nicholson is no stranger to epics – he wrote the screenplay for Gladiator and Les Misérables – so there’s really no excuse for why the story got away from him. Letting the scope of the picture drive the story rather than the other way around, Nicholson’s script confuses information for intimacy. Instead of spending ample time getting to know Mandela, most of our meetings with him try to inform us of what kind of man he is. Rather than seeing the man in action, we hear about his actions secondarily – all serviced up expecting astonishment but frequently landing with a crunch. As a complete work, it’s closer in kind to Les Misérables wandering structure than Gladiator’s streamlined epic. While Maximus’ journey was a natural progression of events that increased the stakes chapter by chapter until a massively rewarding climax, Mandela’s long walk feels dull and meaningless by comparison. This fact alone is a bit of a disgrace.

Beneath the cake of old man makeup, Elba gives a solid performance as Mandela but he’s unable to keep the rest of the project afloat. He’s got the choppy cadence and regal tone down pat, and it’s nice to him see escape his recent slate of blockbuster supporting roles, but Nicholson’s lackluster script, surprisingly enough, doesn’t give him a ton to work him. For a man who spent 27 years rotting away in a jail cell on Robben Island, few scenes spend time probing the spiritual roller coaster of Mandela’s evolving psyche.

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Shifting from lawyer to outlaw, man to message, “terrorist” to president – and always trying his best to remain a peacemaker – the Mandela onscreen remains largely the same. For all the heated ideas of revolution stirring, we’re in the back corner wondering when all this chatter will die down so we can actually dig into the man’s mind. Instead, we are forced to take any “transformation” at face value. We’re frequently told of a man changed but there’s little supporting evidence for these bold claims of metamorphosis. This is a man considered by many to be next to sainthood and yet it feels like he hasn’t grown a day in the 80-odd years we see him onscreen.

Although not helped a lot by the words on the page, Naomie Harris flounders as Nelson’s wife, Winnie Mandela. Screaming and shrieking her way through most of her lines, she is a character with a very clear transformation but it all takes place behind some mystical curtain. Audiences in search of understanding will be largely disappointed as we never see the stepping stones leading from Winnie 1.0 to Winnie 2.0. She shifts overnight, in the shadows, robbing us of any semblance of understanding, meanwhile rendering the film even more vanilla for its unwillingness to dissect a controversial character.

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Obviously the makers of this film had nothing but good intentions in the making of Mandela but the fact of the matter is not everyone can get a gold star for effort. Their goal is appropriate; to bring a balanced biopic with equal measures of entertainment and education; but it just never comes to fruition, it never follows through on its promise. In their textbook approach, they’ve lost the majestic sense of wonder we come to expect of a film. Sidelining a succinct story arc for tell-all testimony, Mandela is designed to be played by substitute teachers in History classes across America for the next decade. It’s unlikely to have much staying power beyond that.

Nelson Mandela was a man who championed compromise, so maybe this is a suiting film for his legacy. Instead of being deeply entertaining or deeply informative, it lands somewhere in the middle, compromising depth for surface level knowledge and sidelining deserved dramatic beats for melodrama. Instead of being a really good chapter of Mandela’s life, Mandela: Long Walk to Freedom is little more than the Nelson Mandela Spark Notes.

D+

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Will FAST AND FURIOUS Franchise Live on After Paul Walker's Death?

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While America tucked into bounties of turkey and stuffing and celebrated Thanksgiving with their families, this holiday weekend also brought the death of Fast and Furious franchise star Paul Walker. While not a celebrated star outside of the Fast and Furious world, Walker was the focal point of the F&F series and the lead character in a cast that includes Vin Diesel, Ludacris, Jordana Brewster, and Dwayne “The Rock” Johnson, amongst many others. In a feat of super sad irony, Walker was driving with a friend in a limited edition 2005 Porsche Carrera GT, the stuff straight from the pages of Fast and Furious, when his vehicle spun out and hit a tree, causing it to burst into flames, killing Walker and the driver. Mirroring the events of the franchise, police are now tossing around the idea that the crash might have been the result of a drag race (CNN). And while many people bowed their head in respectful solace for Walker’s passing, fans of the franchise raced to Twitter to ponder the future of the franchise and whether the next film would go up in flames as well. The short answer: no.

The seventh installment of the massively popular franchise launched into production earlier this fall on a rushed production timeline. Horror auteur James Wan (The Conjuring) stepped in for long time franchise helmer Justin Lin, who directed Fast films since the third film, Fast and Furious: Tokyo Drift. Lin apparently departed the series because he believed Universal was rushing production to hit a July 11, 2014 release date. Now, it seems inevitable that that date will mosey even further into the future as “massive rewrites” will need to take place to account for Walker’s passing.

As for Fast 7, Wan has already shot many of the expensive action sequences with Walker but his role in the film was far from over. Taking into account the fact that few films shoot scenes chronologically, Walker now has scenes all over the film with gaping holes where some much needed plot exposition should go.

Productions have lost major players before. Take for example Heath Ledger who died after completing his work on The Dark Knight but was in the midst of Terry Gilliam‘s The Imaginarium of Doctor Parnassus. In order to band-aid the missing scenes, friends of Ledger, Jude Law, Johnny Depp, and Colin Farrell, stepped in to fill in his missing part. But obviously something that “worked” in a wacky Gilliam movie won’t fly for mainstream audiences in a summer tentpole film. Oliver Reed also famously passed away while filming Gladiator and his missing bits were filled in with CGI composites of his face but that’s an expensive project that cost ballpark two million dollars for mere moments in the film. We can also assume this isn’t the best tactic for F&F 7.

It seems the only option for the franchise at this point is to off Walker’s character. This however raises an issue of good taste. Is it respectful to his legacy and fair to his family to have to relive Walker’s death in a fun, family-friendly movie? Maybe not. But then again, Fast has always been about family. Maybe they’ll let Walker’s character walk into the sunset with his family. For now, production has been halted so the cast and crew can grieve while the writers try and hack out a solution to the whole Walker’s missing problem. Fast 7 will certainly go on, but it might be the last we see of the Toretto family.

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Quentin Tarantino Working On New Western

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Beloved director, writer, and former slave-in-a-past-life, Quentin Tarantino revealed, in an interview with David Letterman that his new film will indeed be another western, unrelated to Django Unchained. And, in the most modest statement Tarantino has ever made, he said, “Okay, now let me make another one (a western) now that I know what I’m doing.” We all know that Tarantino has always shown a huge western influence in all of his films – in particular, the Kill Bill series, which I would consider even more true to western conventions than Django Unchained.

There is a stark contrast between the more traditional vengeance of Kill Bill and the samurai/westerns that inspired it, and the revenge porn of Inglorious Basterds and Django Unchained. And, as disappointed as I am with the fact that this most likely isn’t going to be the long awaited third part of Kill Bill, I hope it takes a more measured approach to western traditions than Django did. Tarantino has repeatedly stated that his favorite film is The Good, the Bad, and the Ugly.

Something truer to a Sergio Leone style vision, with Tarantino’s snappy dialogue, would be fantastic. Of course, this speculation may be entirely unwarranted, as it wouldn’t be unlike Tarantino to completely misdirect us. He also announced, in case you thought he couldn’t get any more eccentric, that he sits in a heated pool to get his ideas. Struggling writers take note.

http://www.youtube.com/watch?v=u5ck9Ci0zN4

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Out in Theaters: PHILOMENA

“Philomena”
Directed by Stephen Frears
Starring Judi Dench, Steve Coogan, Sophie Kennedy Clark, Mare Winningham, Barbara Jefford, Michelle Fairley, Peter Hermann, Sean Mahon
Drama
98 Mins
PG-13

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Philomena Lee’s true story is the stuff of nightmares. Her baby stolen away by nuns and sold to the highest bidder, the path to that forfeited son swept clean, locked inside the tight-lipped vault of one particularly malevolent Catholic nun, Philomena has been through hell on Earth. And yet, she won’t condemn those who have brought so much suffering upon her. Instead, she passes absolution down like Jesus himself. She may not ever forget but she is willing to forgive and from her untainted spirit, we can all learn a valuable lesson.

In Philomena, Martin Sixsmith’s not quite disgraced but he’s been let go from his cushy position over at the Labour party. Unsure where to start on his long-gestated novel of Russian history, he’s offered a chance to turn Irish elder Philomena’s life story into a personal piece by an old friend editor, Sally (Michelle Fairley). Intent on maintaining his journalistic pride, he refuses to touch her story on the grounds that it’s a human interest story and “human interest stories are read by weak-minded, ignorant people and written by weak-minded, ignorant people.” But when Martin meets Philomena, he is equally captivated by the unspeakable calamity that she’s just now opening up about for the first time in sixty years.

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Judi Dench
 drops the crusty but caring shtick she’s perfected over the course of her career to embody this foundation of life of a woman. Bubbling over with enthusiasm and accidental wit, Philomena is like Pinocchio – a wooden figurine  magically brought to life who, now finally living, can’t stop ogling at the wonders of the world. As she hops around the globe with Martin trying to unearth the mystery of her lost son, she lives out the childhood she never had, a childhood she spent slaving away at a nunnery. Even though Philomena’s story is a tragedy, she prefers to think of it as a work in progress, a perspective guided by her unflinching glass-is-half-full optimism. Though initially mocking Philomena’s rose-colored perception of the world, Martin begins down his own road of internal modulation that may turn around his raincloud ways.  

A zesty screenplay from star Steve Coogan adapts the real Sixsmith’s “The Lost Child of Philomena Lee” balancing doses of meaningful character drama amongst potent religious commentary and stark moments of comedy. His acid wit underscored with her tender naivety, they are the quintessential odd couple.
 
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But as the film pokes along, it only really finds its footing when Philomena emerges as a comic presence. Her unexpected sexual asides catch the audience off guard and proves that there may be more behind her mousy-mopped facade than we expected at first glance. And once this Philomena as comic is out of the box, anything less from her feels flat – a sour disappointment.

Moving from one act to the next, the film begins to feel fundamentally disjointed. The first act is moody and glum, a mirror of the cloud-raked weather of their London setting. The second Washington D.C.-set act reveals newfound buoyancy after discovering the humor of the piece. But comedy is interrupted by tragedy and by the time the third act rolls around and we wind up in Ireland, the inflammatory and revelatory conundrum we’re put in finds both audience and characters doing a bit of a ballet on eggshells.

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We want to stand in Martin’s corner, lambasting the outrage of it all but we can’t help but marvel at Philomena’s incredible gifts of serenity. She’s the one who has been wronged and yet she is the only one capable of Biblical forgiveness. “I don’t want to be like you,” Philomena says, “I don’t want to spend my life hating people.” Hers is a power message to be sure but I’d be damned if it all the injustice doesn’t make you want to jump up and strangle someone.

Controversy stirred up by the MPAA and the Weinstein Company over the film’s rating – it was originally R but contested and changed to PG-13 – may have been a play to put this film more in the public eye but it’s clearly not a film that many youngsters will find much interest in. It’s thoughtful, sweet, and even challenging at times but it’s far from exciting and even tetters on the edge on boring at times.

Stephen Frears‘ effort is good at twisting our emotions but it’s not always clear which way he wants to twist them. Whether or not he’s intended to leave his audience feeling muddled and unsure, that is what he achieves. There’s tightly packed power packed in Philomena but I’m not entirely convinced that Frear knows where to aim his punches.

B

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Talking With Bob Nelson of NEBRASKA

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Continuing a tradition of excellence, Nebraska is Alexander Payne‘s seventh film in 22 years and has all the earmarks of a Payne project. But behind the landmarks that we’ve come to expect from an Alexander Payne film is a script boiling from the page courtesy of Seattle native Bob Nelson. Perfectly blending melancholy drama and high comedy, Nelson writes Nebraska from his life experiences, here seen through the lens of a middle class family trying to rediscover their pride on a Midwest road trip. Using his own family as a diving point for this unassuming host of characters, Nelson has an understanding of Middle America unlike most. His childhood in Seattle was punctured by frequent trips to the dusty plains of Nebraska, giving him an acute portrait of the land’s mysterious ethos. Both an insider and an outsider, he’s able to find the humor in the tragedy and the tragedy in the humor.

 

I talked with Bob about how he came to work on Nebraska, his recent Independent Spirit Award nomination, what he was doing over at Pixar, and some of his favorite movies, working with Alexander Payne and the creative process. Read what he had to say below:

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I found Nebraska deeply, deeply funny and a lot of that came out of this idea of banality as humor. What is it about these unassuming Midwesterns that’s so illusively amusing? 

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Bob Nelson: I grew up in the Seattle area but my family’s from the area of Nebraska where we shot. Going back on trips when I was a kid, those uncles and aunts you see in the movie are very similar to my relatives. They were all great people and the thing about them is they were also very funny with a dark sense of very wry humor. I inherited some of that from them and relied on that when I went to Almost Live, this show on Seattle I was on. When I was writing this, especially when I was starting out when I’d never written a screenplay before, I fell back on the comedy segment and came up with most of those first before I added the dramatic scenes. A lot of that came from that Midwest lowkey sense of humor.

This being your first screenwriting experience, what was it like rolling with the punches as various changes were inevitably made to your script? Did you ever feel like someone had taken your baby and was raising it in a hostile environment or did you feel that the people who you handed it over to really foster its growth in the long process as it was changing and growing into a film?

BN: I had an experience that few get to have in Hollywood because the only person in charge of the script after I wrote it was really Alexander Payne, who’s one of our best directors and one of the best writers. He’s even won a couple of Oscars for his screenwriting. To have your script go to someone like that, you usually don’t worry. I think my script was a little softer and he toughened it up and really made it into an Alexander Payne movie, which is something that I’ve always enjoyed watching. I was thrilled and very lucky. He came up with some of the scenes in there. The Mount Rushmore scene is his. He changed the professions of the brothers to give them a little bit of a rivalry and a story arc. That was the kind of thing he did. He also came up with some lines in almost every scene that elevated it. I’m very lucky and I know that will never happen again so I’m enjoying it for now.

Even though it does sound like you had a great first experience, it’s no secret that it took forever. Payne was working on Election back on 1999 when you finished the script. Was that at all disillusioning for you or was it just part and parcel of the system?

BN: Well sometimes it just takes a long time to get movies made. Ten years is longer than most but all of that came down to Alexander and when he was ready to shoot this. He told us in 2003, About Schmidt was about to come out and he was going to shoot Sideways in the fall and Nebraska will not be the other movie after that because I don’t want to do two movies in a row that are roadtrip movies. And he kept his promise. We didn’t know, and he probably didn’t know, that it would take seven years to live up to his commitment but we were the movie after that. He kept his word and all during that time he would reassure us that he was still planning on making Nebraska. That’s really all we needed. There was a worry that he would pick up the script and re-read it and go, “What was I thinking?” and drop out of the project. But he kept telling us, “I just read it again, I’m still onboard” so we didn’t worry too much.

As I’m sure you’re aware, you’ve just been nominated for Best First Screenplay at the Independent Spirit Awards so, first of all congratulations.



BN: Thank you

…and in my humble opinion you’re in a pretty good position to take it home, but I don’t want to jinx you or anything. Is that something that you saw coming or did that take you by surprise?



BN: A lot of names have been bandied about in the last few days and my name was one of them so it’s not a total surprise but still, you never know. It is the Independent Spirit Awards, and we had a small budget by studio standards with 13 million, but they also like to pay attention to movies made for one or two million dollars. So it is great. I think Nebraska ended up with six nominations.

Yeah, right behind 12 Years a Slave with seven.



BN: I didn’t see that coming. That’s great. Bruce and June and Alexander is all great but I’m really thrilled for Will Forte because I thought that he’d been overlooked in this process. These reviews coming out lately are finally catching onto the fact that he played a role that didn’t have a lot of the showiness to it but he played it faithfully and gave us exactly what we needed for David in the story.

Let’s talk about the performances a little bit. Is Woody a character based on anyone is particular or more of an amalgamate of worn-out Midwesterns that you’ve seen or researched?

BN: Woody started with my Dad. As I wrote it and as it was played, he’s much more cranky than my Dad was but that was all for dramatic purposes. But the kernel of it was my father and some of the things he had gone through. Some things are from real life. My Dad was a mechanic, he did have his air compressor stolen, he served in WWII and he was shot down and didn’t talk about – his kids didn’t know about it for many years. Many things like that started with my Dad. Some of the other characters also didn’t end up being the people they were based on necessarily but just by starting with them and taking it from there helped to shape the characters while giving the movie an authentic feel that people watching could relate to.

How closely did Bruce Dern hem to your original vision of Woody?



BN: Very close. He even kind of looks like my dad. When I was watching it the first time, it was almost too much. He’s the perfect guy to be playing Woody.

When you were writing this, did you have any actors in mind as you were writing the screenplay for Woody, Kate, David, and Ross?



BN: The only one that I had in mind, and I wasn’t necessarily thinking that I could get him if the movie was even made in the first place, was Robert Duvall because he’s one of my favorite actors and he’s one of the actors working who looks the most like my dad. I did kind of imagine him in the role.

So you’re working on various scripts spread over various studios, can you tell me a little more about any of the projects that you’re most excited about right now?

BN: Well I have some at the studios but that really is development hell for many reasons. You work on these things and you rewrite them and you don’t know what stage it’s at or even if it’ll ever get made. I did take a break from that in the last couple years. The first script that I’ve taken out has Joel McHale of Almost Live and he stars in it. That is called The Tribe. We hooked up with the producers of Juno, a company called Mr. Mud, which is John Malkovich’s production company, and right now we’re trying to raise the money to produce that one.

I also saw from the press notes that you spent six months over at Pixar as a writer in residence? Can you talk about what you were doing over there and what projects you might have worked on?

BN: It was a script called Newt. I haven’t really kept in touch with them. I was the second writer on the project and they usually go through a few writers. I don’t know if that will ever get made because I haven’t heard any more about it.

I’ve heard on a number of occasions that being part of Pixar’s creative team is kind of ideal. Was that similar to your experience there or do you have a different opinion?

BN: It’s very supportive. You have a lot of help. When you’re writing a Pixar script, it’s not just you coming up with the ideas, the director is usually also a writer and they have storyboard artists, usually half a dozen at any one time working on it, and they came up with not only visual ideas but story ideas. It really is very intense but it’s fun because you’re working with really good people. You sit around the table and you can work on one scene for a week trying to get it exactly right. Then you storyboard it and show it to all those geniuses at Pixar, the brain trust they call it, and then you go back to the room and sit around while they give their feedback. It’s quite painstaking but that’s why they make good movies. It’s a two year process for each one.

So let’s switch gears a little bit and talk about your own connection to the movies. Can you name a few of your favorite films of all time?

BN: Well there’s quite a few. If you narrow it down, a lot of people in my age really started out with To Kill a Mockingbird, which was adapted by Horton Foote for the screen. He also did Tender Mercies and The Trip to Bountiful and if you watch those movies, you’ll see a lot of Nebraska. So Horton Foote was always an inspiration. I also grew up watching Billy Wilder movies. I love The Apartment, it’s almost perfect in its structure and its mix of comedy and drama. Later, Harold and Maude. What they all have in common is the ability to have a drama with quite a bit of humor. Those kind of movies. I grew up with The Graduate and Dr. Strangelove. Month Python and Woody Allen came into play. In the last ten years, Little Miss Sunshine. Things like that.

So what have been a few favorites of yours this year?

BN: Well of course I liked the new Woody Allen ‘Blue Jasmine’. This year I’ve been so busy that even though I’m at film festivals, I get so busy that I don’t get to see movies. It’s all about publicity. So I haven’t seen a lot. I did see Before Midnight and I’m really looking forward to the new Coen Brothers movie because they’re a big influence on me. I haven’t got to see 12 Years a Slave or Gravity yet but I do want to see those on the big screen rather than screeners. It’s been a great year for movies.

Was there a  particular turning point in your career where you said, “I want to write Hollywood movies?” or was it just a natural change?

BN: I always had at the back of my mind that I’d love to write a screen play but I never had the idea that I thought was worthy. I talked to a friend in LA who was working in television and he was trying to help me get a job down there and he said, “Besides writing another Simpsons and Everybody Loves Raymond, they like to read screenplays as well to see if you can develop characters.” I had this one little kernel of an idea that I’d heard about with people showing up at sweepstakes offices to claim their prize. That actually happens in real life. For a long time, I thought that might make a screenplay but I never figured it out. When he told me that, I finally took the time to sit down and try to figure out a story around that.

How long did it take you to write Nebraska?

BN: I jumped in and wrote 20 quick pages and then realized I didn’t know what I was doing so I had to step back and educate myself about the structure of movies. I watched a lot of movies and read a lot of screenplays. Once I started writing it again, it took a few months and then did a lot of polishing. Before I showed it to anybody, probably a year.

Was Nebraska always the name of it or was it ever called anything else?

BN: It was. I called it Nebraska because I thought people in Hollywood would remember that name over something generic like The Day After Tomorrow or something that they’d forget. There was no other reason really. I couldn’t think of any other title that I thought would stick in people’s minds. But when people think of Nebraska, they think of the state. Alexander Payne the whole time he had it said he was gonna change the title but when it came down to it, he said, “I can’t think of anything better” so we called it Nebraska after all. Originally, he didn’t want to stick it with that label because he also doesn’t necessarily want to be known as the Nebraska director. He went to California and Hawaii to get away from that. He finally just said, “Let’s call it Nebraska.”

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Out in Theaters: FROZEN

“Frozen”
Directed by Chris Buck, Jennifer Lee
Starring Kristen Bell, Josh Gad, Idina Menzel, Jonathan Groff, Santino Fontana, Alan Tudyk, Ciarán Hinds, Chris Williams, Stephen J. Anderson

Animation, Adventure, Comedy
108 Mins
PG

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Although still lacking the gilded touch that made the likes of Aladdin, Lion King, and Beauty and the Beast such timeless classics, Frozen is a rock solid addition to the post-hand-drawn Disney musical stable and is the best animated feature of the year by a good margin.

Made up of a relatively unknown vocal talent, Frozen values story and song more than an all-star cast and kitschy pop culture jokes, making it an experience that’ll warm the most curmudgeonly of hearts and a film rich with beautifully-realized animation that keeps the wow factor buzzing for children and adults alike.

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The new roster of tunes sound inspired by an alluring amalgamation of Inuit folk songs and bubbly fad-pop songs the likes of Katy Perry. And while some songs are a little too bright for the taste of a self-respecting mid-twenties male, each has a narrative purpose accompanying its infectious melodic tendencies that all blend perfectly into the fabric of the story.

Eight new songs from Kristen Anderson-Lopez (In Transit, Winnie the Pooh) and Tony Award winner Robert Lopez (“The Book of Mormon,” “Avenue Q”) are sure to inspire a whole new generation set to commit these catchy songs to memory. The best of which is the opening, near teary-eyed, “Do You Want to Build a Snowman?” and the witty anthem courtesy of reanimated snowman Olaf (Josh Gad)- who is destined to be a favorite for all – in the openly hysterical “In Summer.”

Listening to these tunes, it’s clear why A-list celebrities have been sidelined for more undecided stars – they can all sing…and they can sing well. Unlike earlier Disney musical endeavors, no voice performer is swapped out for a sound-a-like. Keeping this narrative bridge consistent allows character to enliven their songs with the necessary emotional weight or comic vibrancy needed for the scene. But will they stand the test of time to join the ranks of “Tale as Old as Time,” “Circle of Life,” or “A Whole New World”? Probably not.
 
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Loosely based on Hans Christian Andersen’s “The Snow Queen,” a non-Grimm fairy tale from 1845 that sees evil trolls, amnesiac kisses, and the Devil himself, Frozen pursues the sugarcoated stylings we’ve come to expect of Disney that champions heart over heinousness and works all the better for it.

In the royal town of Arendelle, we meet a newly crafted version of Andersen’s Snow Queen in Elsa (Idina Menzel), a withdrawn but hopeful young girl with magical powers of icy consequence. Quartered out of site after a childhood accident that nearly saw the death of her fearless younger sister, and this story’s other central heroine, Anna (Kristen Bell), Elsa’s loving but misguided parents instill in her a mantra the close cousin of Gandalf’s “Keep it secret, keep it safe.” But throbbing beneath Elsa’s poised veneer is an unflinching desire to break free of the taut regulations that years of secrecy have instilled in her.

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Since we all know the most perilous job in the Disney kingdom is parenthood, it’s no surprise that the young princesses’ parents are lost in a storm at sea, leaving Elsa to take up the mantle of Queen when she reaches the ripe age of womanhood. Years later, on her coronation day, Elsa’s buried abilities are shaken loose by an overeager Anna whose heart is newly set on marrying prince Hans (Santino Fontana), whom she met just hours earlier. Unhinged by a sense of crumbling familial guardianship, Elsa unwittingly lets loose years of repressed icy powers to cover her island community in a blanket of eternal winter. Finally, the town’s people see her for what she really is – a sorceress lacking the most basic semblance of control.  

Deemed a monster by the unscrupulous tradesmen passing through Arendelle on a business trip, fatally cute, and morbidly naive, Anna employs the help of ice salesman Kristoff (Jonathan Groff) and his reindeer BFF Sven to locate her escaped sister and return the city to prosperity before it’s too late. The normative fairy tale lessons of “Don’t judge a book by its cover” and “Be true to yourself” are pounded home but the dichotomy of two princesses each struggling with their own separate but equal identity crises is a new chapter in the Disney princess manual.

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After absolutely dominating the 90s with some of the best animated features, Disney suffered a nosedive in quality that saw the likes of Treasure Planet, Bolt, Atlantis: The Lost Empire, and Meet the Robinsons flail and fall into obscurity, a side effect of their unwillingness to change with the ebb of culture. Halting their dominant reign (that unarguably stopped after 1998’s Mulan), newcomers Pixar started their own golden age which took the wind out of Disney’s sails. Bookending the period of Disney’s supremacy and the coming of Pixar’s rising star, Disney faded from the spotlight.

But with their recent string of successes, made up of 2010’s Tangled, last year’s Wreck it Ralph and now Frozen, it seems that Disney is finally back on top as the animation studio to beat. Although the hand-drawn days of animation have come to a close, the same immaculately rendered, noticeably loving detail is put into each and every breathtaking sequence in Frozen. This not only has resulted in an animated feature worthy of Disney’s legacy but it’s essentially is assured Frozen a win at this year’s Oscar ceremonies.

Adapting to a new generation of tech-savvy, open-minded youngsters, the House of Mouse also gives some much-needed wiggle room for Frozen to step away from Disney’s legacy of antiquated sexual identities, chartering a new and exciting course for post-feminist Disney princesses. Our main heroine may still be a landlocked princess but a smooch from a prince may not be the ultimate life bandaid we’ve seen in a thousand children’s tales before. Rather, true love is found in self-discovery, or simply etched in the fiber of the nuclear family. This is a new brand of lesson in a new social climate, one where the tenants of yesteryear cease to dictate the values of tomorrow.

B+

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Independent Spirit Award Nominations Topped by 12 YEARS A SLAVE AND NEBRASKA

Exclusively set aside for films made for under $20 million, the Independent Spirit Awards seeks to award the best of the best of films made on a shoestring budget. Even the original ISA statues themselves were made up of a glass pyramid encasing a shoestring – a paper-thin but elegant metaphor for the process of making independent movies.

This year’s nominees stir some of the strongest Oscar contenders in with a host of new coming talent. Leading the pack, 12 Years a Slave received seven nominations over a number of categories. Alexander Payne‘s Nebraska trailed closely with six nominations for his satirical look at a Midwest father and son on a roadtrip.

While a number of the nominees here will make their way into the Oscar contest come next March, many films with bigger budgets will edge out some of the competition seen here. For instance, 12 Years a Slave will certainly go on to make huge waves in this year’s Oscars whereas it’s closest competitor here, Nebraska, will have trouble getting the same attention.

Nominees are all below with my predicted winner highlighted in red.

Best Feature

12 Years a Slave: Dede Gardner, Anthony Katagas, Jeremy Kleiner, Steve McQueen, Arnon Milchan, Brad Pitt, Bill Pohlad
All Is Lost: Neal Dodson, Anna Gerb
Frances Ha: Noah Baumbach, Scott Rudin, Rodrigo Teixeira, Lila Yacoub
Inside Llewyn Davis: Ethan Coen, Joel Coen, Scott Rudin
Nebraska: Albert Berger, Ron Yerxa

Best Director

Shane Carruth “Upstream Color”
J.C. Chandor “All Is Lost”
Steve McQueen “12 Years a Slave”
Jeff Nichols “Mud”
Alexander Payne “Nebraska”

Best Screenplay

Woody Allen “Blue Jasmine”
Julie Delpy, Ethan Hawke & Richard Linklater “Before Midnight”
Nicole Holofcener “Enough Said”
Scott Neustadter & Michael H. Weber “The Spectacular Now”
John Ridley “12 Years a Slave”

Best First Feature

Blue Caprice – Alexandre Moors, Kim Jackson, Brian O’Carroll, Isen Robbins, Will Rowbotham, Ron Simons, Aimee Schoof, Stephen Tedeschi
Concussion – Stacie Passon, Rose Troche
Fruitvale Station – Ryan Coogler, Nina Yang Bongiovi, Forest Whitaker
Una Noche – Lucy Mulloy, Sandy Pérez Aguila, Maite Artieda, Daniel Mulloy, Yunior Santiago
Wadjda – Haifaa Al Mansour, Gerhard Meixner, Roman Paul

Best First Screenplay

Lake Bell “In A World”
Joseph Gordon-Levitt “Don Jon”
Bob NelsonNebraska
Jill SolowayAfternoon Delight”
Michael StarrburyThe Inevitable Defeat of Mister and Pete

John Cassavetes Award – (Given to the best feature made for under $500,000.) 

Computer Chess – Andrew Bujalski, Houston King & Alex Lipschultz
Crystal Fairy – Sebastiàn Silva, Juan de Dios Larraín & Pablo Larraín
Museum Hours – Jem Cohen, Paolo Calamita & Gabriele Kranzelbinder
Pit Stop – Yen Tan, David Lowery, Jonathan Duffy, James M. Johnston, Eric Steele, Kelly Williams
This is Martin Bonner – Chad Hartigan, Cherie Saulter

Best Female Lead

Cate Blanchett “Blue Jasmine”
Julie Delpy “Before Midnight”
Gaby Hoffmann “Crystal Fairy”
Brie Larson “Short Term 12”
Shailene Woodley “The Spectacular Now”

Best Male Lead

Bruce DernNebraska
Chiwetel Ejiofor12 Years a Slave”
Oscar Isaac “Inside Llewyn Davis”
Michael B. JordanFruitvale Station”
Matthew McConaugheyDallas Buyers Club”
Robert RedfordAll Is Lost”

Best Supporting Actress

Melonie Diaz “Fruitvale Station”
Sally Hawkins “Blue Jasmine”
Lupita Nyong’o “12 Years a Slave”
Yolonda Ross “Go For Sisters”
June Squibb “Nebraska”

Best Supporting Actor

Michael Fassbender “12 Years a Slave”
Will Forte “Nebraska”
James Gandolfini “Enough Said”
Jared Leto “Dallas Buyers Club”
Keith Stanfield “Short Term 12”

Best Cinematography

Sean Bobbitt “12 Years a Slave”
Benoit Debie “Spring Breakers”
Bruno Delbonnel “Inside Llewyn Davis”
Frank G. DeMarco “All Is Lost”
Matthias Grunsky “Computer Chess”

Best Editing

Shane Carruth & David Lowery “Upstream Color”
Jem Cohen & Marc Vives “Museum Hours”
Jennifer Lame “Frances Ha”
Cindy Lee “Una Noche”
Nat Sanders “Short Term 12”

Best Documentary

20 Feet From Stardom – Morgan Neville, Gil Friesen & Caitrin Rogers
After Tiller – Martha Shane & Lana Wilson
Gideon’s Army – Dawn Porter, Julie Goldman
The Act of Killing – Joshua Oppenheimer,  Joram Ten Brink, Christine Cynn, Anne Köhncke, Signe Byrge Sørensen, Michael Uwemedimo
The Square – Jehane Noujaim, Karim Amer

Best International Film

A Touch of Sin (China) – Jia Zhang-Ke
Blue is the Warmest Color (France) -Abdellatif Kechiche
Gloria (Chile) – Sebastián Lelio
The Great Beauty
(Italy) – Paolo Sorrentino
The Hunt (Denmark) – Thomas Vinterberg

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