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Michael Caine and Jessica Chastain Board Nolan's INTERSTELLAR

 

After casting both Matthew McConaughey and Anne Hathaway, block-busting guru Christopher Nolan has added two new faces to his sci-fi alternate reality flick InstellarMichael Caine and Jessica Chastain. Caine comes as no surprise as he has been in every Nolan flick since Batman Begins and obviously has a great working relationship with Nolan. I personally love when a filmmaker has a troupe of actors that they can round up whenever something comes along. Up to this point, Caine has been a brilliant addition to all of Nolan’s work and offers up a grounding emotional side to the more action-heavy fare.

Chastain, on the other hand, is a new addition to the Nolan ship and a great bit of casting in my opinion. Nolan’s been notoriously weak with his female characters and casting a top notch thespian like Chastain is sure to prove an effective measure to bolster that feminine presence onscreen. Chastain has been nominated for an Oscar the past two years in a row with her work on The Help and Zero Dark Thirty and is one of the best working actresses of today.

Although Nolan has had little fanfare for the award’s market with his films, he nabbed a Best Supporting for Heath Ledger in The Dark Knight and has always been heralded by critics and fans alike as a more intelligent breed of big action film-making. 

Working off of a script written by younger brother Jonathan Nolan, Chris Nolan will be sure to make this film both a visual and visceral flick made for the biggest screen possible. It’s sure to be no surprise that Nolan is pursuing an IMAX format for the film and will be sure to film a vast portion of the big action sequences with the IMAX cameras, regardless of how clunky and noisy they may be during the actual production.

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Out in Theaters: IRON MAN 3

“Iron Man 3”
Directed by Shane Black
Starring Robert Downey Jr., Gwyneth Paltrow, Guy Pearce, Don Cheadle, Rebecca Hall and Ben Kingsley 
Superhero/Adventure/Sci-Fi
130 Mins
PG-13

With Iron Man 3, the Marvel brand has tried something new and shown that they have some tricks up their sleeves after all. Up until now, every Marvel film has been an origin of sorts – Iron Man, Thor and Captain America all fleshed out the roots of individuals who were soon-to-be involved in a superhero collective and even Iron Man 2 served as more as an introduction to The Avengers than a story functioning aptly on its own. Iron Man 3, however, tells a most self-contained story that’s got more pithy humor, high gloss action, unexpected twists and its fair share of jarring narrative jumpiness.

The beginning of this tale finds Tony Stark offering up a confessional of sorts. He’s reconciling with his demons in the aftermath of the New York incident where he nearly died on the other side of a wormhole in a galaxy far, far away. This healing process is proving harder than he may have first assumed. Killing terrorists and blasting baddies may be one thing but a panic attack is something else entirely and seems more alien to Stark than…aliens. Flirting with death is heavy stuff, no doubt, but it’s hard to wallow too much in the mire when there’s yet another madman at large with a penchant for blowing people up, especially when they set their sights on you.
 
The Iron Man franchise feels as topical now as it did in 2008 as the continuing themes of terrorism are lasting landmarks in our global society. Although the bombings that take place in this film seem to be serendipitously ill-timed in the wake of the recent Boston attacks, the coincidence is no more than just that. The resulting cultural impact is questionable though as the Marvel Universe is a very sterilized world lacking blood or bodies, the real consequence of war and terrorism. I can’t really gripe about the watering down of any political or cultural significance because, well, this is a wide-netted PG-13 Marvel flick. While I would love to see a hard-R version that really disembowels the messy themes of terrorism and vigilante justice, I guess we will all have to settle with the popcorn action that we get.

Continuing to play a role that he seems born to play, Robert Downey Jr. is as suitable as ever playing the motormouth Tony Stark and his quips come fast and loose. Even more than before, Iron Man 3 aims for comedy and delivers well-tempered laugh-out-loud moments as well as the smirking, sardonic wit we have come to expect from Mr. Stark. The Marvel universe has seemed to carve out its own niche little brand of humor that, however broad in appeal, feels quite genuine to the world that they have created. There’s a little moment when an unnamed henchman surrenders to Stark and makes a little comment about how he doesn’t even like his employers. It got quite a rise out of me and it’s snappy and odd humor like this that defines the levity of the franchise.

Even while upping the laughter ante, the film feels more grounded and psychologically taxing. While its predecessor, Iron Man 2, attempted to show Tony Stark battling with the weight of his new found persona, it’s in this installment that anything has any clout. No holds bar, this third installment is head and shoulders superior to Iron Man 2. Whereas that film attempted to skate by on Downey’s easy charisma and extensive suggestibility towards the larger Marvel universe, this film is happy to strip things down to barebones and start fresh.

Similarly to Mission Impossible: Ghost Protocol, Iron Man 3 takes jabs at our utter dependence on faltering technology. Instead of all the high-tech, mecha-as-God gloss, we see the more unvarnished side of the equation where suits malfunction and break down, GPS fails and people are bonking their heads left and right. It’s a craft little side arc that serves as a parallel to Stark’s perception that he and his suit are inseparable entities as well as some social commentary on our ever-increasing dependence on anything battery-powered. Like Stark, the more reliant we are on tech, the more we lose our ability to stand on our own two feet.

Fleshing out the ensemble are all the series regulars performing more than sufficiently. Gwyneth Paltrow returns as Pepper Potts and has really been given a great opportunity to round out her character throughout the series. From her meek roots in the first installment to her almost super-hero personality at the end of the franchise, Potts is an interesting female character who has run the gamut on female character tropes. She’s been the mild assistant, the secret crush, the self-empowered businesswoman, the concerned lover, the savvy partner and finally the commanding power-top. Of all the characters in the series, she has evolved the most and finds the most interesting beats in this installment.

Don Cheadle fills out the suit of the Iron Patriot, the military-officer-formerly-known as War Machine. After a little re-branding, Colonel James Rhodes has doubled down his efforts as a US piece of military might/war deterrent and his once rocky relationship with Tony Stark is now fixed up back to buddy-buddy status. One of the biggest bonuses for this film was seeing the actors actually getting to do some of the action sans the suits. Seeing Cheadle rock it bare bones and fire off his pistol Lethal Weapon-style left me with the impression that the powers that be may just have a natural successor on our hands for Downey once he abandons his post as Iron Man.   

Now, I’m still kind of making up my mind about the whole villain part of the equation. First off, Guy Pearce is unfortunately underplayed in the marketing. His character was slimy, power-hungry and just a force to be reckoned with. Pearce easily has one of the most impressive resumes of the actors here and yet seems to go largely ignored. The guy seems to be a good luck charm for Oscar films having worked on The Hurt Locker and The King’s Speech, two films that won Best Picture in a three year span, so it’s always odd to me when someone like this slips under the radar.

It’s like all the cool kids had a pool party and he didn’t quite make the cut even though he’s clearly the under-championed coolest of them all. Personally, I had no idea how significant his role would be and I’m all the more grateful that a talent as strong as Pearce could head up the villainy department. It’s nothing of the Heath Ledger Joker caliber but it’s far better than the immeasurable cannon of superhero baddies.

As far as Ben Kingsley goes, Marvel and Co obviously played his role in the series rather close to the chest so I’d rather not discuss him at length other to say that his performance came as quite a jarring surprise. However unexpected, it’s little bits like this that show that Kevin Feige et al really understand the media stratosphere that they are functioning within and are able to manipulate it to their advantage and the advantage of their audiences. And finally, a quick note on Rebecca Hall: throwaway character.

Where the other Iron Man movies have depended on climaxes that pit metal-on-metal, the action here is far superior. Instead of the tired and inconsequential pounding of iron suits, the fiery Extremis enemies offer some variety both from a visual and blocking standpoint. Director Shane Black handles the action sequences in a cool and casual way, fishing for the feeling of 90’s action buddy comedies and has caught it hook, line, and sinker even with all the iron suits and a legion of CGI wizards standing behind him. Although the spectacle doesn’t quite match the awing wow of The Avengers, it is just as much fun and even more impressive considering it’s more limited budget.

Now that all is said and done, the question that remains is will we see Iron Man again? Surely. And while it’s easy to stick holes in the lack of the rest of the Marvel characters here, this is a more intimate and personal story. If anything, this is more Tony Stark’s tale than Iron Man’s. Big set events included, Stark is out of the suit for the majority of the action sequences and this gives the action more of a sense of consequence than it had before. Even though the participation of the Avengers would surely have eased the situation a bit, there was not necessarily a need for the whole crew of supers.

There is a necessary amount of forgiveness involved in the Marvel Movie Universe but if you’re willing to engage and let this world full of superheroes and supervillians continue to grow and spread it’s roots, then this is a worthwhile stepping stone along the long and winding road. However inconsequentially the end result is, Iron Man 3 is buttery blockbuster fare hitting all the right notes.

B

 

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Poster For Lars von Trier's NYMPHOMANIAC Hints at Double Teaming

 

Chartering a woman named Joe’s sex life from birth to age 50, Lars von Trier‘s Nymphomaniac will be sure to shock and ostracize critics and the public at large. Trier has a penchant for tiptoeing the line between film and snuff and it’s hard to imagine that this one won’t be just as perverse and challenging as his most offensive and challenging work. The first official image featured a topless Joe (Charlotte Gainsbourg) sandwiched between two equally bare black bulls and this poster seems to be all but suggesting the same kind of gang-bangin’ situation. Oh Lars, how you be so tasteful?

There’s a fine line between art and pornography and I have a feeling the MPAA is gonna come down hard on Trier and slap this with the dreaded NC-17, that is if it gets rated at all. Trier’s second to last film, Antichrist, didn’t bother with a rating and so I guessed I shouldn’t have been so shocked when I saw full penetration in slo-mo, that same fully penetrating penis getting lobbed off or a woman circumcising herself with a dirty pair of scissors. Yeahhhhh… Antichrist wasn’t quite my favorite movie of all time.

Nymphomaniac is directed by Lars von Trier and stars Charlotte Gainsbourg,  Stacy Martin, Shia Labeouf, Jamie Bell, Connie Nielsen, Mia Goth, Jens Albinus, Severin von Hoensbroech, Peter Gilberg Cotton, Nicolas Bro, Tabea Tarbiat, Janine Romanowski, Jesper Christensen, Tania Carlin, Felicity Gilbert and Shanti Roney. There is no release date nor is does it have a festival lined up for its premiere yet.

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Concept Art for CAPTAIN AMERICA: THE WINTER SOLDIER

 

Marvel madness continues with a first look at what is sure to be the eponymous villain for Captain America: The Winter Soldier, AKA Captain America 2. Although this is only a piece of concept art, it gives a sneak peek as to what this Winter Solider will look like. Rocking a Bane mask, aviator goggles and a big high caliber rifle, the Winter Solider is a friend-turned-arch nemesis for Cap. Many suggested after the first Captain America, when Bucky Barnes, Steve Roger’s best friend, fell to his apparent death he was actually just being set up for an inevitable return as the iconic villain in future installments.

MMU (Marvel Movie Universe) guru Kevin Feige had the following to say for this Cap sequel:

“We weren’t going back to World War II. Cap cannot travel in time. So while Tony can go home to Malibu and Thor goes up to Asgard and Hulk can sort of ride the rails, Cap was stuck. So Cap does stay with S.H.I.E.L.D. because he has nowhere else to go. But he’s not necessarily comfortable there. And just as he’s given permission to let go of the past and to focus on the modern world, a ghost comes up. With the Greatest Generation in World World II, there’s a tendency to reflect on that period and say, ‘Things were black and white back then, and now it’s hard to know who the bad guys are.’ ‘We wanted to play on that a little wit Cap being uncomfortable with the way S.H.I.E.L.D., and in particular Nick Fury, operates.”

Captain America: The Winter Solider is directed by Anthony and Joe Russo and stars Chris Evans, Scarlett Johansson, Codie Smulders, Samuel L. Jackson, Anthony Mackie, Robert Redford, Hayley Atwell, Toby Jones, Sebastian Stan as the Winter Soldier. It hits theaters April 4, 2014.

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More THE WOLVERINE Footage from CinemaCon

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I remember when Darren Aronofsky was attached to direct his own take on Wolverine and I was super-duper pumped about it but now it seems like The Wolverine is just struggling to make itself known in a crowded summer of high profile blockbusters. Without a visionary talent like Aronofsky, the bad taste left in people’s mouths from X-Men Origins: Wolverine paired with an over-saturated superhero market make a film like The Wolverine easy to be side-lined.

I’ve yet to make any judgements as I’ve only seen the first trailer (no need to spoil any more details) but I like the direction of a superhero stripped of his powers, although that had technically been done before in Spiderman 2. As far as I can tell, The Wolverine looks a lot more stripped down and atmospheric than that not-so-great Origins film.

Take a look at this new trailer coming to you straight from CinemaCon.

http://www.youtube.com/watch?v=skYPWMM9W1A

The Wolverine stars Hugh Jackman as Wolverine, Svetlana Khodchenkova as Viper, Rila Fukushima as Yukio and Tao Okamoto as Mariko and opens on July 26.

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Can IRON MAN 3 Crack a Billy?

 

You may have seen the headlines strewn across internet banners that Iron Man 3 has bested the opening weekend of The Avengers internationally, putting it on track not only to be the biggest box office monster of the summer but also entering it in a position to duke it out for one of the top spots of all time. While The Avengers pulled in $185.1 million internationally on its opening weekend last May, Iron Man 3 has surpassed that opening take with $195.3 million to its name. And that’s before it opens in US theaters.

Thus far, reviews have been positively glowing and it’s got to nab a CinemaScore in the A/A+ range so it really seems like the sky is the limit for the Marvel behemoth.

The question is, will it best The Avengers hefty opening weekend that soared past highest expectations with $207.4 million? Probably not, as it is tracking somewhere around the $167M mark. Personally, I expect it to get closer to that prized $200M slot, but probably not to top it.If I had to put money down, I’d say it winds up somewhere in the $188M range but would not be surprised to see it blow past that number.

As for the residuals, so long as it snags the great CinemaScore that it seems to already have in the bank, hold-overs are sure to be good on this one and with nearly $200M in the bank already, this is sure to be a wild success irregardless. Will it reach that massive billy international mark though? I believe it will. It just needs time.

Iron Man 3, directed by Shane Black and starring Robert Downey Jr, Don Cheadle, Gwyneth Paltrow, Ben Kingsley, Guy Pearce and Jon Favreau, hits theaters this Thursday, May 2.

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Little Good Ship Chased by Big Evil Ship in STAR TREK INTO DARKNESS IMAX Poster

 

If you’re like me, you’ve been trying your best to avoid the onslaught of Star Trek Into Darkness marketing. Whether this means charging out of the theater during it’s previews, ducking your head when tv spots come on and even popping in headphones or humming along to yourself any time one of what seems like 7,000 trailers appear, we don’t know to know what is gonna transpire in J.J. Abram‘s sci-fi sequel.

Since I’ve been trying to keep myself out of the loop, I’m not exactly sure what this IMAX poster is referencing in the fact but I assume that the big ship shooting red lasers at the little ship (which I’m assuming is the Enterprise) is commanded by the evil dude who’s played by Benedict Cumberbatch. Regardless of what it actually says about the film, the poster is pretty certifiably BA.

Star Trek into Darkness stars Chris Pine, Benedict Cumberbatch, Zachary Quinto, Anton Yelchin, John Cho, Karl Urban, Simon Pegg, and Zoe Saldana and is directed by J.J. Abrams with a script from Alex Kurtzman, Damon Lindelof and Roberto Orci.  It opens May 17th with select IMAX 3D theaters starting May 15th.

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Little Good Ship Chased by Big Evil Ship in STAR TREK INTO DARKNESS IMAX Poster

If you’re like me, you’ve been trying your best to avoid the onslaught of Star Trek Into Darkness marketing. Whether this means charging out of the theater during it’s previews, ducking your head when tv spots come on and even popping in headphones or humming along to yourself any time one of what seems like 7,000 trailers appear, we don’t know to know what is gonna transpire in J.J. Abram‘s sci-fi sequel.

Since I’ve been trying to keep myself out of the loop, I’m not exactly sure what this IMAX poster is referencing in the fact but I assume that the big ship shooting red lasers at the little ship (which I’m assuming is the Enterprise) is commanded by the evil dude who’s played by Benedict Cumberbatch. Regardless of what it actually says about the film, the poster is pretty certifiably BA.

Star Trek into Darkness stars Chris Pine, Benedict Cumberbatch, Zachary Quinto, Anton Yelchin, John Cho, Karl Urban, Simon Pegg, and Zoe Saldana and is directed by J.J. Abrams with a script from Alex Kurtzman, Damon Lindelof and Roberto Orci.  It opens May 17th with select IMAX 3D theaters starting May 15th.

 

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Transformers Battle Godzillas in New Trailer for PACIFIC RIM

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Last month, Guillermo del Toro unveiled an alternative Pacific Rim trailer packed full of new footage to a excited throng of WonderCon attendees and they loved it. While the new trailer was originally intended only for those at the popular convention, adamant del Toro have seemed to wiggle it loose from him. Have a look below and tell me if this is something that you’re interested in, aren’t sold by or will wait on reviews before you go see it.

As Del Toro wrote in a note accompanying the trailer: “Enjoy, my friends!”

http://www.youtube.com/watch?v=zA92Rw6kNWw

Pacific Rim is directed by Guillermo del Toro andstars Charlie Hunnam (Sons of Anarchy), Idris Elba (Prometheus) and Charlie Day (It’s Always Sunny in Philadelphia). It opens on July 12, 2013.

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Weekly Review 24: THIS IS 40, ROBOT AND FRANK


Just a couple of flicks from 2012 that I never got to see in this week’s installment of Weekly Review. This is 40 seemed to largely divide critics but I found it to be a very ugly, very unnecessary film. Frank and Robot, however, was a nice little independent drama worthy of a worth if not just to watch Frank Langella bad-mouth a robot.

 

This Is 40 (2012)

 
A rambling and mean-spirited film that should have remained in the rejected ideas pile, This Is 40 stinks. Perhaps it might strike a chord with affluent socialites complaining about the size of their mansions and the middling success of their very own record company but for us ordinary folk, it’s an infuriating load of steamy garbage that ought to play like the anthem for the ‘Occupy’ movement.

The film follows the lives of Pete and Debby, who you may remember from Knocked Up. They have a couple of kids, are “struggling” financially, and pretty much hate each other and themselves. Fortunately for them, the most difficult part of their lives involves downgrading from a multi-million dollar home and eating too many five-dollar cupcakes. It’s hard to swallow someone wallowing in self-pity as they drift between their massive master bedroom and accompanying bathroom foyer before throwing a catered party under a giant tent in their massive backyard and eating a 500-dollar custom guitar cake.



Even though the actors involved seem to be committed to fleshing out this reality, I really wish they had done something else with their time. Leslie Mann is probably not to blame but her character is utterly despicable and a major contender for “biggest bitch of the year” award. The ever-lovable Paul Rudd is, well, in a rut for most of the time and just gets dumped on for anything from playing on his iPad to ruining his crumbling physique with, you guessed it, fancy cupcakes. The problem is, nothing goes anywhere. You just see these miserable people for a while, they do nothing and then it’s over. The film tries to bandage the blaring lack of a plot with numerous little cameo roles and pop-fi references which, again, don’t ever amount to anything.



The seams have started to show on director Judd Apatow‘s projects for a while now but This is 40 is the largest departure from the meaningful dramedies like Knocked Up and The 40 Year Old Virgin that made him a household name. Instead of the geeky and almost whimsical nature of those films, this one seems comfortable whining and wishing ill will on its audience. 



Another minus for This is 40 lays in Apatow’s bloated opinion of his film, a miscalculated assessment of its worth that somehow allowed him to let it stretch on aimlessly for over two hours, whereas most comedies tap out around ninety minutes. I guess that makes sense though considering comedies usually involve laughing and this smelly pile of trash is destitute of any laughs. Maybe worst of all, they spoil the end of Lost. That is a sin I will never forgive.



A quasi-sequel that no one ever asked for, This is 40 is a joyless waste of talent and resources. Near the end, Albert Brooks says: “That was deeply uncomfortable. At least that pretty girl was there to divert our attention.” I don’t think he meant to sum up the whole movie, but he just did.

D-

Robot and Frank (2012)



Jake Screider‘s Robot and Frank imagines a future where robots have taken on assisting roles in human life. They stock the shelves at the library, act as medical assistants and….well I guess that’s all we see, but we can imagine that they carry out a smattering of equally undesirable but helpful roles in this society. Even under its not-so-shiny facade, Robot and Frank has heart and chemistry and is inventive enough to score a sly win for independent film.



When retired thief Frank (Frank Langella) is given a care-taking robot from his estranged son, he attempts to involve his new robotic helper in a comeback heist. Seeing the detailed planning that Frank invests into this operation, Robot (who remains unnamed) decides that it would be good for his deteriorating mental health and agrees to help.


Frank Langella is great as the irreverent old Frank who, however thorny, is both a strong and fragile character. He reminded me a lot of Junior Soprano, a lost man on his last leg who can’t really help himself to his askew world view and grumpy, homebody nature. Filling in the voice for Robot, Peter Sarsgaard is perfect. His robotic monotone is rife with notes of sympathy and understanding – making him more of a lovable Wall-E than any of the fearful AI’s that have dominated robotics since 2001. 



Although it is hardly an important enough film to make many waves outside of its very niche circuit, Frank and Robot is an oddly sweet story that tells a meaningful tale about aging and family. It’s a charmed collision of old school and new age with a bittersweet edge, one of those indie films that you can’t help but be won over by.

B-