Robert Downey Jr is a big-city defense attorney who doesn’t care if his clients are innocent or not. When his estranged father, a former long-sitting judge played by Robert Duvall, gets indicted for murder and it looks like he may have actually done it, Downey has to re-check his moral centers, loathing for his small home town, and hatred for his father, and force him to accept his son’s experienced legal defense (before the fumblings of small-time lawyer Dax Shephard get him the death penalty or something).
It’s the beginnings of Oscar season and the Unusual Suspects are hip to that vibe, but may have a bit of J’ACCUSE! to throw at this David Dobkin directed delivery system for your mother’s tears. Chris, Beau, Elliot, and new-fish Michael slam down their gavels on The Judge.
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No way, it’s totally untold! For example, did you know the connection between he and Vlad the Impaler?!
Umm yeah, that’s kind of common knowledge.
Ok, well…did you know about the bat punch powers?
…go on.
Yes, no matter how many times you may have heard the origin story of Count Dracula, Dracula Untold is here to fill you in on those bits that, well, you’ve already largely been told. Luke Evans stars as Drac as he defends the people of, based on the accents, Britishvania against the invading Turks.
Would Brian, Chris, and the new guy Michael be able to sink their fangs happily into this romantic action epic or will the continued cinematic Dracula feeding frenzy leave them with a fang-over? No, these Highly Suspect puns don’t stop there.
Warning: Review May Contain Spoilers!
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It is no secret that current American culture has a heavy Asian influence, and a large part of that influence can be tracked back to Japan. We have a strong hunger for their media, and as such it isn’t uncommon for Americans to have their favorite Japanese directors in film and TV. Ask around and your bound to here Akira Kurosawa’s name dropped, kaiju fans might say Ishiro Honda, somebody might try and throw you a curve-ball and say Takashi Miike, and you are for sure going to hear Hayao Miyazaki’s name a dozen times.
While these are all fine and valid answers, if somebody asks me who I think is the best, the only name you are going to hear is Shinichiro Watanabe.
The King of Cool himself
Watanabe, for those who don’t know is the man that brought us Macross Plus (co-director), Cowboy BeBop, Samurai Champloo, the anime adaptation of Kids on the Slope, Space Dandy, and Terror in Resonance. His works blend eastern and western culture to create an audio and visual fusion dish that tastes great no matter where you are from. Cowboy BeBop, his most well known and well received work to this day, blends the sci-fi, western, film noir, exploitation, and Kung-Fu genres together just to name a few.
Unless you were there when BeBop first hit America on Adult Swim, you may have no clue how big of a deal this was. Many young people (myself included) thought they knew anime and what it was only to have our minds blown the second we heard Yoko Kanno’s brilliant opening theme, Tank, start blasting in our ears. Here was this thing that was totally alien and yet immediately identifiable to western audiences. Total culture shock. To this day, Cowboy BeBop is seen as one of the great gateways into anime as it has a little something for everybody.
Watanabe doesn’t see borders where it comes to influences. the information age has made media from many cultures more and more available every day and Watanabe has made his bones by delivering some of the most well executed stuff from this new world of ingredients. His stuff never loses its sense of self and his own cultural identity, but he never feels he has to limit himself to them. Many folks compare Watanabe with Quentin Tarantino given their natures not to play by anybody’s rules and blend genres as they please.
Kids on the Slope
While Cowboy BeBop, Samurai Champloo, and Space Dandy seem to be shooting for a more international audience, Kids on the Slope and Terror of Resonance are more tuned to a Japanese only audience while still pulling from western culture (jazz and the rock n’ roll of the 60’s for KOTS and large sections purposely spoken in English for TOR).
Terror in Resonance
In a career that has hip-hop samurai in the Edo period and a coming of age story in a thriller about a terrorist group what, if anything can be seen as a constant about Watanabe’s themes or methods?
One major thing is that he uses music as much of a storytelling device as any other tool in his arsenal. This goes throughout his works, but especially when it comes to his action scenes. They play out almost as music videos, letting the music and animation drive the story with little to no dialogue or even in some cases foley. This is why he has often paired with Kanno, who is regarded as one of the best, if not the best in her field. Watanabe and Kanno are true collaborators of the highest order.
Another thing that seems to to run throughout his work despite all the lightheartedness and humor is a sense of bleakness. Fatalism is not an uncommon trait for his characters. Their pasts haunt and often hound them. Very few characters in Watanabe’s works get what they want and those that do often find their reward hollow and without meaning. That said, no matter what emotional hell he’s just put his characters and the audience through, there is always a sense that a new a better future is just over the horizon. Humanity goes on and keeps moving forward. His works leave you wistful and yet hopeful for the future at the same time. Not many directors can do that once, let alone across their careers.
Samurai Champloo
At the heart of my love for Watanabe is his ability to create art that speaks to and pulls from all the cultures of the world without watering them down. Each piece is unique and has an identity all its own and everything is a complete experience in itself.
Perhaps if I get the chance I’ll come back and go over each series in greater detail, but for now and the sake of this thing ever seeing print (or post I guess, this being the internet and all) I’d better start to wrap things up. If all you’ve ever seen from the man is Cowboy BeBop, you owe it to yourself to check out the rest of his stuff, even you haven’t even experienced BeBop, well I suggest getting out from under that rock and fixing that toot sweet.
Space Dandy
So Watanabe is my favorite, but who is yours? Let us know in the comments below what creators and creations from the land of the rising sun are near and dear to your heart and why.
See You Space Cowboy.
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From the cult success of A Horrible Way to Die, through his breakout success with revisionist home invasion thriller You’re Next, and his new homage to ’80s slasher horror The Guest, writer Simon Barrett and his long-time directorial partner Adam Wingard have become two of the faces of new horror.
Not bad for the guy that penned Frankenfish, and programmed Treevenge every Christmas at the Ragtag Cinema in Columbia, Missouri. With The Guest opening to rave reviews, we waylaid Barrett at Fantastic Fest to talk John Carpenter, The Stepfather, and exactly why you’ll recognize so many cast members from Riley Stearn’s Faults in his movie.
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Christopher Nolan’s Interstellar is one of the most anticipated films of the fall movie season. Featuring an all-star cast and a story said to expand across a number of alien worlds, Interstellar is looking to be one of Nolan’s most ambitious projects yet. It comes as no surprise to learn that the movie is set to premiere two days early in theatres still equipped to project 35mm and 70mm film on November 5. However, most theatres are upset about the early premiere, and the director’s push to keep the format alive.
Theatre chains and owners, who spent millions switching to digital video projectors, are baffled by Nolan, Paramount and Warner Bros.’ choice to screen Interstellar early in 35mm and 70mm, especially with so many theatres switching to digital. While not widely published, most Hollywood studios have stopped sending theatres film prints, requesting theatres to switch to an all-digital presentation format. With so few theatres equipped with film projectors, only a small select number can host early screenings.
Nolan has made it well known that he has been an advocate of film for years, opposing the idea of switching to an all-digital filmmaking process. With fellow directors like Peter Jackson, James Cameron and Neill Blomkamp making the switch to digital video, Nolan is perhaps one of the few people working in the filmmaking industry that has enough influence with studios to film in the format he wants.
In an interview with The Director’s Guild of America Magazine from 2012, Nolan talked about the increased pressure from studios and theatre chains to switch to digital video:
For the last 10 years, I’ve felt increasing pressure to stop shooting film and start shooting video, but I’ve never understood why. It’s cheaper to work on film, it’s far better looking, it’s the technology that’s been known and understood for a hundred years, and it’s extremely reliable. I think, truthfully, it boils down to the economic interest of manufacturers and the industry that makes more money through change rather than through maintaining the status quo. We save a lot of money shooting on film and projecting film and not doing digital intermediates. In fact, I’ve never done a digital intermediate. Photochemically, you can time film with a good timer in three or four passes, which takes about 12 to 14 hours as opposed to seven or eight weeks in a DI suite. That’s the way everyone was doing it 10 years ago, and I’ve just carried on making films in the way that works best and waiting until there’s a good reason to change. But I haven’t seen that reason yet.
Ironically, Paramount, one of the studios distributing Interstellar, was the first studio to stop distributing film. Paramount Vice President Rob Moore explained in an interview with The Hollywood Reporter that the reason for the release of Interstellar on film is an effort to “encourage the movie going experience.”
“Interstellar plays spectacularly, and we have a filmmaker who loves film, so we wanted to take a moment to showcase film as an important part of our heritage,” said Moore. “We are taking a moment to acknowledge the huge heritage of film by opening the film two days early in theaters that can offer that format. Filmmakers like Chris and J.J. Abrams want to make sure that film is a part of the business going forward.”
As of Nov. 5, 189 theatres will be playing early screenings of Interstellar with 41 IMAX theatres playing 70mm prints.
Should Christopher Nolan film on the format of his choice? Should he concede to the demands of the theatres? Let us know in the comments below!
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Along the crystal clear beaches of Santa Monica, there is only one team of bronze skinned lifeguards crazy enough to save the day and discuss their deeply personal issues with one another. Baywatch, the series that made David Hasselhof a star and eventual Internet meme, is getting a film reboot. Directed by comedy writing team Sean Anders and John Morris (We’re the Millers, Horrible Bosses 2), and written by Justin Malen (The Good Wife), the film’s cast will be led by Dwayne Johnson.
While probably unknown to most (myself included), Paramount Pictures has long been trying to make a Baywatch feature film. Looking to grab a leading man with comedic sensibilities and biceps powerful enough to crush watermelons, the choice of Johnson seems to be a perfect fit. Johnson himself has expressed his excitement on landing the role and even confirmed the casting via his Twitter. The former wrestler and soon to be supervillain in Shazam added on his Instagram account that he hopes the film will “be funny as hell,” and feature plenty of slow-motion beach running shots.
Though I am a child of the 90s, my knowledge of Baywatch is limited, but I imagine during its airing, America took David Hasselhof seriously as an actor. Despite my ignorance, I’ve learned that the immensly popular show ran for a decade, and spawned numerous, though not nearly as successful, spin-offs. Billing itself as an action drama series, Baywatch followed the lives of the blondest lifeguards in California, and the mundane day-to-day routines of the job. Episodes frequently focused on shark attacks, drownings, earthquakes, murders, serial killers and threats of nuclear disaster. You know, the typical tasks one associates with being a lifeguard.
Okay, a Baywatch film could work if they follow the same formula that Phil Lord and Christopher Miller implemented for 21 Jump Street and its sequel. Playing up the ridiculousness of the original television show, and mocking the egos of the self-obsessed lifeguards could prove amusing if handled correctly. However, attempting to copy that formula might be more difficult than one could expect.
Paramount’s decision to get Anders and Morris can be viewed as a blessing, and a curse. The writing/directing team was behind the screenplay for the critically underrated comedy Hot Tub Time Machine. On the darker side of things, they’re also responsible for films like Sex Drive and That’s My Boy. Hopefully, Horrible Bosses 2, their next upcoming directorial release, and Baywatch will be more in line with their work on Hot Tub Time Machine.
Is Dwayne Johnson the guy to headline this newest comedy? Would you even want to see a (more) comedic take on Baywatch? Let us know in the comments below!
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Unbreakable Michael Elgin was advertised, by former employer Ring of Honor, to be at their event Champions vs. All Stars. Apparently Michael Elgin wasn’t told about this beforehand and gave his response via Twitter earlier today, which you can see down below.
Rumors swirled for weeks that Elgin wasn’t endearing himself well to upper management in Ring of Honor. To make matters worse, Elgin had difficulty getting out of Canada due to a work visa issue. These things brought an abrupt end to not only Michael Elgin’s title reign as ROH World Champion, but the company’s willingness to back Elgin as their “top draw.”
In the world of professional wrestling, this could be a not so elaborate work, especially given how ROH has been inclined to run with storylines, over the past year or so, centered on people getting fired or quitting. Time will tell if we will see Elgin again in Ring of Honor, or if this is not a work and he chooses to explore his options elsewhere.
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The Pixar that many once loved, even revered, has struggled to attain the critical acclaim it once had with films like Finding Nemo, The Incredibles and Up. After the releases of Cars 2, Brave and Monsters University, the Pixar that many once met with wide-eye enthusiasm has now been replaced with a general feeling of apathy. Still, that’s not to say Pixar can’t recover from their more recent cinematic flubs. That’s where Inside Out comes in. With a release date of June 19, audiences can expect to see a humorous animated take on the emotions that guide us every day this summer.
While the idea of little amphomorphic versions of emotions has been done ad nauseam, the premise of Inside Out still looks like it could be a lot of fun.
So, the trailer is pretty short and spends most of its time to referring back to Pixar’s most beloved films, and Cars. What is shown is the teenage protagonist, Reilly (Kaitlyn Dias), and her five most used emotions. Joy (Amy Pohler), Sadness (Phyllis Smith), Disgust (Mindy Kaling), Anger (Lewis Black) and Fear (Bill Hader) are given their own introductions, and each is an obvious representation of their name.
It’s hard to deny that Inside Out looks cute with its multi-colored animated cast. Plus, literally peering into the mind and being of a young adolescent girl is definitely a first for Pixar (Yes, I know how creepy that sounds). Even with so little footage shown, I’m still interested in what Pixar can offer. This is the studio behind some of the greatest and most heartwarming films of all time. There’s no reason they can’t achieve that greatness once again.
Does this teaser trailer make you want to see more of Inside Out? What are your current feelings on Pixar’s trajectory? Let us know in the comments below!
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It’s been nearly a quarter of a century since audiences saw Agent Dale Cooper last sipped his “damn fine coffee” as he investigated the mysterious death of Laura Palmer, The Black Lodge, The Log Lady, whatever the hell BOB was controlling and all the other strange disturbances in the small mountain town of Twin Peaks, Washington. Many thought we would never eat that sweet pie or see a little person talk backwards again. But, much like that gum you like, the town and all it’s David Lynchian glory is going to come back in style!
Variety recently announced that Twin Peaks creators David Lynch and Mark Frost will be reviving their twisted yet beloved ABC TV series as a nine episode season on Showtime in 2016. Lynch and Frost will write all the episodes and Lynch himself will direct all nine episodes. The new series will not be a reboot of the original, instead continuing twenty five years after the series finale aired in 1991. No news has surfaced as to whether original series stars will return, nor if series will be shot in Washington as the 90s series was or if the show will go on longer than its nine scheduled episodes. Showtime announced the series’ return via YouTube, which you can view below:
Let’s all take a quick step back and fully realize that this is happening. Twin Peaks, a show so weird, so disturbing and so unique that it’s still a wonder how it was ever produced for ABC in the early 90s, is returning to television after over two decades. Admittingly, if it was going to happen anywhere, it would be on a premium cable network like HBO or Showtime. Still, it’s a bit bizarre to see a show that hasn’t been on the air since before I was alive coming back to any form of media since the prequel film Fire Walk With Me came to theaters in 1992. Yet, it’s really managed to cultivate a following in the years since it’s cancellation. People like myself and those even younger have discovered the show through online platforms like Netflix and have become a part of the weirdly thriving fan base that lingers like a little person in a room mostly made of curtains and office furniture.
Of course, the show had its fans back in the day. During it’s first season, people around the globe were on the edge of their seats to find out what happened to Laura Palmer and how Dale Cooper would manage to find the answer among the surreal horror of the small town. Much of that engagement was lost during the second season after executives forced Lynch and Frost to reveal the identity of Laura Palmer’s killer, resulting in some very odd yet ultimately uninteresting stories involving Civil War generals, elaborate literal chess game related killings and beauty pageants before smacking us in the face (in the right way) with one hell of an out there series finale that left people wanting to know more about the now crazed and possessed Agent Dale Cooper.
“How’s Annie?! How’s Annie?!”
Speaking of which, it’ll be curious to see how casting will go. The star and heart of the series Kyle MacLachlan was last involved in the series through a very small part in Fire Walk With Me, due to a desire to move on to other projects. Mind you, this was over twenty years ago and given his ability to be game enough for the weirdness of shows like Portlandia and How I Met Your Mother in recent years, it may be more likely than not that Agent Dale Cooper will pop up again in some form for more Twin Peaks action. There’s also the questions like whether some of the show’s other regulars (Lara Flynn Boyle, Richard Beymer, Sheryl Lee, Sherilyn Fenn, Ray Wise, etc) will be participating, how the deaths of other regulars (Jack Nance, Frank Silva) will be explained and what we can expect to have answered, given that David Lynch has a tendency to… let’s say “confuse” his audiences.
In any case, it’ll be interesting to see not only Twin Peaks return to our small screens, but also see David Lynch himself come back to the director’s chair for the first time since his last film Inland Empire in 2006. A ten year gap of seeing Lynch mainly stick to commercials, his “music” career and his Twitter feed has prepared all his fans (including myself) for something more substantial. The reason Twin Peaks worked as well as it did was because it managed to strike the perfect balance between the surreal & the melodramatic, all while still being genuinely engrossing through it’s winding mystery story, eclectic cast of characters and a sense of style that only Lynch could really pull off. So, no matter what happens, I’ll be sipping the coffee and eating the pie with the rest of them come 2016, which means only one thing…
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