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Sunday, September 29, 2013

Are Romantic Comedies Dead? [CINEMA IN NOIR]


Well, someone had to ask. This question was posed by The Hollywood Reporter in a recent article titled R.I.P. Romantic Comedies: Why Harry Wouldn't Meet Sally in 2013. This piece examined the dire state of the genre, discussing the youth-obsessed casting, the inability to actualize characters and the almost complete distance from the reality of modern dating. The writer caps off the argument with a quote from director Michael Sucsy, who says "Audiences aren't tired of romance; they're tiring of formulas." (Ironically, though this true statement is from the guy who helmed The Vow, which is just the kind of movie that the article--and many audiences like myself--is fighting against).

I've lately been more partial to romantic comedies that are told from a male perspective because I find them to be more honest and realistic, as I've written about in a previous post. The romantic comedy genre also desperately needs to come into the year 2013 with some fresh ideas (while there are good romantic comedies out there, there are still an overwhelming number that are not even watchable). We talked more about this and reviewed the latest romcom, Baggage Claim, during our "Cinema in Noir" reviews segment today (which includes Don Jon and Rush).

We also discuss director John Singleton's recent op-ed piece in The Hollywood Reporter, which asks Can a White Director Make a Great Black Movie? Before you answer with a resounding yes, of course!, read the piece because he's not posting an issue with white directors helming black movies. But rather white directors who don't consult with any black writers or historians, etc, as they craft a black film. The headline is a bit misleading as he does give credit to those directors who have made exceptional black films. We discuss our take on the piece.

Lastly, we chat about this weekend's ALMA awards and the habitual lack of Latino American representation on the big time. We're not talking about the few Latino actors who play supporting roles in American film, but rather Latino American actors who are part of a largely Latino American cast. It's very rare to see an English-language film with a Latino cast, so we talk more about that and what Hollywood needs to do to combat that.

Listen to the latest episode of "Cinema in Noir" here.

Wednesday, September 25, 2013

Aaron Paul Finds Shakespeare in Race Car Driving: Watch the New Trailer for NEED FOR SPEED

It's hard to watch the trailer for Aaron Paul's new film, NEED FOR SPEED, without thinking Where's Jesse Pinkman going in such a hurry? As we brace ourselves for the series finale of "Breaking Bad" on Sunday, the actor stars in Actor of Valor director Scott Waugh's new film about revenge in the world of race car driving.

The new trailer was released earlier today, which gives you a very Fast & Furious vibe, underscored with a Shakespearean narration by Paul ("I did not fear, for you are with me"). Seriously, no one has talked like that since the year 1697. Even the music is a bit operatic. Regardless, it's Aaron Paul driving cars really fast and getting all up in his feelings about it. More on the film after the jump:


Based on the most successful racing video game franchise ever with over 140 million copies sold, DreamWorks Pictures’ “Need for Speed” captures the thrills of the game in a real-world setting. An exciting return to the great car-culture films of the 1960s and ’70s, when authenticity brought a new level of intensity to the action, “Need for Speed” taps into what makes the American myth of the open road so enticing.

The story chronicles a near-impossible cross-country race against time—one that begins as a mission for revenge, but proves to be one of redemption. In a last attempt to save his struggling garage, blue-collar mechanic Tobey Marshall (Aaron Paul)—who with his team skillfully builds and races muscle cars on the side—reluctantly partners with wealthy, arrogant ex-NASCAR driver Dino Brewster (Dominic Cooper). Just as a major sale to car broker Julia Bonet (Imogen Poots) looks like it will save the business, a disastrous, unsanctioned race results in Dino framing Tobey for manslaughter.

Two years later and fresh out of prison, Tobey is set on revenge with plans to take down Dino in the high-stakes De Leon race—the Super Bowl of underground racing. To get there in time, Tobey must run a high-octane, action-packed gauntlet, dodging cops coast-to-coast and dealing with fallout from a dangerous bounty Dino put on his car. With his loyal crew and the surprisingly resourceful Julia as allies, Tobey defies odds at every turn and proves that even in the flashy world of exotic supercars, the underdog can still finish first.

Audiences definitely love watching race car dramas, so I reckon this will do just fine at the box office. The film was written by George and John Gantins (the latter who wrote last year's Flight). The great Michael Keaton also appears in the film, though by the looks of the synopsis he may not have a pivotal role (real shame). I'm so-so on the trailer (maybe I'm still smelling the stench of Rush), but I'm here for Aaron Paul, so let's go.




NEED FOR SPEED races to theaters March 14. 

10 Things We'll Miss About Breaking Bad


We can't believe it's already been six years since "Breaking Bad" first took over our TV screens, and introduced us to high school chemistry teacher-turned-meth mogul Walter White and his now estranged business partner Jesse Pinkman. There is a five-day marathon commencing on AMC today leading up to the series finale on Sunday. But before the show's ending leaves a gaping hole in our hearts forever, we look back at what made the show so unforgettable to watch and what we will miss the most about it:

10) Unprecedented live-tweeting: Live-tweeting Breaking Bad doesn't spark your typical live-tweeting commentary, like "OMG I can't believe [insert entire plot breakdown here] happened!" Rather, your twitter feed is overtaken by countless reactions that make you wonder whether you should call the paramedics for some of your online friends. Tweets like, "I can't breathe!" or "I think I just s^*t my pants!" and simply "*dead*" are just a few examples. The intense drama on the show is just that serious.

9) Gus Fring: It would not be a hyperbole to say that Gustavo "Gus" Fring was one of the most captivating villains ever to grace the small screen. Bar none. Played by Giancarlo Esposito (yes, Big Brother Almighty himself), Gus was a taciturn yet deeply calculated drug ring leader whose death was as much victorious for Walter and Jesse as it was bittersweet for the audience, as few villains were ever as entrancing to watch. He even went out like a boss:



8) Jesse adding "Bitch!" to every sentence: Jesse may not be responsible for all the mayhem on the show. But he can take credit for singlehandedly re-launching a “bitch” renaissance. It’s his go-to insult as well as his arbitrary token of affection that he likes to pin on most every sentence. It’s like how the rest of us use a period. For instance, "You ain't seen the basement, bitch!" or "I wanted to leave them on the counter...bitch!" Here, watch:




7) That moment when we started to feel really bad for Jesse: For an actor who few even heard of before his big break on Breaking Bad, Aaron Paul has convinced us that he can command a scene just as great as any acting veteran. He's managed to turn the character of a self-serving, apathetic (yet unintentionally hilarious) junkie into a charming protagonist who we can't help but to love. One of Paul's best episodes is when Walter pays a desperate visit to Jesse's house, trying to bring Jesse back on to his side, filling him with all sorts of lies in the process. It's Jesse's reaction here--filled with as much hatred as helplessness--that will forever be etched in our minds:


Prior to that, this was Jesse's usual look:



6) The moment when Walter White became Heisenberg: We knew for some time that wholesome family man Walter White was slowing turning into a maniacal villain (especially after he orchestrated the demise of Gus Fring). But when his ever loyal wife Skyler decided to confront him about his shady extracurricular activities, he went full-on terrorist on her, solidifying his transformation with these few words:


5) Junior struggling to out-Walter Walter White: As the elder child--and only son-- of Skyler and Walter, Junior (aka Walter, Jr. aka Flynn) often felt he had to overcompensate for the fact that his father was going sporadically nuts by stepping up and calling him an a$hole, every chance he got. Bless his little heart.


4) Skyler messing up everything, then methodically putting it back together on her own terms: Skyler White is a character that has divided fans for years--she's got the interfering housewife routine down. But unlike the portrayal of many suburban women, when ish gets tough she doesn't just lean back and watch from the sidelines; she's trying to call the shots while toting a baby in her arms. We know that all she really wants is to keep her family together, despite the fact it slowly fell apart. But you can't hate on her for trying. She's got that gangsta swag that sometimes even startles Walter. And that's saying something.



3) Walter White running around in Tighty Whities for no reason at all: One of the most brilliant reasons why Walter White is such an amazing character to watch is that he's so ordinary, seemingly so normal yet can easily slip in and out of the role of a menacing psychopath. One minute he's taking out one of Gus's prime players (Jonathan Banks's Mike). The next minute he's hosting a family cookout, or running around like this:


or doing whatever it is he's doing here:



2) How it tricked us into caring about a reborn psychopath: Breaking Bad was one of the few shows in recent years where we watched a likable, morally upright character transform into a supervillain right before our eyes. It seamlessly blurs the lines between good and bad without choosing any one side over the other.



1) Todd rolling up on folks and not giving a f*^k: On a show filled with villains and antiheroes, Todd, the cherubic-faced ride or die dude, may be the most insane. He is the type that would put a bullet in your head without giving it a second thought, then gently lay your lifeless body in the ground and stick a dandelion on your grave. Despite what seems like genuine compassion for others, he's never what you expect him to be, which makes us want to always keep one eye on him.



This piece was originally published by The Urban Daily.

Sunday, September 22, 2013

Kevin Hart and Regina Hall Star In The Remake Of The 1986 Romcom, ABOUT LAST NIGHT [Trailer]

I know, I know...another remake. Yes, Hollywood is still in the midst of a creative bankruptcy, so it continues to churn out remake after remake, sequel after sequel. BUT, this one stars Kevin Hart, with whom I may just be a tad obsessed lately. He's just so damn hilarious.

The comedian stars in ABOUT LAST NIGHT, the reboot of the 1986 Demi Moore and Rob Lowe (along with James Belushi and Elizabeth Perkins) romantic comedy that navigates the ins and outs of casual and serious dating. Read the official synopsis below:

Comedian Kevin Hart and his co-star Regina Hall play a couple who are trying to be an example to their two best friends that just happened to start dating one another. The new love affair eventually leads to complications between the sex lives of both couples and their friendships. Michael Ealy (TV's Almost Human) and Joy Bryant (TV's Parenthood) play the new couple that are struggling to keep their relationship from falling apart.

"About Last Night," which is a remake of Edward Zwick's 1986 comedy that starred Rob Lowe and Demi Moore, was directed by Steve Pink (Hot Tub Time Machine) and co-stars Paula Patton, Christopher McDonald, Adam Rodriguez, and Bryan Callen. The film is set to open on Valentine's Day, February 14th.


This sounds like typical romantic comedy fare. Hart, Ely and Hall all starred in the blockbuster Think Like a Man just last year and I'm sure they're hoping to duplicate its success with this new film. Paula Patton seems to also be stuck in the romantic comedy haze (she's also got Baggage Claim heading to theaters on Friday).

I wasn't much of a fan of Steve Pink's Hot Tub Time Machine, but I did like Leslye Headland's Bachelorette. So I am hoping she brought more of that cheeky dialogue to this script. I haven't seen the original film (which is weird because I thought I saw most Moore and Lowe 80s films), so if you've seen it perhaps you can offer a different opinion about this remake.

In either case, check out the trailer below and share our thoughts in the comment box.


Wednesday, September 18, 2013

(Review) RUSH: A Thrilling Yet Ultimately Trivial Tale Of Two Race Car Drivers


Director Ron Howard's new film, RUSH, can be described as many different things--exhilarating, playful, testosterone-driven. But it can hardly be confused for being a riveting movie. Despite its high-speed racing scenes and witty banter, the story, which follows the relationship between 1970s rival Formula 1 stars James Hunt and Niki Lauda, is simply unfulfilling. While it has its moments of sentimentality, the film as a whole is rather shallow and fails to capture the soul of either man.

Hemsworth stars as hard-boozing, hard-partying, British sex magnet and race car driver James Hunt. While the role gave Hemsworth the opportunity to show some dramatic range, his entire character arc was just summarized in the previous sentence. The character is almost strictly one-dimensional, hugely defined by his chiseled abs, devilish smile and Barbie-like hair. But Hemsworth milks the whole playboy 'tude as best he can-- juggling ladies on each arm (and on either side of the bed), capping off each victory race by showering the crowd with champagne and dousing them with his inflated ego. He's riding high as the racing king until Austrian driver Niki Lauda (Daniel Brühl) surfaces as the one to beat. The methodical and far more introverted Lauda turns Hunt's winning streak on its head, ultimately setting off a years-long rivalry between the pair, who are neck and neck in nearly every race thereafter.


The film focuses on the dichotomy between the two men, and manages to draw a soft nuance in their relationship that takes on an unlikely brenemy form in the latter half of the piece. But, while Brühl's unwavering dramatic performance allows for more depth, the film still feels forced, like it's struggling the entire time to come up with something interesting to say about the two guys other than their at times boyish feud. Even Brühl's more emotion-filled scenes fall flat not due to his performance (which is the more interesting of the two), but because of the film's flimsy treatment. What results is an empty bromance piece that doesn't provide much more insight on either personality than what you may already know (which includes Lauda's unfortunate accident at the 1976 German Grand Prix that left him severely burned). In fact, the film might have been better suited as a documentary, illuminated by interviews with the people closest to real drivers. That might have amplified the themes of the film more affectingly.



The supporting characters, though aptly attired in the decade's chicest threads, don't offer much more to the story either. Olivia Wilde plays Suzy Miller, Hunt's estranged wife who spends most of the film pouting and living on the outskirts of Hunt's life. The film shows one particularly fiery argument between the couple, which only goes to show how impossible it was for Hunt to get close to anyone, both professionally and personally (according to Internet reports there seemed to be much more to his character than the shallowness portrayed in the film but unfortunately it is not explored here). Other than Suzy, we meet no one else in Hunt's family, which adds to a lack of character development. To make him even more enigmatic, his death is merely a footnote in the film (offered by none other than Lauda, who narrates).

On the other hand, we're introduced, though in a brief encounter, to Lauda's father, in a scene that marked the race car driver's resilience, independence and determination to do things his way. The addition of his wife, Marlene (Alexandra Maria Lara), further shapes Lauda's character and really allows Brühl to deliver a more resonating performance. It is also worth noting that Lara does an impressive job in an auxiliary role that doesn't have much dialogue, but still manages to impact each scene.



While screenwriter Peter Morgan creates an effective charm between the improbable duo--even weaving in themes of friendship and collaboration--RUSH still goes nowhere fast. The film may delight race car fans, but those seeking a more compelling story will have to look elsewhere.

Rating: C (**1/2 out of *****)

RUSH is in select theaters this Friday and will open nationwide on September 27th.

Six Spine-Tingling Photos Will Make You Want To Rethink Your Stay At Hotel 'OLDBOY'

I finally had the pleasure of watching Chan-wook Park's epically disturbing drama, OLDBOY, a few months ago, which made me that much more interested in how Spike Lee will re-imagine the film for American audiences. If you follow the filmmaker on Twitter, then you already know that he's promising an eye-full in his remake starring Josh Brolin. 

Film District has come up with a pretty nifty marketing ploy to further pique your interests: six spine-tingling photos to prepare you for your stay at Hotel Oldboy. Check them out below:








OLDBOY hits theaters November 27th. 

Tuesday, September 10, 2013

The Beautiful Independent Drama 'MOTHER OF GEORGE' Addresses Societal Pressures To Conceive



Raise your hand if you've been asked the following question: When are you going to have a baby? Chances are, whether you're single or married, you've been approached with this somewhat intrusive question about your reproductive system, especially if you're a woman with a biological clock that is (according to popular belief) nearing expiration. Even if you're already a parent, you may get the question: When are you going to have another baby? These days, it's hard enough to find someone you want to date, never mind co-parent a child.

That's why MOTHER OF GEORGE is such a timely film. Director Andrew Dosunmu (who directed Restless City two years ago) graciously helms screenwriter Darci Picoult's story of Adenike (Danai Gurira of The Walking Dead), a young Nigerian woman who's relocated from her native country to Brooklyn, New York, with her new husband Ayodele (Isaach De Bankolé). The newlyweds struggle to settle into their new surroundings: Ayodele opens a restaurant in the neighborhood in the middle of a recession, while Adenike finds solace in her longtime friendship with Sade (Yaya Alafia), a fellow Nigerian who's had more time to adjust to American culture.



But while the film captures Nigerian culture in a warm and honest way (down to the beautiful wardrobe), it also strikes a chord with many Americans who face similar pressures to conceive. Soon after her wedding, Adenike is probed with questions from everyone, especially her mother-in-law, about when she was going to get pregnant: When are you going to give me a grandchild? Have you thought about your age? Have you've been trying? How often? Needless to say, it becomes a stressful situation for Adenike, who's just approaching 30 years of age and is made to feel like it's her fault she has not performed her duty as a woman and given birth. At one point in the film, she tries to move the conversation away from her failed uterus by saying to her husband, I'm thinking about getting a job. This is taken as a comment of defiance yet not regarded seriously. But while Ayodele casually offers Adenike a job at his restaurant, she says she would rather earn her own money. This is a defining moment in the film as we learn Adenike's interests may stray outside what is expected of her, like finding a job and wearing subtly suggestive clothes that don't comply with her usual Nigerian attire (the latter to the encouragement of Sade). But while she has a brief moment of courage, Ayodele reminds her in just one sentence that while they may be in the land of opportunity they are still regarded as immigrants: Do you know how many Africans I know with PhDs driving taxis?




With opportunities scarce, and both Adenike and Ayodele's determination to retain elements of their culture in their new home, the focus goes back to their potential parenthood. It results in Adenike going to drastic measures to conceive, which may coincidentally be directly against their tradition and the very thing that drives her and Ayodele further apart.

With MOTHER OF GEORGE, Dosunmu helms a beautiful story that is similar to The Namesake in its humble portrait of a family grappling with cultural ideals and personal identity. He often allows the lens to direct the audience, which is evident in several slow-motion shots of characters proudly walking down the street in gorgeous African attire, and in the breathtaking intimate scenes between Ayodele and Adenike. He allows his actors to be sensual and dignified, both sexually and intellectually. There's not a gratuitous moment in the film.

Gurira, in stark contrast to her role on The Walking Dead, plays a deeply vulnerable character that pulls at the heart strings. She's slowly drifting between two worlds, with little success in either, yet manages to be so accessible as a character that you can't take your eyes off her. As her counterpart, De Bankolé also plays a sympathetic character who comes off gruff in his approach, but is someone equally deserving of empathy.

But what MOTHER OF GEORGE does best is address a shared issue we have as women--dealing with pressures to conceive a child, balancing what is expected of us by our families versus what we want for ourselves, and even our roles as women in a world in which we're still trying to fit.

MOTHER OF GEORGE is in select theaters Friday.

Rating: A (***** out of *****)

Watch the trailer:

Monday, September 9, 2013

Wendell Pierce Headlines The Quiet Independent Drama, "FOUR"


Wendell Pierce is one of those actors who, no matter how hard Hollywood may try, you can't simply put in one box. While he tackles the often more gratifying opportunities found on the small screen in hard-hitting roles like The Wire and Treme (both extremely impressive in different ways), Pierce has also tackled equally indiscriminate characters on the big screen in Night Catches Us and Ray. And he makes it look so easy.

This month Pierce is taking another trick out of his hat with his starring role in the soft-spoken independent drama, FOUR. He plays Joe, an apt name for a guy who could be anyone, someone you even might know. He's a father, a husband, a professional, a seemingly secure middle-aged man who just so happened to befriend and bed June (Emory Cohen), a young man he met while casually browsing on the Internet. Their affair, so natural yet at times first date awkward, is more of a backdrop to the larger premise of the film that is more a character study than a fluid narrative. Directed by first time feature filmmaker Joshua Sanchez, FOUR is an intimate look at four characters, including Joe and June, who are all on the brink of determining who they are.



Aja Naomi King stars as Joe's teenage daughter Abigayle, a rather shiftless teen who throughout the whole movie seems preoccupied with thoughts that have yet to stumble out of her mouth. She is persistently courted by Dexter (E.J. Bonilla), a biracial young man from the neighborhood who Abigayle noncommittally tries to swat away because of what she sees as cultural differences.When each character begins to bond in ways none of them imagined, the uncomfortable togetherness that consequentially envelopes them is the very thing they fear.

What's most impressive about FOUR is that while each scene is packed with so much tension--both emotional and sexual--the film itself is remarkably quiet. Not simply on account of its delicate internal and interpersonal dialogue, but also on account of the external circumstances in each scene. The entire film is set in the dark of night over the course of a few hours, when most everyone around else these characters is asleep or tucked away from the outside. Much of the film feels like a singular moment, like these four souls are the last people on the planet, trapped in their silent purgatory. They must figure out how to rely on themselves and each other. There's a sense of frustrated urgency about this that makes you yearn for closure within them. But, in fact, you never get it.

That's probably the only aggravating part about the movie--that it increasingly builds up to something that never actually happens. While both Dexter and Joe are the more emotional aggressors in the film, all four characters are hiding something--from either themselves or others. Just when you think by the end of the film all the tension will be released in cataclysmic form, it doesn't. It kind of just withers away, leaving us to decide how things will work out between them.

There's something really interesting about one-night setting films, when all is quiet and characters (especially those like these four) are left alone with their thoughts and feelings. It felt very solitary in every sense.



It helps that the actors make the characters that much more intriguing to watch. Pierce makes another case for why he's one of the most versatile actors around in a restraining yet equally bare-skinned performance that is still but a sliver of his potential. Cohen, who some may know from his work in The Place Beyond the Pines and on TV's Smash, is appropriately vulnerable yet drenched in repression and teenage angst. But since he shares most his scenes with the dominant Pierce, his finicky nature is often absorbed by Pierce's performance.

King and Bonilla subsequently provide the film's dialogue dance in that both their characters have undisclosed intent while struggling with their own hangups. Their conversation is timid but will likely resonate with younger viewers.

Sanchez, who adapted Christopher Shinn's play of the same title, is a rather distant filmmaker, letting the performances to do the majority of the storytelling. He brings the fragility of Shinn's story, which in turn allows the audience to focus on what is happening between the characters. Although it is yet to be determined what Sanchez's voice is, he can at least be praised for presenting a stage play to a film-going crowd.

Rating: C

FOUR is in select theaters Friday.

Saturday, September 7, 2013

See The Image Gallery From Director Ron Howard's Action Drama, RUSH

Are you a Formula One fan? Then you might be interested to see director Ron Howard's upcoming drama, RUSH, which follows 1970s dueling race car drivers James Hunt and Niki Lauda. Australian actor Chris Hemsworth will play British driver Hunt and Spanish actor Daniel Brühl will play Lauda, who hails from Britain. Below is the official synopsis of the film:

Release date: Sept. 20, 2013 (NYC and L.A.), Sept. 27 (Wide) 

Genre: Epic action-drama 

Cast: Chris Hemsworth, Daniel Brühl, Olivia Wilde, Alexandra Maria Lara, Pierfrancesco Favino 

Directed by: Ron Howard 

Written by: Peter Morgan 

Produced by: Andrew Eaton, Eric Fellner, Brian Oliver, Peter Morgan, Brian Grazer, Ron Howard 

Executive Producers: Guy East, Nigel Sinclair, Tobin Armbrust, Tim Bevan, Tyler Thompson, Todd Hallowell 

Two-time Academy Award® winner Ron Howard (A Beautiful Mind, Frost/Nixon) teams once again with two-time Academy Award®-nominated writer Peter Morgan (Frost/Nixon, The Queen) on Rush, a spectacular big-screen re-creation of the merciless and legendary 1970s Formula 1 rivalry between gifted English playboy James Hunt (Chris Hemsworth of The Avengers, Thor) and his disciplined Austrian opponent, Niki Lauda (Daniel Brühl of Inglourious Basterds, The Bourne Ultimatum). 

Set against the sexy and glamorous golden age of racing, Rush portrays the exhilarating true story of the charismatic Hunt and the methodically brilliant Lauda, two of the greatest rivals the world of sports has ever witnessed. Taking us into their personal lives and clashes on and off the Grand Prix racetrack, Rush follows the two drivers as they push themselves to the breaking point of physical and psychological endurance, where there is no  see him play someoto victory and no margin for error. 

Olivia Wilde (TRON: Legacy) and Alexandra Maria Lara (The Reader) co-star in the epic action-drama as, respectively, Suzy Miller and Marlene Lauda, the loves of James and Niki's lives who watched and feared as the men rocketed toward possible death. 

Rush is produced by Andrew Eaton (A Mighty Heart, The Killer Inside Me), Eric Fellner (Les Misérables, Tinker Tailor Soldier Spy), Brian Oliver (Black Swan, The Ides of March), Morgan, Oscar® winner Brian Grazer (Apollo 13, A Beautiful Mind) and Howard. The film was co-financed by Cross Creek Pictures and Exclusive Media, and produced in association with Revolution Films and Imagine Entertainment. 

Executive producers for the film are Guy East (The Woman in Black, The Ides of March), Nigel Sinclair (The Ides of March, End of Watch), Tobin Armbrust (End of Watch, The Woman in Black), Tim Bevan (Les Misérables, Tinker Tailor Soldier Spy), Tyler Thompson (Black Swan, The Woman in Black) and Todd Hallowell (Apollo 13, Frost/Nixon). Universal Pictures distributes the film in the United States. 

Rush was filmed on location in the U.K., Germany and Austria http://www.rushmovie.com

While I can't claim to be a race car fan, I do love looking at Chris Hemsworth. It would be nice to see him play someone other than a norse god. I'm not familiar with Brühl, despite having seen a few of his previous films. As for Olivia Wilde, she seems to have made a career out of being the pretty arm piece in many of her movies. Not sure if she's doing much else in this one. 

This is a very interesting choice for Howard, who's mostly known for more "thinking man" pieces. But he's a great filmmaker (and Peter Morgan is also a wonderful storyteller), so I do have my eye on this one. Check out a few images from the film below:











Friday, September 6, 2013

Watch The Official Trailer For The ROBOCOP Remake

I totally forgot this movie was even happening. No, actually I thought it happened already and it was called Dredd. Welp.

Anyway, I'm sure you remember the 1987 sci-fi film, ROBOCOP, starring Peter Weller as a cop/cyborg. Like many films in its genre, it's been remade and now stars Joel Kinnaman (Safe House). More on it below:

Alex Murphy (Kinnaman) is a loving husband, father and good cop doing his best to stem the tide of crime and corruption in Detroit. After he is critically injured in the line of duty, OmniCorp utilizes their remarkable science of robotics to save Alex's life. He returns to the streets of his beloved city with amazing new abilities, but with issues a regular man has never had to face before.

So, essentially the same thing as the original film. The remake is directed by José Padilha (whose only only feature credit is the Brazilian film, Elite Squad: The Enemy Within), and also stars Gary Oldman, Michael Keaton, Abbie Cornish, Jay Baruchel, Samuel L. Jackson, Jennifer Ehle, Jackie Earle Haley, Michael K. Williams and Marianne Jean-Baptiste. 

Check out the trailer:



I honestly have no opinion on this. What do you think? ROBOCOP is in theaters February 7, 2014. 

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