Tag: Rodrigo Cortés

Weekend box office never sleeps, does it?

It’s certainly not resting this very busy weekend when the return of Mr. “Greed is Good” himself and a bunch of 3-D fantasy owls will battle for the #1 spot, with any number of other interesting things happening on the sidelines.

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The smart money seems to be pretty positive that “Wall Street: Money Never Sleeps” will earn in the neighborhood of $20 million and so may end up winning the weekend. At least that’s what I’m reading via jolly Carl DiOrio and the more circumspect Ben Fritz.

The audience for the latest from Oliver Stone skews fairly older, not only because it’s a topical thriller from the bombastic but literate Stone, but because it’s a sequel to a hit movie that is — shockingly for some of us — old enough that 24 year-old co-star Shia LaBeouf was barely a toddler when it first came out. That may help with the film’s longevity since older audiences tend to take their time seeing a new movie. Also, a bit of extra publicity from Gekko-man Michael Douglas‘s well-publicized upbeat battle with cancer might add to awareness over the long term. The reviews, which also have a somewhat stronger effect on older viewers, are only meh-to-okay with somewhat better response from more blue-state-centric “top critics.”

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The lonely grave of Ryan Reynolds?

No time for my usual prolixity tonight, but here is the new international trailer for “Buried” an apparent two-man show from director Rodrigo Cortés and star Ryan Reynolds, which presents us with a cinematic challenge in screen suspense that might have made even Alfred Hitchcock in his  “Rope,” “Rear Window” and “Lifeboat” mode think twice. You may compare and contrast with the earlier trailer here.

H/t First Showing.

The “Buried” teaser trailer — don’t expect an eyeful

When I was in UCLA’s film school, sometime in the antediluvian celluloid era, the most grueling and rewarding class was “Project 1” in which all students were forced to become the auteurs of their own Super-8 epic. Just to make things a little extra tough, we were also forced to use 16mm sound in combination with the 8mm picture, which, trust me, created nightmarish problems regarding syncing sound to picture that essentially turned post-production into a cinematic hazing ritual. As we students expressed our frustration, inevitably someone would come up with same silly/sick joke about doing a film “from the point of view of Helen Keller” — i.e., complete silence and no visuals — or, a bit less minimalistically, “from the point of view of Stevie Wonder.”

Well, eventually, one of my friends did make a film that was close to the latter, with some clever dialogue which I won’t try to reconstruct here. Ever since then, I don’t remember anyone trying to make anything quite so minimal, that is until now….

This comes via Pete Sciretta at /Film who really seems to think that this film, which takes place entirely in the coffin and is most definitely not for the seriously claustrophobic, is terrific. Now, I’m definitely a fan of moves that take place in relatively confined spaces. “Rear Window” is one of my all-time favorite films, but I imagine there have to be limits. However, if I actually enjoy watching “Buried,” rather than merely enduring it, that will be an achievement that will force me to take director writer Chris Sparling, director Rodrigo Cortés and star Ryan Reynolds very seriously.

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