Category: External Movies (Page 12 of 336)

Thursday trailer: “X-Men: First Class”

It’s still the dead of Winter, but Summer (or the movie version of it, which actually stars in late Spring) is getting closer every day. “X-Men: First Class” is of special interest to me as it marks the return of director Matthew Vaughn to the franchise. (Vaughn famously dropped out the third X-Men installment shortly before production and was replaced by nobody’s favorite, Brett Ratner.)

Ironically, I’m not the biggest fan of any of the “X-Men” movies I’ve seen so far. However, Vaughn and his writing collaborator, Jane Goldman, most recently of “Kick-Ass,” have batted 1000 a with me as they careen from genre to genre and fail to rake in the big money I think they richly deserve. Let’s just hope this isn’t only a movie for critics and hardcore genre geeks. As you probably already know, James McAvoy is a much hairier and more ambulatory Dr. Charles Xavier and Michael Fassbender is a much younger Magneto.

H/t Deadline. I’m definitely digging the retro vibe here.

Shane Black and “Iron Man 3” — a non-story worth mentioning

You guys have no idea how incredibly tired I am of stories about actors, directors, or writers “circling,” “eying” or even negotiating a given project. Still, sometimes an entertainment writer’s gotta do what an entertainment writer’s gotta do.

shane-black-downey-jr

Tonight’s big story a possible example of what Hollywood always loves: the big comeback. In this case, Shane Black, the onetime highest paid scriptwriter in Hollywood, creator of the “Lethal Weapon” franchise at age 24, and writer-director of the charming, critically praised, highly imperfect, 2005 culty money-loser, “Kiss Kiss, Bang Bang,” is reportedly in the running to write and direct “Iron Man 3,” obviously one of the bigger projects being tossed around right now.

Despite what seemed like a charmed career early on, Black’s life has never been easy. Moreover, his comeback since 2005 has been a mixed bag at best. Aside from the box office failure of his nevertheless widely liked directorial debut, he’s also had what appears to be the mother of all bad break-ups, the kind that gets you into TMZ, and probably the less I say about that, the better for everyone. Of course, the fact that “Kiss Kiss” starred Robert Downey, Jr. at a time when his own career and reputation badly needed a boost may not have hurt him getting this new gig. The movie made a pittance, but in terms of restoring Downey’s then very shaky credibility in Hollywood, it was priceless. Also, the notoriously penny-pinching Marvel may like the idea of using a talented filmmaker in need of a big break in terms of those negotiations.

I hope it happens and that it goes well. Despite the bad press in 2009, Black is certainly one of the better liked people in the geekier quarters of Hollywood, makes a great, unusually candid interview subject, and, though he has yet to create his true masterpiece, is clearly a talented and bright creator. I’m hoping this one takes.

After the flip, a moment or two of flawed genius from “Kiss Kiss Bang Bang.” Continue reading »

Two trailers

Today’s theme is teen romance, attempted humor and single-word title division.

Disney’s “Prom” — via La Finke — gets some socially positive points for attempting to integrate one or two remarkably real-looking, non-beautiful teens amidst the usual parade of dreamboats, but I still wonder whether anyone over the age of 14 will actually want to see this. The trailer makes me think of an adult’s idea of what a teen movie should be, which of course is exactly what it is.

And now for something completely different in the way of teen romantic comedy. Critical claims of originality aside, “Submarine” clearly doesn’t mind paying homage to the 60s New Wave and “The 400 Blows” in particular as it adopts a novel by Joe Dunthorne. The plot sounds like “The Virginity Hit” minus the crassness, technology, and stupid Americans. Mixing in a bit of English deadpan with the Andersonian-esque quirk doesn’t look bad either.

The writer-director is Richard Ayoade, known to some of you as the deadpan Moss of “The IT Crowd.” The on-screen adults are Sally Hawkins, Noah Taylor, and Paddy Considine.

H/t /Film.

How did The History Channel miss this one?

I don’t know how it took more than 70 years for someone to come up with this. Director Richard Raaphorst of the Netherlands gives us the story how the Nazi war machine literally built its fighting forces, “Frankenstein’s Army.” Warning: contains some relatively mild black and white WWII gruesomeness with some rather brilliantly disturbing historical resonances.

H/t the Film Drunk.

Now, sing with me fellow Elvis Costello fans: “Frankenstein’s Army is here to stay; Frankenstein’s Army are on the way…”

OMG! Brad Bird giving up animation under extreme duress!!! I repeat, “OMG!!!!”

The first 4.5 minutes of this awards video of Brad Bird’s extremely well deserved Windsor McKay Award from the Annies is pretty much your standard career retrospective about the former “Simpsons” creative turned writer/director of the instant classics, “The Iron Giant,” “The Incredibles,” and “Ratatouille.” In the second half, Bird himself appears. He’s presumably somewhere near the set of his live-action debut, the next “Mission: Impossible” installment, which will star Tom Cruise and Simon Pegg, among others.

The weird part is that he says he’s giving up animation forever, but then it gets weirder and more worrisome.

H/t Mike Fleming.

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