Category: Sci-Fi Movies (Page 3 of 93)

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 »

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…”

Superbowl movie ads

If you happen to be one of those weirdos like me who missed the Superbowl but want to see some of the new glimpses of upcoming big time movies being offered during the big broadcast, you’ve come to the right place. (Admittedly one of many right places all over the ‘net.)

We’ll start with the one that maybe has aroused the most curiosity, if only because the least has been known up to now. J.J. Abrams’ “Super 8.” True to its press, what little there’s been, it appears to be kind of “Close Encounters of the Extra-Terrestrial Kind.”

Now here’s more of “Captain America” than we’ve seen before. We even get a split second of the Red Skull (for some reason my favorite super villain as a kid).

A moment with everyone’s favorite Asgard resident.

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RIP John Barry

Good film music enhances movie scenes. Great film music takes a good, bad or indifferent scene and lifts it into the stratosphere. Really great film music does that and is also enchanting to listen to in any context. By that measure, John Barry is one of the best film composers ever.

He might have lacked some of their complexity, but in emotional and melodic terms he is very much on a par with the greatest film composers of all time, including Ennio Morricone, Nino Rota, and Bernard Herrmann — and their music charted much less frequently. John Barry could write a complex, soaring pop hit that might make Burt Bacharach jealous. He wasn’t afraid to be over-the-top when the job called for and embraced a certain level of kitsch where appropriate. He didn’t over-value subtlety.

Mr. Barry died yesterday in New York from a heart attack at age 77, not super young but another twenty or thirty years of his presence on the planet would have been nice, too. Even today, when many young film viewers are only barely aware that some guy named Sean Connery once played James Bond, if I ask almost anyone to think of “spy music,” they’re probably going to think of either the actual music from the early James Bond films or music heavily influenced by it. That’s just scratching the surface.

Barry evoked beauty, longing and mystery for all kinds of films. His 111 composing credits included Oscar-winning scores for “Out of Africa,” “Born Free,” the colonial war classic “Zulu,” his groundbreaking combination of scoring and music supervision on “Midnight Cowboy,” the cult fantasy-romance, “Somewhere in Time,” a now very obscure 1972 live-action musical version of “Alice’s Adventures in Wonderland” and Richard Lester’s masterpiece, “The Knack and How to Get It.” Other scores include “Dances With Wolves,” “The Lion in Winter,” and the three movies that starred Michael Caine as anti-Bond workaday spook, Harry Palmer. Barry had the spy market cornered, and he was one very cool cat.

If you’ve never heard his fascinating and funny 2004 interview with NPR’s Terry Gross where he discusses “million dollar Mickey Mouse music,” now’s a good time. As you can always bet on, there’s much more at MUBI and be sure to check out this anecdote from Sir Michael about being present at the creation of a pop masterpiece. After the flip, just a few somewhat random clips of some of Barry’s best.

Continue reading »

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