Category: Sci-Fi Movies (Page 41 of 93)

Monday night at the movies, the post TCM Fest edition.

I’m recovering from the fest and doing other stuff as well, so I’m going to try and keep things fairly short tonight.

* The non-extra initial Blu-Ray/DVD release of “Avatar” has, guess what, done very, very well.

* Thanks, Hef! He saves the world for heavily retouched naked women, pays writers more than just about anybody, and now he ponies up the missing funds to save the Hollywood sign.

* One item I don’t actually have to link to report on is that the TCM Classic Film Festival is going to be back next year, with the idea of being an annual event. I can do that because I was present at last night’s big screening of “Metropolis” where none other than Robert Osborne announced it to the assembled multitudes at the more beautiful than ever Grauman’s Chinese Theater.

What was interesting about the way this festival was marketed is that people who live in Los Angeles were clearly not the primary target. Individual ticket prices were roughly double what film geeks like myself are used to paying to see similar presentations — actually more than double when you consider that most repertory programs are actually double bills. With the exception of fellow press and a USC film student who had picked up one of thirty free tickets that has been donated, everyone I spoke to was from elsewhere, and usually a place where the opportunity to see such frequently revived cinematic warhorses as “Casablanca” and “Some Like it Hot” on the big screen are nevertheless beyond rare.

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The “Metropolis” that won’t be screening at TCM Fest

Back in 1984, film composer and hit-maker Giorgio Moroder scored a version of Fritz Lang’s “Metropolis” with the help of passel of rock stars of the day. Despite being a rather visually dazzling edition of the pioneering science-fiction film on a visual level, for me, it was a disaster. It was hampered by Moroder’s oddly anachronistic soundtrack (the future from the twenties perspective should not sound like 1980s disco), and utterly ruined by the inclusion of vocal tracks from singers like David Bowie and much, much worse, Pat Benatar, who I didn’t much care for in any context.

Regardless, I think there’s something very, very wrong and distracting about combining pop vocal music with silent cinema. See if you agree.

Whining and the magical movie moment solution

I’m having a rough morning here. Not that it’s been all bad here at TCM Fest in the heart of Hollywood, in fact a lot of has been very good.  I did catch three movies yesterday, each in their own way fascinating: the unusually emotional Delmer Daves western, “Jubal”; the bizarre and fascinating inept and inapt once ultra-scandalous wartime British gangster film set in America, “No Orchids for Miss Blandish”; and the first public screening of the 1963 sci-fi/horror hit “Day of the Triffids” in a genuinely impressive restoration which would have been even better if I hadn’t been so sleepy — or if the introduction hadn’t been so long. (It’s hard to blame a film restorer for excess enthusiasm, but, well, the garages close here at 2:00 a.m.). A post screening discussion between Leonard Maltin and Ernest Bognine after “Jubal” earlier in the day, on the other hand, was another highlight. I’ll be posting about that one a bit later, I think.

But then there was the hour I just spent trying struggling with IT people to try and use the wi-fi at the Hollywood Roosevelt Hotel. (Absolutely no knock on the hotel, where everybody has more than helpful and I seem to be the only one having the problem. Apparently they’re system and my lousy Vista using laptop computer are just having a bad relationship.) And, so, I find myself back at the Coffee Bean and Tea Leaf trying to tie up loose ends, including feeding this here blog beast. And I’m in need of a bit of cinematic comfort.

Fortunately, tonight the festival is coming to the rescue with some old personal favorites of mine and about a gazillion other people. So, now a movie moment from “Singin’ in the Rain” showing tonight at the Egyptian Theater with its great co-director, Stanley Donen, appearing afterward. I wasn’t sure about it as I’ve seen it a million times, but I can definitely use the cinematic comfort. And here’s it is….

…No, actually, here it isn’t because suddenly all the clips I can find on YouTube on “embedding disabled upon request.” It’s been that kind of a morning. So, instead, here’s a pretty great clip from 1935’s “Top Hat” which showed last night.

Live from TCM Fest

Yes, I’m typing this from the lobby of the Beautiful Hollywood Roosevelt and rushing to make the 3:15 screening of the soon to see the rediscovered western, “Jubal.” But here are two very quick news bits.

Ryan Reynolds is * We have two new major releases this weekend, “The Back-Up Plan” (which our own David Medsker hated, particularly on behalf of those who have given birth or been associated with those who have) and “The Losers.” Neither is expected to hit the #1 mark. That will be either “Kick-Ass” or, once again, “How to Train Your Dragon.”  In limited release, we also have not another superhero-related comedy, but I take it more of a superhero related drama or dramedy, definitely a tad more sensitive than “Kick-Ass,” “Paper Man.” It’s yet another film which has Ryan Reynolds doing the long-underwear hero thing.

* Thanks to my friend, once and, I hope, future blogger and all-around good guy Zayne Reeves, I heard about the revelations regarding an “Alien” prequel that Ridley Scott told MTV News, Onion A.V. Club has the short version for hurried people like you and I. Basically, it’s about the dead “space jockey” the original crew of the Nostromo found all those years back.

No leave me alone, I’ve got movies to see!

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It is not dying

It’s apparently just a movie called “Enter the Void” from director Gasper Noe which divided viewers at Sundance this year. In my gore-phobe cinema chicken hood, I’ve avoided seeing Noe’s infamously ultraviolent and/or disturbing art-house sensations, “Irreversible” and “I Stand Alone.” This time, however, I’m not imtimidated and ready to have my mind blown, or the opposite.

Certainly this new film is no less a love-it/hate-it/respect-it-but-vow-never-to-see-it-again proposition than past Noe films. However, this time the issue is not so much violence, or even the apparently frequent sex scenes (not a problem for me), so much as the fact that even critics who love it warn that you may well be thoroughly bored. Another writer was so negative that Noe asked if he had raped his mother (presumably the answer is “no”) but even he admits Noe is an enormous talent and even provided the trailer below.

Devin Faraci of CHUD, in a highly qualified rave, tells us that “Enter the Void” is in some way based on The Tibetan Book of the Dead, the ancient spiritual text about the afterlife which was rediscovered in the sixties by acid guru Timothy Leary and alluded to in the creepiest and most brilliant of John Lennon-penned Beatles acid tunes, “Tomorrow Never Knows.” Watching the trailer below — both subtly headache inducing with its strobe visual effect (at least I think that’s what’s going on) and very, very beautiful — I can’t but think just a bit of another oddly experimental film that not everyone can sit through from Noe’s favorite director, Stanley Kubrick “2001: A Space Odyssey.”

In any case, I definitely think everyone whose old enough should check out this trailer. It’s not something you see every day.

We’ve got a very special bonus video for you all, right after the flip.

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