The trailer for the first 100% 3D live-action superhero movie — at least that I can think of — starring Christopher Helmsworth, Natalie Portman, Anthony Hopkins and a bunch more folks is online.
According to earlier slightly spoilery reports, Thor’s funny book alter ego, Donald Blake, shows up at the end of the movie somehow. Neither hide nor hair of him here, however. Also, it looks like maybe a bit more of it is set on earth than those earlier reports indicate.
It’s been a personally rather stressful week in a good-news/bad-news kind of a way and Hollywood ain’t doin’ nothing to relax me. And so, we begin with a deep breath…
* The first half of “Harry Potter and the Deathly Hallows” will be in a mere 2D. Two dimensions were good enough for Rick Blaine, they’re good enough for Harry. Especially if they really were facing serious technical difficulties, smart move. No studio needs another “Clash of the Titans” fiasco.
* Classic film lover that I am, I also feel pretty good about “My Week with Marilyn” which has Michelle Williams as Marilyn Monroe, Dougray Scott as her beleaguered husband, playwright Arthur Miller, Kenneth Branagh (who else?) as Laurence Olivier, and Julia Ormond as Vivien Leigh (!) among others. And check out the pic of Ms. Williams/Monroe that’s been circulating all over the net today.
Aren’t you glad I used that pictures instead of something of Phil “Mr. Fright Wit” Specter or Al Pacino?
Running just over four hours in length, Kenneth Branagh’s 1996 production of “Hamlet” isn’t exactly the kind of film that the casual moviegoer pops in on a rainy day, but is instead tailored almost exclusively to cinephiles and diehard fans of Shakespeare. That’s because unlike previous film adaptations of the famous play, Branagh’s version is the first (and probably the last) to utilize the full text, resulting not only in one of the most ambitious studio movies of the last 15 years, but also the most complete film adaptation to ever be made. It just so happens to be one of the best, too, thanks in part to Branagh’s skillful direction, a treasure trove of fantastic performances (including Derek Jacobi as Claudius and Julie Christie as Gertrude), and gorgeous cinematography that benefits from Branagh’s decision to shoot the movie in 70 mm.
It’s completely coincidental that “Hamlet” was released around the same time as the formative years of my literary studies, but although I was already quite taken with Shakespeare’s play by the time I stumbled onto Branagh’s film, it only further deepened my appreciation for the work. And once you see his version of “Hamlet,” it’s really difficult to accept any other. I’m certainly not alone, either, as many people had been clamoring for the film to be released on DVD for years before Warner Bros. caved in with a belated 10th anniversary special edition. (And on my birthday, no less.)
Thankfully, we didn’t have to wait nearly as long for the Blu-ray, and the fact that it’s being released the week after my birthday makes me believe that, in some cosmic way, I’m somewhat responsible. So if you’ve been counting down the days until you could experience Branagh’s “Hamlet” in high definition, you’re welcome. Unfortunately, while the film looks brilliant in HD, there are no new special features to speak of. Granted, the ones that appeared on the two-disc DVD were already pretty good – the commentary by Branagh and Shakespeare scholar Russell Jackson is entertaining and insightful, and the making-of documentary “To Be on Camera,” although a bit dated, features some nice interviews with the cast – but surely they could have dug up something from the archives. Not that it will matter. Anyone that owns the DVD will want to pick up the Blu-ray strictly for the technical upgrades. And when you’re dealing with a movie with such lush production values, it’s more of a necessity than a luxury.
A highly accomplished stage actor, trained at Julliard under the tutelage of such exacting instructors as the legendary John Houseman, Kevin Kline pretty much started his film career as one of the best of the best, a genuine “actor’s actor” and also something of an old fashioned movie star with the presence to match. His first movie role was opposite Meryl Streep in Alan Pakula’s 1982 Oscar-winning film version of “Sophie’s Choice.” That was followed by Lawrence Kasdan’s Oscar-nominated ensemble dramedy, “The Big Chill,” and a leading role opposite Denzel Washington in Richard Attenborough’s portentous 1987 apartheid drama, “Cry Freedom.”
Though that was followed up by a part in Kasdan’s lighthearted homage to classic westerns, “Silverado,” Kevin Kline’s comic gifts remained under-recognized until his utterly ingenious, deservedly Oscar-winning turn as the murderous and hilariously insecure and pretentious Otto in the farce classic, “A Fish Called Wanda.” After that Kline became one of the screen’s most reliable comic leading men with parts in such high-quality mainstream comedies as “Dave” and “In and Out,” was well as the occasional part in such hard-edged tragicomic dramas as “Grand Canyon,” again with Lawrence Kasdan, and Ang Lee’s “The Ice Storm.”
Kline, who recently completed a successful stage run in Edmund Rostand’s Cyrano de Bergerac opposite Jennifer Garner, has — like other outstanding actors of his generation — gracefully moved from the A-list to the art-house. Though once noted for turning down movie roles in favor of stage work — John Stewart reminded him of his “Kevin Decline” nickname on his recent “Daily Show” “Colbert Report” appearance — Kline has been a busy and hugely reliable film actor for decades. More recent roles include the screen’s first correctly gay Cole Porter in the 2004 musical biopic “De-Lovely,” Garrison Keillor’s radio detective Guy Noir in Robert Altman’s 2006 swan song, “A Prairie Home Companion,” Jacques in Kenneth Branagh’s version of Shakespeare’s “As You Like It,” and the 21st century’s version of Inspector Dreyfus opposite Steve Martin‘s Inspector Clouseau in the rebooted “Pink Panther” series.
Add to those the role of the suave but irascible platonic male escort Henry Harrison in Shari Springer Berman and Robert Pulcini’s adaptation of the Jonathan Ames novel, “The Extra Man.” Taking in a confused and nervous younger protegee (Paul Dano of “There Will Be Blood”), Harrison is an utterly reactionary self-made throwback to another time and place, and an ideal role for an actor gifted with the finest of old fashioned acting virtues.
And then Mike Fleming, and every fanboy on earth it appears, found that the Comic-Con trailer for “Thor” had magically appeared on line, Wikileaks style. Anyhow, just as I had prepared this post, the folks at Marvel who apparently have a control issue with their marketing plan much as the U.S. government would rather you didn’t know too much about civilian casualties or the like, pulled it. I mean like seconds ago — it was there and I was ready to go and then it was gone. If you didn’t see it elsewhere, it was all Shakespearian and stuff and had more than a touch of “King Lear” to it, which makes sense as it’s directed by Kenneth Branagh.
So, since I don’t have the Thor trailer, here’s not one but two trailers. The first, a bit of Branagh directing actual Shakespeare and the probably never to be rivaled best ever quasi-Lear in cinema history. Enjoy, as you taste my bitter fanboy tears.
You know, I love Shakespeare and all, but his stuff is so full of cliches. Well, you’ll see none of that from Kurosawa-san.