Tag: Steven Spielberg (Page 2 of 6)

New gig, old gig: Steven Spielberg

Today we’re going to start what I think might be an occasional series of posts where I highlight a movie news story about someone’s new job — which is probably about half the movie news stories (when people aren’t merely “mulling,” “eying” or “circling” new jobs) — and then provide you with a clip of past work I deem somehow relevant.

Okay, so the news here is that Steven Spielberg is returning to directing science fiction with “Robopocalypse,” an adaptation of Daniel H. Wilson’s recent novel written by “Buffy”-alum Drew Goddard (“Cloverfield,” the ever-delayed “The Cabin in the Woods”). Though I love science fiction, I’m much more a fan of Spielberg when he gets outside his old comfort zones on movies like “Munich,” “Catch Me If You Can,” even the sometimes-derided “Schindler’s List” and  “The Terminal.” Still, apart from the just about perfect “Raiders of the Lost Ark” — which is more fantasy than science fiction anyhow — his best, though still flawed, SF movie has to be “Close Encounters of the Third Kind.”

Below, as Richard Dreyfuss and former French New Wave wunderkind François Truffaut look on, 1977’s cosmic equivalent to “Dueling Banjos.”

Movies news on a Monday night

Direct from the Starbucks at Pico & Robertson…

Jon Hamm in * Rumors have been circulating for at least a week that Jon Hamm of “Mad Men” and now “The Town” is being considered to play Superman. I’m a huge fan of the guy, but count me among those who think he’s a bit old to play an eternally youthful superguy, if there’s going to be more than one movie anyhow. Kal-El is not Tony Stark. In any case, apparently someone else who it appears did turn down the role of Superman director was Guillermo del Toro. Actually, if they ever make a movie set in the Bizarro world, del Toro would be the guy. Otherwise, I don’t see it at all and, it seems, neither did del Toro.

* In terms of film biz transactions, the Toronto International Film Festival surprised everyone and did rather well with numerous indie films being purchased for release. What doe it mean? Mike Fleming sees a modified return of the indie market, though with a thriftier than ever edge.

* The first casting news has come for the J.J. Abrams’ science fiction Steven Spielberg homage/collaboration, “Super 8.” Naturally, one of the stars is a young person — Elle Fanning. The other is closer to my age and is best known for his TV work. No, it’s not Abe Vigoda, but Kyle Chandler of “Friday Night Lights.”

* Speaking of people in my general age cohort who can’t escape their youth, Keanu Reeves is apparently getting colleauges like Alex Winter ready to do a middle-aged edition of the “Bill & Ted” epic. As actors go, Reeves may not be a Philip Seymour Hoffman-level thespian, but he really excels at certain kinds of comedy and I’m board for this. He does a pretty good Werner Herzog, besides.

* Tim Burton is going back to where he started as a director with a stop-motion version of his career-starting live-action short, “Frankenweenie.” The voice cast has just been announced and it will include Winona Ryder, Martin Landau, and SCTV alums Catherine O’Hara and Martin Short.

* Did anybody out there ask for a “Timecop” reboot? Simon Brew is game.

* Re: l’affaire du Hulk back in July, Edward Norton continues to kill Marvel’s Kevin Feige with perhaps not kindness, but civility. Ouch.

* I beg to differ with Sarah Silverman, her “full frontal” nude scene will be pretty. Very pretty.

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* I’ve seen movies in some mighty small “shoebox” multiplex theaters and screening rooms, but if you’re wondering how small a movie theater can be, this promotion for “Buried” answers the question.

* As I write this I’m getting ready to watch the multi-director documentary “Freakonomics” for free. You however, may pay as little as a penny and as much as a $100 to see it this Wednesday. It’s your choice. Still, we know there’ s no such thing as a truly free, or almost free, anything and, as with writers like myself, some effort is expected in return. Details here.

Red Carpet Chatter: Mike Nichols Gets His AFI Lifetime Achievement Award

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Born in 1931 in what was very soon to become Hitler’s Germany, young Michael Peschkowsky was living in Manhattan by 1939. It was great luck both for the future Mike Nichols and for the country that accepted him.

Nichols is, of course, one of the most respected directors in Hollywood, and for good reason. He’s the original, craftsmanlike, and emotionally astute directorial voice responsible for such sixties and seventies classics as “Who’s Afraid of Virginia Woolf?,”  “Carnal Knowledge” and, of course, “The Graduate” (the source of his only directorial Oscar so far) as well as such eighties, nineties, and oughts successes as “Silkwood,” “Working Girl,” “The Birdcage,” and “Closer.” Even if some of the later films are not on the same level of quality as his earlier films — and several, especially his 1988 box office hit, “Working Girl,” stray into mediocrity — it’s still one of the most impressive and diverse careers of any living director in Hollywood.

That’s just on the big screen. On television, Nichols has rebounded in the eyes of many critics, directing two of the most acclaimed television productions of the last decade, 2001’s “Wit” with Emma Thompson, and the outstanding 2005 miniseries adaptation of Tony Kushner’s brilliant and mammoth epic play, “Angels in America.” With his 80th birthday just a year and a half away, he’s still working hard with two thrillers movies planned, including an I’ll-believe-it-when-I-see-it remake of Akira Kurosawa’s “High and Low” currently being rewritten by the decidedly counter-intuitive choice of Chris Rock.

Before he directed his first foot of film, Mike Nichols was a noted theater director. That in itself is not so unusual a root for directors to travel. What is different is that, before he was a noted theater director, he was half of one of the most influential comedy teams in show business history, Nichols and May. (His comedy partner, Elaine May, went on to become an important, if less commercially successful, writer and director in her own right.)

Still, from the moment he directed his first major play, Neil Simon’s “Barefoot in the Park,” Nichols mostly abandoned performing. Today, his highly regarded early work is mostly known only to fairly hardcore comedy aficionados.

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Midweek movie news, the Cannes kick-off edition

With the super-hum0ngous Cannes Film Festival opening today — with Tim Burton heading the festival jury, btw –the movie news is in a kind of hyper-drive.  Also, it’s been a few days since I’ve done one of these newsy posts. So, you’ll have to excuse me as I merely skim the surface.

* Is it that no one’s writing books or plays anymore, or do we really need to keep making movies based on games? Tim Burton, it so happens, is the next to contemplate the matter. Will “MONSTERPOCALYPSE” be the first game-based film to screen at Cannes, or will that be “Checkers: the Movie”?

* Here your fix of Cannes-related glitz, and also details on the rather big film-making names. Meanwhile THR takes a moderately bullish look at the market-side of the event.

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“Super 8” trailer

I’m delaying my next news-aggregation type post until tomorrow morning because, not only am I way ready for dinner, I didn’t want to delay the teaser trailer for the already-much ballyhooed collaboration between J.J. Abrams and Steven Spielberg. There was an earlier version of this that was shot by a video camera. Quite frankly, I just didn’t see the point. Now, we have the real thing and it’s pretty neat-o.

I have to admit that, at least based on the name, and the really nifty explosions, I’m kind of liking this one already. Also, most of you digital generation youngsters might know know about it, but Super 8 was, in its funky way, pretty beautiful. Of course, the connection between the film format and the movie — which presumably will be shot mostly in 35mm — remains unclear. Still, it’s an interesting little trailer for what we understand is science-fiction film with some resemblance to early Spielberg and clearly something to do with alien life forms. I’m definitely picking up a slight “Close Encounters of the Third Kind” vibe.

H/t to the Playlist who also bring us the mystery of the briefly seen face.

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