"A ravishing visual feast." Sony Pictures Classics has debuted an official trailer for an acclaimed cinematic documentary titled Aquarela, which premiered at the Venice Film Festival last year. It also played at the Zurich, London, Göteborg, and Sundance Film Festivals, as well as IDFA last fall. This mesmerizing, visually astonishing doc was filmed at 96 frames-per-second (much like Peter Jackson's The Hobbit trilogy) but will only be shown at 48 FPS, since that's what most projectors can show nowadays. Aquarela is focused entirely on water - taking audiences on a journey through "transformative beauty and raw power of water." It is a "visceral wake-up call that humans are no match for the sheer force and capricious will of Earth's most precious element." These kind of cinematic docs presenting only raw footage can be a bit dull, but this one will keep you entranced. Oh right, and this has a very loud wordless rock music score by Apocalyptica.
Here's the official US trailer (+ poster) for Viktor Kossakovsky's documentary Aquarela, from YouTube:
Aquarela takes audiences on a deeply cinematic journey through the transformative beauty and raw power of water. Captured at a rare 96 frames-per-second, the film is a visceral wake-up call that humans are no match for the sheer force and capricious will of Earth's most precious element. From the precarious frozen waters of Russia's Lake Baikal to Miami in the throes of Hurricane Irma to Venezuela’s mighty Angel Falls, water is Aquarela's main character, with director Victor Kossakovsky capturing her many personalities in startling cinematic clarity. The film will be shown in theaters at 48 frames-per-second, double the typical 24 frames-per-second, as projectors with the ability to project at 96-frames-per-second are extremely rare today, but when the timecomes that the capacity is there, Aquarela will be one of the first films to be shown at that speed.Aquarela is directed by Russian doc filmmaker Victor Kossakovsky, of many doc films previously including Belovy, Sreda, Hush!, Russia from My Window, Svyato, ¡Vivan las antípodas!, Demonstration, and Graine de champion. This premiered at the Venice Film Festival last year. Sony Classics will release Kossakovsky's Aquarela in select theaters starting August 8th later this summer.
"Just trying to go back to the moment… where it changed for us." Oh boy, this looks heartbreaking. The first trailer has debuted for an indie relationship drama titled Pink Wall, which is premiering at the 2019 SXSW Film Festival in March. Pink Wall is the directorial debut of Welsh actor Tom Cullen, who recruited Tatiana Maslany and Jay Duplass to star as a couple looking back on their experiences together. The description says it's made up of only six scenes across six years, "six moments that shaped the relationship of Jenna and Leon." The music in this trailer is what makes it really stand out, there's so much emotion and so much meaning in these somber melodies. It reminds me a bit of Drake Doremus' films, but it seems to be unique in its own way. Put this film on your schedule if you're going to SXSW, keep an eye on it if you're not.
Here's the first official UK trailer for Tom Cullen's Pink Wall, direct from YouTube (via Deadline):
Six scenes. Six years. Six moments that shaped the relationship of Jenna (Maslany) and Leon (Duplass). Pink Wall examines what defines us, the pressures of gender expectations, and our perpetual struggle between life and ambition.Pink Wall is both written and directed by Welsh actor Tom Cullen, making his feature directorial debut after producing one film previously. This is the first time he has directed anything. This will be premiering at the SXSW Film Festival coming up in March. Produced by Maggie Monteith for Dignity Film Finance and Talland Films, and Jamie Adams and Richard Ellis for Two Flowers And A King. The film is still seeking international distribution, so no release dates are set. Stay tuned. First impression?
"They're not coming out of there unless we make them." Universal has released a new official trailer for the indie drama The Public, the latest film written & directed by Emilio Estevez. This played at the Toronto Film Festival and is finally getting a release in April, even though the first trailer debuted more than a year ago. The title is a reference to a public library in Cincinnati. When an Arctic cold freezes the city, a group of homeless people decide to hold an "occupy" movement and camp out in the library. On top of writing and directing, Estevez also stars as one of the managers. The ensemble cast features Jena Malone, Christian Slater, Alec Baldwin, Taylor Schilling, Gabrielle Union, Michael Kenneth Williams, Jeffrey Wright, Ki Hong Lee, Richard T. Jones, and Jacob Vargas. From the early festival reviews, I've heard this is a very moving, captivating film about modern society, and people we often don't think much about.
Here's the newest trailer (+ official poster) for Emilio Estevez's The Public, direct from YouTube:
You can still watch the first promo trailer for Estevez's The Public from last year here, to see more.
An unusually bitter Arctic blast has made its way to downtown Cincinnati, OH and the front doors of the public library where the action of the film takes place. The story revolves around the library patrons, many of whom are homeless, mentally ill and marginalized, as well as an exhausted and overwhelmed staff of librarians who often build emotional connections and a sense of obligation to care for those regular patrons. At odds with library officials over how to handle the extreme weather event, the Patrons turn the building into a homeless shelter for the night by staging an "Occupy" sit in. What begins as an act of civil disobedience becomes a stand off with police and a rush-to-judgment media constantly speculating about what's really happening. This David versus Goliath story tackles some of our nation's most challenging issues, homelessness and mental illness and sets the drama inside one of the last bastions of democracy-in-action: your public library.The Public is both written and directed by actor/filmmaker Emilio Estevez, who previously directed the films Wisdom, Men at Work, The War at Home, Bobby, and The Way. This premiered at the Santa Barbara and Toronto Film Festivals last year. Universal will finally release Estevez's The Public in select theaters starting April 5th coming up this spring. Who's interested?
Fandom should be a haven, not a swamp. However, these days, it seems like everything we once loved is tainted by a small contingent of loud jerkwads. What was once love has now soured, and we cannot wade into the online community without bumping against some true ugliness. Hate and misogyny have their hooks in everything, and we all have to navigate our social platforms by carefully curating who we follow and who we allow to follow us. One must don armor before logging on.
Toxic fandom existed before Star Wars, and it will exist after. Human nature requires a dark contingent to breed amongst us. Our challenge is never to allow the dark minority to become the majority. How do we do that? How do we battle against the nasty, unwavering spite of ignorance? Celebration is the answer.
Topher Grace and Jeff Yorkes are pop culture heroes. With their wives away for the weekend, the two friends squirreled away behind an editing bay and smashed together all ten entries of the Star Wars franchise into one glorious five-minute trailer. No film was unworthy; all contribute to the tapestry that is our most loved saga. Yes, even Solo: A Star Wars Story. Take a click and meet me back below.
Honestly, it’s hard not to get teary-eyed watching that magnificent compilation. Grace and Yorkes deliver one great big hug around the galaxy far, far away and in doing so, offer us the opportunity to join their loving appreciation. With this fan-edit, the two fanboys tell us, “It’s all good.”
That’s right. Quit nitpicking, stop griping over how you would have done it differently, or how one particular character isn’t behaving as they did in another movie or another cartoon or another spin-off comic book. These are the stories as they were given to us. Don’t fight them. Accept them. Find what works about them and don’t get hung up on the annoyances.
A lot has occurred in pop culture since we demanded Mike J. Nichols’ The Phantom Edit, or even Topher Grace’s previous edit-hack of all three prequels. We should now realize that George Lucas did not ruin our childhoods with Jar Jar Binks. At worst, he made a bad movie. At best, he laid the groundwork for the animated Clone Wars and hundreds of more hours of mythology for fans to get lost inside. The time has come to let go of our animosity. If Simon Pegg can express regret over the toxicity he spewed towards Episode I then so can you.
With their trailer, Topher Grace and Jeff Yorkes expertly weave Lucas’ creation together, tieing critical elements of The Last Jedi to Attack the Clones and Rogue One: A Star Wars Story. It’s a high-five delivered straight to the viewer, a fist-pump championing everything we hold dear about these characters and the universe they occupy. Soak it in. If you feel a twitch or a cringe come on at the sight of Hayden Christensen or the CGI Carrie Fisher, let it slip away quickly. Free yourself of your judgment, your hate, your dark side. Just enjoy.
If the news is true that Jordan Peele‘s “spiritual sequel” to Candyman has found its leading man, then Yahya Abdul-Mateen II should be a very happy camper. Variety revealed that producers are mulling over putting the Aquaman villain front and center in their continuation of the horror classic.
Should negotiations prove fruitful, Abdul-Mateen will take over the role as one of the scariest and most enduring antagonists. First brought to life on the big screen by the excellent Tony Todd, the Candyman has haunted the uneasiest depths of our nightmares since the eponymous film’s release in 1992. After all, the original follows an especially bone-chilling baddie who doesn’t just go bump in the night.
Instead, the Bernard Rose-directed gem subverts expectations of the horror genre. In Candyman, concepts of slashers and final girls are not so simple. The wonderful Clive Barker adaptation introduces its protagonist — a well-meaning white female grad student named Helen — as she explores the purported doom and gloom of Chicago’s Cabrini-Green housing projects.
Along with a research partner, she investigates the violent fable haunting borne out of the racism of America’s past. However, Helen’s efforts to debunk the insidiously confronting myth fall short. The horrors that she encounters at Cabrini-Green — and just about everywhere when the titular character himself is finally “obliged to come” — are very real and just as tragic as they are petrifying.
Although no specific plot details for the Candyman sequel have been announced, the movie will take audiences back to Cabrini-Green in the modern day. This time, the housing projects have given way to a gentrified neighborhood, opening up new avenues to discuss instances of social inequality that hide in plain sight.
Of course, one might assume that calling upon the Candyman once more in any capacity would provide Todd the fresh opportunity for an iconic role reprisal. Who could ever forget that hypnotically silky voice?
Obviously, Abdul-Mateen’s casting does throw a wrench into that possibility, but that doesn’t have to be a bad thing. He even seems to have Todd’s blessing as the monumental torch passes:
Cheers to #Candyman a woderful character Ive lived w for 25 years. He's brought grace and glory & a beautiful boatload of friends & famly #teamtoddster's
im honored that the spirit of #DanielRobatiell#cabrinigreen Rises again. Truth to power! Blessings 2 the cast & crew
Frankly, Abdul-Mateen’s involvement actually adds even more appeal to this already-splashy project. As one of Peele’s many producing efforts through his banner Monkeypaw, Candyman garners plenty of attention in a post-Get Out society by default. The film easily fits in as another example of Peele’s thought-provoking “social thrillers.”
Furthermore, Candymanalso has the talents of promising rising star director Nia DaCosta at its disposal. Her feature debut, Little Woods, expertly walks the emotional tightrope of dread and empathy as it tells the tale of estranged sisters looking for clean slates. The Tessa Thompson-starrer is a searing look morally grey characters living life on the fringes, making DaCosta the perfect fit to get behind the camera for the return of the Candyman.
And with an intensely irresistible onscreen presence (and voice!) to call his own, Abdul-Mateen would be right at home with this generation of filmmakers on the Candyman set. As far as I’m concerned, he’s definitely one of those actors you catch a glimpse of in notable projects and wish was in everything else.
The Get Down, The Greatest Showman, Aquaman, and even the ridiculous Baywatch remake have each been buzzworthy in their own ways. On the horizon, Abdul-Mateen is even more prepared to rule screens big and small. He is slated to appear in Damon Lindelof’s highly-anticipated Watchmen pilot. Peele’s sophomore feature Us has a place for the actor, too.
For now, of all Abdul-Mateen’s released projects so far, The Get Down and Aquaman have offered him the most to do. In particular, the former — spawned from the vibrant, fantastical mind of Baz Luhrmann — lets his true charismatic energy fly free, as the vicious but undeniably stylish and magnetic gangster Cadillac.
Meanwhile, Aquaman relishes in its status as the ultimate feel-good superhero film. Honestly, playing Black Manta didn’t give Abdul-Mateen enough screentime to work his magic. That said, he still looks for pockets of nuance in James Wan’s goofy, entertaining DCEU effort. It’s thus a real joy to see Black Manta resurface in Aquaman‘s mid-credits scene, especially one that could have real weight in the movie’s confirmed 2022 sequel.
Clearly, Abdul-Mateen has already cut his teeth playing villains that legitimately stand out. He deserves a central role like Candyman to really shine brighter as an actor, though. As is the case for other Hollywood’s rising stars, the best roles can be found in genre cinema these days, putting him on the ideal track.
The unconventional hook-handed boogeyman donning a trenchcoat full of bees suits Abdul-Mateen’s strengths as a captivating character actor; someone that the audience can still root for in spite of their complicated or otherwise unsavory decisions.
What is it? A family in Los Angeles is visited by an old family friend with unexpected results.
Why see it? Danny Glover headlines this increasingly affecting slow-burn of a film as a Southern visitor welcomed into a friendly household that he slowly turns upside down. (Think a far subtler version of Takashi Miike’s equally excellent Visitor Q.) The drama at the heart of the film sees an African American family forced to look inward at cracks they didn’t know were there, and while he exaggerates them the exposure leads to healing. It’s a beautifully acted affair from top to bottom, and writer/director Charles Burnett shows real affection for his characters and their struggles. Criterion’s new Blu gives this 1990 film a long overdue spotlight with a restored picture and some new interviews with the creators.
[Blu-ray extras: New 4K transfer, interviews, tribute]
Why see it? Disney’s pre-Pixar/pre-CG days include numerous classics that the corporate geniuses periodically let out of the vault for consumer enjoyment, and this week’s lucky parolee is the still delightful and rousing tale of a girl with a… tail. Sure it’s old-fashioned as the girl really wants to be with the guy blah blah blah, but the vibrant hand-drawn animation, catchy tunes, and a wicked villain. The new Blu-ray looks beautiful, and while many of the extras are fluff there are some interesting featurettes digging into the art and artists involved.
What is it? A woman inherits her mother’s retirement home and all the terror that comes with it.
Why see it? Australia has gifted movie lovers with all manner of genre gems, but for all of its craziness the country isn’t necessarily known for horror movies that aim for atmosphere and/or scares. Next of Kin is a rare exception for Ozploitation horror starting with its terrifically atmospheric cinematography, energetic camerawork, and impressive synth score. It’s creepy and plentiful weird too, and by the time it wraps up viewers have even been treated to some action beats. The Blu looks fantastic and comes packed with extras.
What is it? A young man befriends rats with unfortunate results.
Why see it? Glen Morgan’s new adaptation of Ratman’s Notebooks (and remake of WIllard) ramps up the blackly comic beats while staying true to the inherently lonely drama at the heart of the story. Willard’s life isn’t an easy one, and it only gets more difficult, and Crispin Glover shines as the mad young man. The rat action here is fantastically choreographed between live rodents, fake ones, and CG, and while we’re limited by the PG-13 rating when it comes to carnage the results are still thrilling enough. Scream Factory’s new Blu-ray is loaded with extras including three (!) commentaries and a 72 minute making-of. It’s a terrific release for fans.
[Blu-ray extras: New 2K scan, commentaries, feature length documentary, featurette, music video, deleted scenes]
Why see it? Nicolas Cage plays a widower who meets a woman with a comatose daughter, and through some supernatural shenanigans the teen becomes possessed by his dead wife — who wakes up pissed that he’s banging a new woman. This is a bonkers movie, no doubt, but it’s the power of Cage that keeps it moving. Sure the story setup is nuts, but the filmmaking leaves a lot to be desired giving the whole thing an amateurish feel, and only Cage holds it together with his patented acting skills.
What is it? Members of an ancient cult kill innocents in an attempt to raise the dead.
Why see it? Cheap indie horror movies don’t come much cheaper than this bloody romp into rural New York, and while you get what you pay for — actors, effects, cinematography — the no budget results are actually part of the film’s charms. A small part to be sure, but they’re there. It’s an amateurish affair, but you sure can’t fault the enthusiasm. I can’t get on board with it being a good movie, but it’s definitely a movie! Severin has given the film the royal treatment, though, highlighted by a commentary track moderated by the always great Kier-La Janisse.
What is it? A campus security guard on parole uncovers a murder conspiracy.
Why see it? Burt Lancaster co-directed this solid little thriller and stars as the ex-con trying to do right without rocking the boat so much he gets sent back into the joint. He finds friends, new and old, alongside the mystery, and the story delivers a few engaging turns along the way. It also features what feels like three endings, each offering a new layer of the onion unpeeled for our pleasure. Lancaster is good fun, and the mystery is solid and twisty enough to hold our attention throughout.
What is it? A young woman working a morgue night shift faces a supernatural threat.
Why see it? Possession movies typically bore the hell out of me as the threat, details, and execution are typically dull and overly familiar, but this little chiller succeeds where they don’t by shifting towards a more physical threat. It’s almost a riff on The Autopsy of Jane Doe in its locale and circumstances, but it finds fresh scares and creepy visuals in its story of what happens after an exorcism goes bad. Horror fans should give it a spin.
What is it? Ralph traverses the internet to help a friend, and chaos follows.
Why see it? The sequel to Disney’s successful Wreck-It Ralph sees our heroes branch out from the video game consoles to the crazier world of online shenanigans, and it offers them — and the film — plenty of opportunities to have fun with real-world properties from eBay to the Disney princesses. Much of the film’s humor comes from those elements, for better or worse, and the film maintains an energetic momentum through to the end. It’s a bit too noisy at times with a story that doesn’t quite feel weighty enough, but there’s plenty here for the kids to enjoy.
Why see it? South Korea’s horror output has been remarkably light on zombie films (not a bad thing), but this past year has seen the nation’s filmmakers double-down with both the Netflix series Kingdom and this feature. Credit the fantastic Train to Busan for the inspiration, but both new genre entries move the undead action from the present several hundred years into the past. The film features some big set-pieces alongside the usual period antics, and the zombie action delivers the goods.
What is it? A pirate finds land-based challenges after the French Revolution.
Why see it? Director Terence Young, best known for helming several James Bond films, steps back in time for this period drama with flashes of adventure. It’s not nearly as thrilling or entertaining as those films, though, and instead offers minor drama based as much on your appreciation of Anthony Quinn as of the film itself. It does a good job crafting the world, but the story isn’t quite as engaging.
What is it? A young woman is believed to be the reincarnation of a long-dead queen.
Why see it? H. Rider Haggard’s novel She has been adapted to the screen a whopping seven times, and rather than follow the same story this spinoff takes things in a slightly different direction. It lacks the presentation of 1965’s She starring Ursula Andress, the version that directly precedes it, but it’s attempt at trying something new is to be respected. That said, it loses some of Haggard’s intended power by focusing on the queen’s court’s sillier aspects. Some of it may be due to budgetary concerns, but we never feel the full atmosphere of her power and standing. Still, there’s fun to be had with every Hammer production.
[Blu-ray extras: New 2K scan, interviews, commentary, Worlds of Hammer episode]
What is it? A pair of ranch hands tired of hard work rob a bank instead.
Why see it? Films often romanticize the West and the life of the cowboy as something grand and free, but while its charms are legion its more difficult aspects remain. Blake Edwards took a break from comedy for this character piece about men no longer charmed by the dream. William Holden and Ryan O’Neal are the pair whose friendship is tested with a posse hot on their tail, and their conflicting vantage points — one’s an old man, the other is fresh behind the ears — lead them to the same conclusion. It’s a sad American tale, told well.
[Blu-ray extras: Featurette]
Also out this week:
The Day After, Legally Blonde Collection [Shout Select], Mary Queen of Scots, Megalodon, The Mole People [Scream Factory], Used Cars [Shout Select], La Verite [Criterion Collection]
This is the end. Nineteen years in the making. During that entire time, we’ve clamored for a proper telling of “The Dark Phoenix Saga” comic book storyline and producer/writer/director Simon Kinberg finally promises to deliver the goods with his directorial debut. After multiple delays and a lot of handwringing regarding the Walt Disney Co./21st Century Fox merger, the ultimate adaptation is upon us. Will it be worth the wait, or is it just the last torturous entry we must endure before Kevin Feige gives these characters a proper reboot in the Marvel Cinematic Universe? That question makes Dark Phoenix one of the most interesting films of the year.
The X-Men: Apocalypse cast returns, jumping from the ’80s to the ’90s and continuing to muck about with the continuity established in the original 2000 film. Don’t get hung up on it; time was altered, dimensions crossed, blah, blah, blah. What’s important is that Sophie Turner is back as Jean Grey, struggling to maintain her nearly infinite power and succumbing to its horrendous possibilities. Professor X (James McAvoy) and Magneto (Michael Fassbender) find themselves on opposite sides again, fighting each other over the fate of their pupil. Then there is Jessica Chastain as a third teacher looking to take advantage of Jean Grey’s Phoenix Force.
The latest trailer gives us our best look yet at how Kinberg will incorporate the source material’s space adventure into the somewhat grounded tone established by the other X-movies. Click below and cross your fingers that the filmmaker will grant all your fannish delights.
Well, that’s not exactly the comic book, but that’s okay. All of our favorite superhero movies play it fast and loose with the material. Kinberg seems to be sticking pretty close to his original idea of the Phoenix Force from X-Men: The Last Stand. This Force is not the god-being, but a reawakening of Jean’s true potential psychically jailed by Charles Xavier when she was a child. Although, maybe not. There are hints of an external creature driving Jean down darker avenues. So, let’s dig in.
We open on a birds-eye-view of an emotionally brutalized Jean Grey. Collapsed in an alleyway, the rain pours down. Fearful, soaked, and shivering, she speaks aloud, “Why did you make me do that?” Who is she talking to? Herself, or a parasitic cosmic presence hiding within? In the comic books, the Phoenix was a god-like alien monster that made a home inside Jean Grey. As host, she went mad and turned not only on the X-Men but the entire universe. Previous films suggested that the Phoenix Force is simply Jean’s powers unchecked. At the end of X-Men: Apocalypse we witnessed a brief glimpse of this potential devastation as she squared down against the big bad blue villain played by Oscar Isaac.
As we saw in the previous trailer, the X-Men (sporting new uniforms based on the designs from the Grant Morrison and Frank Quitely story arc of the early 2000s) confront Jean in a suburban street. Is this the same neighborhood where Jean’s folks live? She does have a fairly rocky relationship with them already, and there are no better subjects to face a Dark Phoenix temper tantrum. Mystique is the brave soul elected to bring her off the ledge. She says, “I’m not giving up on you, Jean.” Jean, back in the alleyway responds, “She was my friend.” Uh-oh.
“You’re my family Jean,” Mystique continues. “No matter what.” STOP! Jean strikes out in fear and anger. Mystique is propelled backward, and we can only assume that she does not land softly. Where were you on that one, Quicksilver?
Here is our first look of Jessica Chastain’s mysterious villain character. While it is hard to tell exactly where this scene is located, wherever it is, terrible bloodshed has occurred. The couch behind Chastain is covered in the red stuff, and it appears to have been torn to tatters as well. Chastain rearranges the matter around Jean, a window to space appears, and she tells her, “Look.”
We still do not know who or what Chastain’s character is, but rumors have swirled around a gender-flipped Mr. Sinister (just another X-baddie with an obsession around Cyclops and Jean) to a diabolical alien. IMDb only offers the blank credit of “Smith.” The official plot synopsis for the film does mention that extraterrestrials are looking to weaponize Jean’s Phoenix Force as leverage over the galaxy. She could be a member of the Shi’ar race, pesky aliens that are sometimes friends and sometimes enemies to the X-Men.
X-Men in space! Finally. Although, we may not get as much as we want. Similar to the comics, when the team ventures into orbit to rescue a group of astronauts from certain doom, the Phoenix Force enters Jean. This alien entity corrupts the soul while boosting its host with nearly limitless power before consuming them completely.
Chastain continues her sales pitch, “You’re special Jean, and if you stop fighting that force inside of you, if you embrace it, you will possess the very power of a god.” That sounds like a puppet master at work.
The Phoenix Force attacks as the X-Men’s Blackbird approaches the space shuttle. A storm of CGI rips through Jean’s body, sinking its claws into her conscious and taking hold. Kinberg wants to eat his cake and have it too. It does appear that this film will marry Charles’s once-upon-a-time fear of young Jean with a sci-fi invading god-being.
Charles (and others) will hold himself responsible for not preparing his student for the inevitable outburst of power. Just check that expression of horror. The death of Mystique falls squarely on his shoulders. This guy really does stink at being a teacher.
Yes, Mystique is dead. Stop denying it. This is not a switcharoo. Jennifer Lawrence has wanted out of this series for a while, and now her wish is granted. Next to Charles, only Beast would be this mopey at her funeral. Their romance was hinted at in previous films but never fully realized. If tensions were already high between Hank and Charles, a true schism will occur now. Leaving room in Hank’s heart for Magneto.
Back at the X-Mansion, Jean confronts her two elders. Charles warns, “She’ll kill us all.” To prove his point, Jean turns Magneto’s precious psychic-blocking helmet against himself. No one can grit his teeth in pain quite like Michael Fassbender.
Before his head can pop, we see the internal struggle on Jean Grey summarized in a single tear that drips down her cheek. Some form of humanity still exists within. Is it enough to win the day? Yeah, of course, but sacrifices will be made.
Poor Cyclops (Tye Sheridan), he’s always the impotent schoolboy in these X-movies. He confronts Charles in Cerebro, pleading for answers, “Tell me how we fix this, Charles! Tell me what to do!” The professor has no solutions, kid. He’s about as useless as you are at this moment. Maybe you should step up and act like the leader we’ve been told you are for these past 19 years.
New York City is in shambles. The United Nations is on fire. Cyclops drags Professor X through the rubble, and Jessica Chastain looms from above. This is ultimate villain stuff. She’s soaking in her spoils, enjoying how the pieces of her nefarious plan have all fallen neatly into place. We hear her tell Jean, “What they don’t understand, they fear. And what they fear.” Jean answers, “They seek to destroy.” Chastain’s character is using the X-Men’s experience with terrified humans as a leash over Jean’s powers. She’s in full control now, not Jean.
Taking place presumably moments after Jean slaughtered Mystique, Quicksilver speeds to attack a levitating Jean Grey, hopping from one falling chunk of debris to another. If anything pleases an X-fan, it’s watching the fastest man alive slow the world around him, but this time I wouldn’t expect much cheering from the crowd. Jean will make quick work of him. Pun intended.
Hank minus his Beast-mode chastises Charles in the kitchen of the X-Mansion. “This is your fault,” he says. Then we catch a kiddie Jean flashback. Charles visits the Grey household to recruit their youngest child to his school of gifted students. This is another scene basically remade from The Last Stand, but with the added bonus of young Jean’s The Omen-esque evil stare. Charles whispers, “I tried to protect her.” Lotta good that did.
If you’re a blue X-Man, Dark Phoenix is not going to be a great movie experience for you. First, Mystique is taken out then Beast goes down for the count.
Next up, Nightcrawler gets tossed across a New York train car. Over a montage of ass-whoopings, we hear Jean regretfully say, “I’m scared. When I lose control, bad things happen to people I love.” Why can’t she stop herself? The Phoenix Force is one massive excuse to cut loose and relish in your bad nature. Who wouldn’t love some outside entity to blame for our worst moments in life?
Magneto lives! As Jessica Chastain boards a ransacked prison train, a recently freed Master of Magnetism wields an array of machine guns against her. It will not be enough. Forget bullets, Magento. You should pull the same trick Jean did on you, but instead of a helmet squishing her tiny head, how about using the whole metal train to flatten her?
Storm (Alexandra Shipp) tries to explain the truth of the situation to Cyclops, “Sometimes you want to believe people are something they are not. By the time you realize who they are it’s too late.” Always the practical one, Storm is not caught up in romantic feelings like sadsack Scott Summers. If push comes to shove, she’s going to unleash her full fury against the corrupted teammate. Jean Grey gives a hard stare; the Dark Phoenix is waiting.
Back aboard that prison train, before Jessica Chastain marches inside, we see our merry band of X-Men shackled in place. Around each of their necks is an inhibitor collar, preventing them from using their mutant powers. Magneto warns, “She’s coming.” The guards get strapped, but we’ve already seen that it won’t be enough. Chastain gives a solid punch to the door. Boom.
We also meet two new mutants locked up alongside them. Across from Storm is Red Lotus (Andrew Stehlin), an Australian mutant with ties to the Chinese triad as well as enhanced strength, speed, and agility. In the back of the train across from Nightcrawler is Selene (Kota Eberhardt), an ageless mutant with a mental absorption ability that transforms her into a psychic vampire. She might come in handy when taking down the Phoenix Force.
The final shot of the trailer is a floating Jean Grey surrounded in Dark Phoenix energy, lifting the prison train into the sky and giving it a good swirl. When a hero goes this bad the only solution is a sacrifice, a final act of good to redeem her evil ways. That’s in keeping with the source material, and it’s about as good an end to the 20th Century Fox brand as we’re going to get. Yeah, ok, I’m ready for a reboot.
"Sometimes you gotta do what you know is right." Good Deed Entertainment has released a new US trailer for Storm Boy, a follow-up to the original Australian trailer from last year. Based on a classic Oz tale, the story is about a boy who grew up on uninhabited coastline of Southern Australia, where he rescues and then raises an orphaned pelican, named Mr. Percival. Geoffrey Rush plays the boy as an old man, looking back at his youth. "Their remarkable adventures and very special bond has a profound effect on all their lives." Starring Jai Courtney, Trevor Jamieson, Morgana Davies, and introducing Finn Little as the "Storm Boy". This tale was adapted once before into a film in 1976, but I don't think it reached many audiences outside of Australia. This new film looks quite charming and emotional in all the usual ways. Give it a look.
Here's the official US trailer for Shawn Seet's Storm Boy, from Good Deed Ent.'s YouTube:
Based on the beloved book, "Storm Boy" is a highly emotional tale of a young boy growing up on the beautiful but uninhabited coastline of Southern Australia who unexpectedly rescues and then raises three orphaned pelicans. When he forms a close bond with them, he finds himself at odds with his fisherman father and his life takes a new and unexpected turn.Storm Boy is directed by Australian filmmaker Shawn Seet, making his second feature film after Two Fists, One Heart previously, as well as lots of TV directing work. The screenplay is written by Justin Monjo; adapted from Colin Thiele's novel of the same name first published in 1964. Sony Worldwide first released Seet's Storm Boy in Australia in January this year. Good Deed will release Storm Boy in US theaters nationwide starting April 5th this spring. Who wants to see it?
"All that matters is that my wife is happy." Cohen Media Group has debuted an amusing trailer for their upcoming re-release of the French film Get Out Your Handkerchiefs, originally titled Préparez vos mouchoirs, which won the Oscar for Best Foreign Language Film in 1979. The somewhat absurd comedy is about a worried husband who tries to find a lover for his depressed wife, but she falls in love with a bullied thirteen-year-old math prodigy and wants to have the boy's baby. Yeah, sounds very kinky, and very French. Starring Carole Laure, Gérard Depardieu, and Patrick Dewaere. The 35mm film has been restored to 2K (alas not 4K) and will get a small theatrical run beginning in New York in March. Looks like a fun watch.
Here's the restoration trailer (+ poster) for Bertrand Blier's Get Out Your Handkerchiefs, on YouTube:
A worried husband finds a lover for his depressed wife, but she falls in love with a bullied thirteen-year-old math prodigy and wants to have the boy's baby. Starring Gérard Depardieu, Patrick Dewaere, and Carole Laure, the film follows a love triangle between the characters that turns both more comedic and more emotional.Get Out Your Handkerchiefs was both written & directed by French filmmaker Bertrand Blier, his fourth feature film at the time it was made in 1978. The film went on to win the Academy Award for Best Foreign Language Film in 1979, as well as the National Society of Film Critics top award for Best Picture. Cohen Media Group will release the 2K restoration of Blier's Get Out Your Handkerchiefs starting on March 15th at the Quad Cinema in NYC. For more info visit Cohen Media's website. Anyone interested?
"You gotta give me a chance to make it right." Mainframe Pictures has debuted an official trailer for a new indie thriller titled Long Lost, another one of these secluded mansion getaway turns into a violent, scary survival films. Long Lost is the feature directorial debut of filmmaker Erik Bloomquist, and is about a guy who gets a letter to meet a person at his house for the weekend. Things start to get strange, and it turns out he knows more about him than it seems. Starring Adam Weppler, Catherine Corcoran, and Nicholas Tucci. This reminds me of plenty other films like this, namely The Invitation and The Gift most recently. Of course they try to throw in some unique twists and turns, but I'm not sure how it will turn out. Check it out.
Here's the first official trailer (+ poster) for Erik Bloomquist's Long Lost, direct from YouTube:
When Seth (Adam Weppler) receives a mysterious letter inviting him to spend the weekend at a secluded mansion in the country, he soon realizes the people inside the house may know him better than he knows himself.Long Lost is directed by Emmy-winning American filmmaker Erik Bloomquist, his feature directorial debut after a number of short films previously, and an appearance on HBO's Project Greenlight. The screenplay is written by Erik Bloomquist; based on a story by Erik Bloomquist & Carson Bloomquist & Adam Weppler. This first premiered at the Eastern Oregon Film Festival last year. Mainframe Pictures will release Bloomquist's Long Lost in select US theaters starting March 29th this spring + on VOD this April.
With neuroscientists increasingly proving that brain knows no gender difference, discussing a female mind or gaze is becoming passé. But this doesn’t mean our brains aren’t constantly being shaped; on the contrary, the more social structures deprive us of rich experiences, scientists say, the more likely this deprivation has a lasting impact. Such sense of daily deprivation powered the "Self-Determined. Perspectives of Women Filmmakers" program at the 69th Berlin International Film Festival. The retrospective included films from 1968 to 1999. Considering the program’s thematic and stylistic breadth, I puzzled at first over its paradoxical billing: The retrospective presented pioneers of German cinema; famous, and yet, vastly unknown.
Margarethe von Trotta, whose brilliant Die Bleierne Zeit (1981, lit. The Leaden Time, known in English as German Sisters) showed in the retrospective, is no stranger to American viewers. But von Trotta confessed to not knowing some of her peers’ works. Finally, the Deutsche Kinemathek’s director, Rainer Rother, responsible for the retrospective, and its curator, Silke Lehmann, explained: Those who like von Trotta started out in the 1970s, especially in West Germany, had broad industry support. “The women filmmakers could do pretty much what they wanted,” Rother said. Thanks to public funding for independent cinema, their films traveled to international festivals and gained wider recognition. Things changed, however, and in the 1980s directors found themselves relegated to an artistic niche. “Many made one film or two, and then, in a way, vanished. And some films vanished too after their original screening, so that we had a hard time finding a copy in good shape.” Lehmann added that to this day it is not uncommon to find films stored in a filmmaker’s cellar. Rother and Lehmann then made a curatorial decision, not to frame the program as “Frauenfilme,” which suggested a niche, but rather to present a broad creative spectrum, from films that echo socialist realism to underground, auteur, queer, animated, and experimental works.
Self-definition is the program’s overarching theme, and as such, revolves around questions of identity. “Identity,” as we will see, can point to a budding sense of one’s own desires, and even reveal competing impulses. Nevertheless, a good number of films showed women fed up with playing nice. Iris Gusner’s The Dove on the Roof (1973/2010, GDR) was one of the films I saw first: A fearless exacting project manager, Linda (Heide-Marie Wenzel), is caught between a carefree idealistic young man, Daniel, and a more seasoned brigade leader, Böwe. Some of Linda’s concerns—her final choice to stick it out with her burly worker-hero—comes across as a bit quaint today, but on the other hand, her brazen outspokenness, against the canvas of alcoholism and general discontent, makes it clear why censors were not keen on Gusner’s critique. The film was banned in East Germany.
Confusion and anger also fuel Evelyn Schmidt’sThe Bicycle(1982, GDR), in which a hippy single-mom, Susanne (Heidermarie Schneider), cannot fit into the drudgery of factory work. Susanne never seems to do anything right, calling our attention to the ridiculousness of media-imposed ideals for young mothers. In contrast, Schmidt stages a dramedy of disgrace: Susan has a strange way of improving her life. When she needs money she commits fraud, and then, childlike, ignores signs of trouble. This brings on friction with her new boyfriend, who, as a factory manager, fears any hint of misconduct. Schmidt goes against mainstream feminism in presenting her heroine as a willful child. Yet there is a counter-culture edge to this context: Susanne lives her life against everything and everyone who seeks to normalize her as a good housewife or citizen. The film’s finale poignantly highlights the contrast between the boyfriend’s captivity within social norms, as opposed to Susanne’s willful fecklessness.
Helma Sanders-Brahms's Under the Pavement Lies the Strand
In Helma Sanders-Brahms’s stunning, heartbreaking Under the Pavement Lies the Strand(1975), two young actors, Grischa (Grischa Huber) and Heinrich (Heinrich Griskes), start a romance against the background of political unrest and disappointment after 1968. Grischa and Heinrich make such a charismatic artist-activist couple—along with Godard’s young politicized heroes of the French New Wave—that one immediately feels poorer for not having met them earlier. Sanders-Brahms co-wrote the script with Grischa and Griskes, and the final result is rich and layered, a mix of humor and bitterness, with a pseudo-documentary, improvisational feel. Despite their powerful affinity as two unsettled souls, as Grischa evolves Heinrich feels left out. His passion gains a brutal edge, and ripens into resentment. Similarly to Agnès Varda, Sanders-Brahms creates an indelible portrait of a young woman who channels her personal anger to alleviate the desperation of other women—not redemption through collectivism, but rather constant friction that stems from true commitment.
Friction couldn’t be greater than in von Trotta’s Die Bleierne Zeit, based on the stories told personally to von Trotta by the sister of Gudrun Elssin, the member of Red Army Faction (RAF), the German terrorist group responsible for a series of bombings and armed actions in the 1970s. In von Trotta’s masterful handling, the film’s political context is filtered through the entanglements of two women who, despite their overwhelming physical connection that goes beyond blood ties, cannot communicate. Wavering between love and resentment, the relationship undergoes trials, as the rebellious sister gives up her child, moves to training camps in the Middle East, popping out from the shadows to challenge her more adjusted sibling. Von Trotta is a master of creating doubles onscreen, and her greatest achievement lies in showing how these two are nevertheless two sides of the same dissatisfaction, always reacting out of protest. In this sense, identity is also a mirror image of another—here another woman’s—against which one’s own expectations and failures are constantly reassessed.
Identity can also result from communal effort. In Helke Sander’s wonderfully sarcastic The All-Around Reduced Personality(1978), a young single mom, Edda, played by Sander, struggles to make ends meet. Sander brilliantly draws on the economic role of women, from Edda’s adding up her earnings and her expenses in the voiceover, to the scenes in which she must negotiate her rates. Like a refrain, Edda’s life is made of numbers, punctuated by their brutal logic that goes against any belief that East Germany offered women a leg up, or a glimpse of what communist jargon called, “all-round developed person.” Indeed, Edda is versatile, eloquent, a fighter. Yet she is also taking on crappy assignments and remains woefully underpaid. Sander includes many pointed scenes that, like those of Sanders-Brahms, strike an improvisational tone. Some of these dwell on the in-and-outs of a women’s collective, of which Edda is part. Wanting to mount street installations, yet fearing censorship, the women deliberate with experts and friends. Funny yet serious, Sander’s film is a manifesto, worthy of being shown in the same league as Varda’s feminist films.
The retrospective also provided looser frictions and unexpected delights. Take two unclassifiable movies: Ulrike Ottinger’s operatic B-movie sci-fi, Dorian Gray in the Mirror of the Yellow Press (1984), and Hermine Huntergeburth’s darkly hilarious, sensual crime spoof, The Terrible Threesome (Im Kreise der Lieben, 1991). Ottinger’s spicy romance between naïve aristocrat Dorian Gray (Veruschka von Lehndorff) and a calculating street girl—both in the clutches of a sensation-hungry media magnate, Dr. Mabuse (Delphine Seyrig)— takes place in a kitschy futurist city. From sets to costumes to arias staged at length, Ottinger’s maximalist cinema channels Fassbinder and Werner Schroeter, yet feels utterly unique. Meanwhile in Im Kreise der Lieben, three generations—steely-nerved Grandma (Ruth Hellberg), histrionic hypochondriac Ma (Karin Baal), and troublemaker Daughter (Barbara Auer)—live, quarrel and scheme under the same roof. Huntergeburth weaves the daughter’s sex-escapades with more banal domestic disputes. In the end, both directors boldly play with taboos, satirizing the Freudian cliché of a castrating female.
Equally playful is the work of pioneering queer filmmaker Monika Treut, whose four-part documentary film, Female Misbehavior(1992), played in the retrospective. In part one, filmed in New York, Carol, a bondage aficionado and activist on the city’s lesbian scene, recounts what turns her on, and why she thinks bondage is the most generous and compassionate act. Shown mostly in mid-shot, Carol demonstrates her leather straps. Elfi Mikesch’s camera stays close, while the grainy greenish footage testifies to what Treut laughingly called her “crappy equipment,” which nevertheless allowed her to roam freely. The direct result of this roaming is part two, in which performer Annie Sprinkle does her brash, spunky vagina acts in dingy New York bars. Treut has Sprinkle reenact her monologue, which promises to transform anyone from meek viewer into frisky performer. Another highly performative short is a portrait of controversial academic Camille Paglia, who challenges feminist rhetoric. In this sense, Treut’s work is a wonderful coda to the entire program, reminding us that identity as a construct cannot help but be in constant shift. Never stable, never pinned down. To this end, Treut told me in our brief interview that she was thinking of filming again her transsexual friends in California, to complicate some of the currently accepted truths about gender and identity. Treut’s final short is perhaps most intimate: An interview with Max Valerio, formerly Anita, who narrates his sex transformation, and walks us through a hormonal rollercoaster ride. “Women’s feelings are more Technicolor,” Max tells us. Let’s then leave it at that.
"Sometimes, we want to believe people are something that they are not…" 20th Century Fox has debuted a second official trailer for Dark Phoenix, the next big X-Men movie focusing on Jean Grey as she becomes the "Dark Phoenix". This movie has been delayed and nearly forgotten, but it's still coming out this summer. It's connected to the previous X-Men series, and brings back a few of the characters from the most recent movies. Sophie Turner (from "Game of Thrones" and Josie) replaces Famke Janssen as Jean Grey; she already appeared in X-Men: Apocalypse in 2016 as Phoenix. The cast includes many old and new members: James McAvoy, Jennifer Lawrence, Evan Peters, Michael Fassbender, Nicholas Hoult, Kodi Smit-McPhee, Alexandra Shipp, plus Jessica Chastain, Ato Essandoh, and Scott Shepherd. This looks like they're really trying to live up to Jean Grey's legacy, going all out on VFX and epicness. Watch out.
Here's the second official trailer (+ poster) for Simon Kinberg's X-Men: Dark Phoenix, from YouTube:
You can still watch the first official trailer for Kinberg's Dark Phoenix from last year here, for more footage.
Jean Grey (Sophie Turner) begins to develop incredible powers that corrupt and turn her into a Dark Phoenix. Now the X-Men will have to decide if the life of a team member is worth more than all the people living in the world. The next saga in Fox's X-Men franchise of movies.X-Men: Dark Phoenix is directed by industry veteran, English writer-producer Simon Kinberg, making his feature directorial debut with this film after producing various superhero movies for the last 20 years, including X-Men: First Class, Days of Future Past, Logan, Deadpool, and The Martian. The screenplay is also written by Simon Kinberg, based on the "The Dark Phoenix Saga" comics storyline by John Byrne, Chris Claremont, and Dave Cockrum. After being delayed from first opening this summer, 20th Century Fox will finally release Kinberg's X-Men: Dark Phoenix in theaters everywhere starting on June 7th, 2019 this summer. Looking any better? Still excited?
Barring some kind of catastrophe it’s probably a safe assumption that John Wick 3 will be 2019’s best action movie, but while it looks to have budget, skill, and style to spare it will also have plenty of attention thrown its way. We’ll definitely be talking about it here when the time comes, but our love for the genre means we also love singing the praises of smaller action films that deliver the goods. Last month’s highlight was South Korea’s Revenger (our review) which premiered as a Netflix Original and pairs terrific fight scenes with an otherwise generic narrative. This month’s action gem hasn’t been released in the US yet — a goddamn travesty — but it ups the ante by delivering thrilling fight sequences, likable characters, and a truly funny script. Nightshooters is an absolute blast.
It’s a simple enough setup as a low-budget film crew works late into the night in an abandoned high-rise on their no-budget horror movie before the building is due to be demolished the next morning. They’re a six-person crew grabbing pick-up shots with their over the hill “star” whose action days are behind him, and that’s why a stunt double named Donnie (Jean-Paul Ly) is along for the ride. The night’s going as well as could be hoped for an indie production, but it takes a turn for the worse when they witness a double murder in the building next door. A gangster named Tarker (Richard Sandling) is taking care of business with a bevy of henchmen, and now they have another mess to clean up. Trapped in a crumbling building by armed thugs the film crew is forced to fight their way with every skill at their disposal.
Which, lucky for them, includes Donnie.
It’s lucky for viewers too as Ly is an incredibly skilled martial artist with an exciting, fast-paced fighting style, and he doubles here as action choreographer with thrilling results. From a fun early sequence that sees him taking on multiple opponents and shooting several in the feet to a later kill involving a knife and a spinning body the action beats here are frequently cheer-worthy. He previously wowed us with 2017’s Cambodian action delight Jailbreak (our review) — making him two for two in criminally underseen action movies — and this time around he’s given a more rounded character to play with too. He’s just an ex-accountant who want to live to see another day, and his humanity is a refreshing change of pace from the usually flat action heroes.
It’s a trait shared throughout writer/director Marc Price‘s film as all seven of the protagonists find moments to remind us they’re more than mere genre fodder. We like these people and their personalities, even the grumpy ones, and time spent early on introducing viewers to each of them pays off once the shit hits the fan. Not all of them make it out alive, and there’s real emotional impact in their predicament as none of them feel safe against some extremely cruel villains. The film is surprisingly effective in this regard, especially for how goddamn funny it is too. Jokes and insults fly early on every bit as fast as the fists and bullets to come, and it’s due to sharp writing and smartly comedic performances.
It’s true for both our heroes who are forced to move from reluctant co-workers to desperate survivors and the street gangsters who’ve walked straight out of Guy Ritchie’s central casting and into a fight of their own. Their banter offers up some of the film’s biggest laughs as the crass bastards mouth off with abandon, take turns playing tough guys, and continually underestimate their own growing situation.
Nightshooters is every bit an indie gangster comedy, a knowing nod to the struggles of independent film production, and a thrilling action movie. Characters reference the likes of Scott Adkins and John Wick with some funny, self-deprecating dialogue, but it’s no joke to say this film belongs in the same conversation with those higher profile players. Sure it’s a much lower budget — like, much, much lower — but heart, humor, and high-kicking brilliance have never been dependent on the price tag. It would make a great double feature with another incredibly fun, action-packed, low-cost gem, namely 2016’s Plan B. Seek them both out, and enjoy the ride.
[Note: As mentioned, the film has yet to find a US distributor for some stupid reason or another, but action fans with region-free Blu-ray players should consider picking up the UK Blu-ray. You won’t be disappointed.]
What is it? A family in Los Angeles is visited by an old family friend with unexpected results.
What is it? It’s a whole new world.
What is it? A woman inherits her mother’s retirement home and all the terror that comes with it.
What is it? A young man befriends rats with unfortunate results.
What is it? Oh my.
What is it? Members of an ancient cult kill innocents in an attempt to raise the dead.
What is it? A campus security guard on parole uncovers a murder conspiracy.
What is it? A young woman working a morgue night shift faces a supernatural threat.
What is it? Ralph traverses the internet to help a friend, and chaos follows.
What is it? Zombies overrun a Korean kingdom.
What is it? A pirate finds land-based challenges after the French Revolution.
What is it? A young woman is believed to be the reincarnation of a long-dead queen.
What is it? A pair of ranch hands tired of hard work rob a bank instead.
