Samuel L. Jackson carries a lot of iconography into a room with him when he arrives somewhere.
My own kids, for example, already know him as Mace Windu. Allen's four, but he knows Jackson by sight and by sound. All he needs to do is hear his voice from another room, and he'll walk in, ready to see what Mace Windu is up to.
That can make things complicated when I'm playing a film like "Jackie Brown," and his dulcet tones draw the kids to the TV just in time to hear Jackson lay down a stream of perfectly timed motherf**kers. They're starting to realize he is in a lot of movies, and when they saw him on the posters for "The Avengers," they were excited.
He's got more to do this time around than in any of his previous appearances, and talking to him at the press day for the film, it seems like he's just warming up. He's happy to keep playing Nick Fury as long as they'll have him, and he's got a good handle on the character's whole history, making jokes about the David Hasselhoff version at one point in the day, eager to step into the Hasbro room to see the action figures. Right now, Marvel is working hard to bridge the classic rendition of Nick Fury into the Samuel L. Jackson image that they've developed.
Samuel L. Jackson carries a lot of iconography into a room with him when he arrives somewhere.
It's such a tricky balancing act for a studio, deciding how many trailers to release for a big blockbuster movie and what to show, and I'm sure they feel nitpicked to death no matter what they do.
For example, I think the latest international trailer for "Prometheus" is very striking, filled with memorable images and lines, and I wish I'd never seen it. Holy cow, does that thing feel like they're on the verge of giving away the whole movie. They're not, and there are still some big surprises built in, but they've gone about as far as they can go at this point.
The folks over at Warner Bros. are walking a similarly fine line with "The Dark Knight Rises," the last film in Christopher Nolan's Batman trilogy. All day today, fans have been playing along with a viral campaign that has required some real-world legwork if people want to unlock the trailer. They've been hunting bat symbols painted all over the place, and once enough of them are found, the trailer goes live.
So what do we learn from this final trailer? Or at least, I assume this is final. They can't cut many more, can they?
What is "The Buffy Project," and why now?
Fair question. The "why now" is a simple matter of timing. And the "what"? Well, that's going to take a little longer to explain.
Scott Weinberg is the lead film critic for FEARNet, longtime editor and contributor to Cinematical, now also at Twitch and Movies.com. A hardworking dude who loves horror movies. LOVES horror movies. Is as passionate a critic of the genre as I've ever met. And he recently admitted that short of a few episodes here and there in no particular order, he had never seen "Buffy The Vampire Slayer" or "Angel."
I think that's something that horror or comic book fans should do if they haven't… watch those two shows, and watch them in the right order, and check out this big weird lovely universe that Joss Whedon and his team of glorious big-brained writers thought up for seven full years.
I think horror fans will be amazed at just how dark and ugly the shows get at times, and how they play for keeps. And comic book fans will recognize a certain shape to things that feels familiar as well. It's the combination of the two and the language of it that makes it all feel special, and that make it worth consideration.
It's not often that movie news breaks in Forbes, but in this case, it makes a perverse sort of sense.
When Mark Ruffalo signed on for "The Avengers," he had to sign the same kind of long-term deal that every actor signs for Marvel. He told me at the press day that he was signed for six films, with "The Avengers" as the first of the six. That doesn't mean he's absolutely going to actually make six full films, but Marvel has the option to press him into service several more times if they want to.
When I was at the press day at the Four Seasons, they had a Hasbro room set up, showing a number of products from their toy line this summer, and in talking with them, it was obvious that they had high hopes for the Hulk. Evidently, even with the earlier films, the Hulk has always been a strong seller for them. The new version of the Hulk Hands are flying off shelves already, and once people actually see the film, that's only going to intensify, since Ruffalo and his big green alternate identity are highlights of the film.
"Mary Poppins" is not the film I thought it was.
Growing up, I saw the film many times, and I always enjoyed it. It's hard not to enjoy the film. A passion project for Walt Disney, it was lavished with every bit of tender loving care he could muster, and director Robert Stevenson did a wonderful job of creating this eccentric, artificial version of London and filling it with strange and memorable characters. I loved the songs by the Sherman Brothers, and I thought Mary Poppins herself was, as she says, practically perfect in every way.
Seeing this as a kid, I thought it was a film about two kids who are so bad that they can't keep a nanny, until they finally get a magical nanny, and she turns them into good kids. It's not a film I spent a lot of time watching over the last quarter-century, despite my affection for it, so my misunderstanding of the film became sort of ossified and like many films, my opinions and attitudes about it were shaped at a time when I had a very different perspective on most things than I do now.
In particular, I was not a parent the last time I saw the movie.
You've got a lot of options for what to watch and how, and we want to help you plan your weekend with a new column where we'll highlight three things you can see in theaters, three things you'll find streaming, and three titles new to home video. Appropriately enough, we call this The Weekend Watch.
Does the summer movie season really start next week? Wow. This year is flying by, and I guess it feels like it really just raced up on us this year. Still, there's plenty of good stuff to see in theaters this weekend, so it's not like you have to wait. Besides, it's good to get in a few more small titles before the onslaught of wanna-be blockbusters begins.
We've also got a few winners you should check out at home, whether you like your movies streaming or on DVD or Blu-ray, and I hope at least one thing off this list ends up as part of your weekend.
It is unusual to actually learn something about a performer on a set visit, but I had a moment of pure clarity when I went to San Francisco to watch some of the production of "The Five-Year Engagement."
It was at the very end of the schedule, but it was for the first scene in the film. We spent most of the night on top of a building right by the water, watching Jason Segel propose to Emily Blunt repeatedly, and as I watched them shoot the scene, it was interesting to see how the dynamic between them played out.
In the first master shot, Segel was playing the comedy in the moment. It was a very funny version of the scene, and Blunt played it the same way. When Stoller moved in for close-ups, though, he shot Blunt's first, and she played the real emotion of the moment. It was still funny, but there was also something else going on underneath, something real and sweet. When the crew reversed the set-up for Segel's close-up, he adjusted his performance, playing it as real as Blunt did, turning up the emotion.
In the just-released trailer for Judd Apatow's Christmas release this year, "This Is 40," they directly acknowledge the unusual DNA of the movie, referring to it as a "sort-of-sequel to 'Knocked Up.'"
I can't really think of any equivalent follow-up to a mainstream hit, where supporting characters just sort of take over the second movie and the original lead characters don't return at all. When I spoke to Apatow about the origins of the film on the set last year, he said his first impulse wasn't to do a sequel, but that as he started exploring the idea of doing a film about turning 40 and dealing with the issues that raises for people, he realized that he would essentially have to create a new Pete and Debbie, and why bother when he already had a Pete and Debbie that he knew audiences liked.
This is a nice introductory trailer, and it's interesting how much of the movie it doesn't even remotely suggest at this point. For example, we'll meet Pete and Debbie's parents in this movie, and we'll see Albert Brooks and John Lithgow show up as their fathers. We'll also see Debbie's business, a clothing boutique, where Megan Fox and Charlene Yi both work.
Hello, Village Roadshow.
This evening, I was working on a review for a film and occasionally looking over at the Twitter feed on another screen, and I saw Garth Franklin send a single Tweet. "Roadshow have confirmed - both "Cabin In The Woods" and Chernobyl Diaries" will go direct to DVD in Australia. Dates to be announced."
Could I ask you to reconsider that decision?
You've got time. You haven't announced any dates yet, so you haven't tied yourself to anything that you'd then have to retract. You are in a position right now to simply reverse course and make a whole lot of potential customers very very happy.
"But we've gone over the numbers and we've discussed it and we're pretty sure this is the right decision." I'm sure you have any number of very smart professional people working for your company who have spent real time and energy putting together the plan that Garth was referring to tonight. I'm sure there is sound reasoning behind the decision.
Nicholas Stoller's films are frequently lumped in under the broader umbrella of "Judd Apatow movies," but I think that's not fair. Yes, Apatow helped usher in a certain style of studio comedy that is now a major part of the landscape, but he doesn't write and direct every movie that he produces. Stoller's movies, "Forgetting Sarah Marshall, "Get Him To The Greek," and this week's new release "The Five-Year Engagement," have their own identity, their own unruly voice, and I think he's doing a nice job of honing that identity from film to film.
Working with Jason Segel, it seems to me that Stoller is fascinated by just how far he can push a character or characters before they break. In "Forgetting Sarah Marshall," Segel played wounded very well, and the gradual way he mended his heart was charted with honesty even though it was also packed with laughs. "Greek" was all about testing the character played by Jonah Hill and seeing just how much he was willing to put up with from someone he idolized. Now, with this film, Stoller and Segel are once again writing about something real, wrapping up some painful truth in some big comedy set piece moments, and if the film has a major flaw, it is inherent to the premise itself.