Before you laugh, I want you to consider how long Drafthouse Films has even existed.
The company was formed to get the Chris Morris dark comedy 'Four Lions" into theaters, and since then, they've picked up less than 20 films. They're still defining their identity, but even so, last year, they were able to help steer the Belgian film "Bullhead" to a Best Foreign Language Picture nomination at the Oscars. They are a fledgling company, and it's not like "Bullhead" was an easy sell from an established artist with a big permanent fanbase. It was a debut film, and it was about the seedy underworld of steroid trading and treatment in the cattle industry. Not the sort of thing that seems at first description like an awards contender.
With "Miami Connection," Drafthouse Films is rescuing a long-lost musical action inspirational family drama with kung-fu in it, and they're preparing to unleash this forgotten masterpiece on audiences. If you're interested in demanding a local screening for yourself, you can do so through Tugg, and then you can also check to see if they've got the film scheduled to roll out in your area on the film's official website.
Before you laugh, I want you to consider how long Drafthouse Films has even existed.
I want to meet Chris Morgan.
Perfect world, we could sit down over the refreshment of our choice and we could talk about Conan. Specifically, we could talk about "Conan The Barbarian," the 1982 film that Universal released, directed by John Milius and written by Milius and Oliver Stone. That film was one of the things that made Arnold Schwarzenegger a viable movie star. Before that, he was known for a few quirky appearances in film like "Stay Hungry," his charismatic appearance in "Pumping Iron," and his bodybuilding triumphs. But "Conan The Barbarian" changed things for him, and its reputation has grown over time.
I've loved the film since opening weekend, and I love running into a hardcore fan of the film. You know you've found a kindred soul when you can ask, "What is good in life?" and someone answers without hesitation, "To crush your enemies, to see them driven before you, and to hear the lamentations of their women." And based on the story that Deadline reported earlier this afternoon, Chris Morgan may be one of those people.
It's been a strange day in the "X-Men" movie universe.
Obviously, fandom is freaking out over Matthew Vaughn leaving "X-Men: Days Of Future Past," and I plan to take a deeper look at the post-Rothman world of Fox superhero movies in the days ahead. For now, though, I'm fascinated by a comment that Empire ran today as part of their exclusive visit to the set of "The Wolverine," James Mangold's take on the mutant that has been played since 2000 by Hugh Jackman.
At this point, I would not be shocked to learn that people are confused by the timelines and continuities of the "X-Men" series. After all, there's the trilogy of films based on the Bryan Singer take on the characters, there's the "Wolverine" solo film, and there's last year's "X-Men: First Class," which appeared to overtly contradict several things in the already established movies. I'm not sure I quite understand how they're supposed to connect on a story level if we're meant to accept that they all take place in one movie universe.
I have to say this is looking a little bit more like "Die Hard" now.
I still think it's just plain weird to have built a franchise around John McClane, but I get the reason that most fans want more of something they like. McClane's great in the first film for two totally different reasons. First, he's great because he's a normal person who has to figure out how to stay alive and save his wife against armed, organized overwhelming odds, and that resourcefulness and fortitude make him heroic. Second, he's great because he knows exactly how to mouth off in a way that makes Hans Gruber mental, and that is just plain fun to watch.
That sense of "wrong place, wrong time" is a big part of that first film, and it's one of the things that makes McClane a real hero. He's not doing a specific job he's being paid to do. He just ended up in a position to be the one person who can disrupt this thing that's happening, and so he does it. The idea of him being trapped inside the building with the thieves was definitely one of the things that was most vigorously imitated by others, enough that you could pitch a movie as "'Die Hard' in a fill-in-the-blank" game of "Mad Libs" for years afterwards, but I don't think the contained space is what people who go see "Die Hard" sequels want.
The last time I spoke with Susan Sarandon, the Wachowskis came up in conversation. I still get a kick out of walking into a room and seeing Sarandon, ready to talk. As long as I've been a movie fan, I've been a fan of her movies, and she's had such a great, fascinating evolution as a performer. This time, as I was settling in, I asked her about her recent experience working with Mike Tully on a ping-pong themed movie, and it's true… you mention ping-pong, and she just lights up. I know Mike from various events like Sundance, where I've seen him both as a journalist and as a filmmaker (his "Septien" is pretty grand), and a trip to Ireland to see the cast and crew of "Your Highness" at work, and I was really pleased to hear how enthusiastic Sarandon was about the experience she just had with him. This is a dream project for Mike, and it's great to see that it's important to her, too.
Hugo Weaving, on the other hand, is someone I don't think I've ever spoken with before, and I didn't even think about that before I walked into the room. As I settled in and spoke with her, I looked over at him and was surprised to be suddenly anxious. "OH WOW THAT'S HUGO WEAVING!" is what I was saying inside, because he is so unmistakable, so iconic over the last 20 years. At this point, his work as Agent Smith or as Elrond or in "Priscilla" is so resolutely a part of the cinema landscape that it's hard to imagine movies without him. He's one of those guys, one of those great actors who also found just the right projects with just the right parts to allow them to do something permanent. When you look back at this era of commercial filmmaking, there's Hugo Weaving, smack dab in the middle of it.
A James Bond movie is a mirror.
When I watch one Bond movie by itself, I can watch it as a movie by itself, but when I'm watching all of them in a row, it is like having a mirror that works almost like a time machine, that takes me back to a very specific year for each of the films. You look at the Connery films, and the attitudes to spying, the color palette, the new relaxed sexuality and the tongue in cheek violence… it's all so very early '60s, so very British explosion, and that's one of the reasons I love those movies. That's my particular aesthetic preference. The movies in the transition years, like "Diamonds Are Forever" or "On Her Majesty's Secret Service," show the way pop culture was evolving, and as much as the movies imitated, they also innovated. It was like a feedback loop.
The Moore movies became more overt about it as they tried to fine-tune the formula. "The Spy Who Loved Me" was the height of the disco era, the year of "Star Wars," and "Moonraker" was made not only after "Star Wars" but also after "Battlestar Galactica," and it seems to reflect what was going on in television as well as in movies. "For Your Eyes Only" is a reinvention, and that was the early '80s, a chance to reinvent pop culture in the Reagan era. And as that era curdled, so did the series, with "Octopussy" and "A View To A Kill" offering up bloated attitude and diminishing returns.
I am, quite frankly, surprised by this announcement.
It's a pleasant surprise. I'm more than happy for James Cameron to make whatever he wants, and adding another film to his development slate can only be a good thing. But a little while ago, he basically announced that he was done developing new properties and claimed that he was in the "Avatar" business exclusively.
My guess is now that he's deep into the nuts and bolts part of actually writing those sequels and preparing for the sure-to-be-crushing experience of doing part two and part three as one giant production, he's realizing that maybe he doesn't want to spend the entire rest of his life just doing stories about Pandora. While I agree with him that he's created this fictional planet where he can pretty much tell any story and metaphorically tackle any topic, I also look forward to seeing him try something different because I think he remains exciting and intriguing no matter what the subject matter.
It seems like the conversation about race in "Cloud Atlas" is heating up in this last week pre-release, and I imagine once people see the film, that conversation will continue. I think there are a number of potent, interesting ideas to grapple with once you've seen the movie, but unsurprisingly, some people have stopped at "Hey, those people are wearing make-up to look like a different race" and that's all that they see when they look at the movie.
Last night, I got into a fairly spirited back and forth with Walter Chaw, a smart and passionate writer, in which he was adamant about calling the film "yellowface." While he's technically correct that there are indeed white actors playing Asian roles in the film, what I kept trying to engage him on was the notion that the film has so many other racial ideas in the mix and so much more identity remixing going on that reducing the film to "yellowface" as if that's the driving idea behind the make-up seems inflammatory to me. After all, in this same film, we've got Doona Bae as a young girl in the American south during the 1800s and Halle Berry playing a white German Jew, complete with a nude scene, and we've got men playing women and women playing men and Keith David playing Korean and on and on.
"Heroes… there is no such thing."
Grammatically, that's a bit of a nightmare, but the sentiment seems clear. Ben Kingsley's Mandarin makes his debut for the non-Comic Con crowd in the first trailer for "Iron Man 3," and as much as it looks like an Iron Man movie and a Marvel movie, it also truly looks like a Shane Black movie.
And that is a very good thing, indeed.
One of the things you have to do in an ongoing series about a superhero, especially one who positively lives and breathes ego the way Tony Stark does, is find new and organic ways to knock him down and take away that confidence. Watching my wife's face tonight when I showed her the trailer, it's obvious that her investment in Pepper Potts and Tony as a couple is so strong that seeing the two of them thrown when his house explodes had her automatically upset and involved.
I'm going to be curious to see how much "This Is 40" resembles the screenplay that Universal just posted online in PDF format this weekend.
If you do decide to read the script, released as part of Universal's awards push for the film, it's interesting how strongly the voices of his actors are already embedded in the script. I can clearly hear Paul Rudd, Leslie Mann, Albert Brooks, Jason Segel, Melissa McCarthy, and even Maude and Iris Apatow in the characters that Judd's written for them. And while I like the script quite a bit, it's telling that the sequence I saw them shoot when I visited the set does not appear to be in that script anywhere. Then again the photo I put on this article comes word-for-word from the script, and on the page, it feels like the sort of thing you'll swear was improvised. That's sort of the magic of the Apatow process.