'Tis the season.
And by "season," I mean that it is time for Butt-Numb-A-Thon, the 24-hour movie marathon created by Harry Knowles as the ultimate birthday for himself.
This is the 12th year of the festival, and I've been fortunate enough to attend all of them so far. As I write this, I'm already in Austin, where I'll be making my way to the Alamo Drafthouse on Saturday, ready for another barrage of both new and vintage films, programmed by Harry for maximum effect. I know a few things playing, and it's going to be a great year. I love that I never know a single vintage title that will play, and that those are almost without fail the highlights of each year's line-up.
Scott Swan, my old friend and writing partner, is unable to join us in Austin this year, but he's been to many prior Butt-Numb-A-Thons. As a result, he was the perfect guest to have on the podcast this week to talk about years past and what may happen this year.
We also run down the last few weeks of home video new-releases and we look at what's still coming out in these final days of 2010. It's a loose and casual podcast overall, and one of the last ones for the year. We may have a special holiday edition, and if things really work out, I'll run a couple of "best of" looks at the year's very best in Blu-ray with Scott by my side to sift through it all.
'Tis the season.
I'm one of the critics who went on the record to defend "Speed Racer" when the film was released a few years ago, and I am confident that the film will grow in esteem over the years.Â I am very curious to see how the Wachowskis overcome the baggage that has become attached to their names, and I'm confident they can do it.Â
An important step may be the production of the film "Hood," which was just set up at Warner Bros.Â Described as a "modern urban" version of the classic "Robin Hood" story, the most intriguing thing about the way the movie's coming together is the missed opportunity that the Wachowskis appear to be revisiting here.
Did you know Will Smith was very nearly Neo opposite Sean Connery as Morpheus in "The Matrix"?Â How do you feel about that as an alternate version of the movie?Â Can you imagine it?
If Will Smith wants to play a modern urban Robin Hood for the Wachowskis, I think that sounds like a great match, a great team-up, and it's exciting to think about what might result from that collaboration.Â It sounds like the script is done, and with Warner Bros. coming onboard, this may come together quickly.
Welcome to The Morning Read.
We're entering that time of the year when things get weird and schedules go wonky and I want to make sure that the Morning Read doesn't suffer. I've had that happen before, and it becomes a hard habit to get back into if I let things get away from me.
It's certainly not for lack of material. I was on the move last Friday, so we're talking about almost a week since the last Morning Read, and that means there's been an avalanche of links that I've bookmarked. Let's see how many of them I can get through, working roughly backwards in chronology, starting with this morning's news that Neil Blomkamp is hard at work now setting up his next film, "Elysium." It's exciting to hear that Sharlto Copley will be starring again for him. I would love to get a hold of that graphic novel that Blomkamp is presenting to studios as they meet about the film, set on another planet in a distant future. The cool thing here is that MRC is already committed to making the film. All they're doing right now is looking for a distributor, something that should be very easy to pin down based on the amazing success of "District 9," both critically and financially.
It's unusual for me to sit down to speak to cast from a film before I've actually seen the movie and even now, I still haven't seen "The Warrior's Way," which opened yesterday after spending some time on a shelf.
That may not be promising, but I'm a fan of genre mash-ups, and one of my favorite in recent memory was the sensational "The Good, The Bad & The Weird," a movie that mixed Korean/Chinese history and American Western archetypes to amazing effect.
It sounds like "The Warrior's Way" is aiming for that same sort of mix of influences, and that's the main reason I agreed to sit down with Danny Huston and Jang Dong, the stars of the film. Well, that and the fact that Huston hails from a Hollywood family that has demonstrated a mastery of genre for several generations now.
Jang Dong isn't a household name here in the U.S., but he's been in some remarkable Korean films. In particular, I would recommend anyone who loves war films should track down "Tae Guk Ki," which Jang Bong was part of. It's an amazing ensemble effort that offered up a perspective I'd never seen in film before.
It's funny that I'd be posting this only a few days after I've posted an interview with Jeff Bridges, because this is pretty much the polar opposite in terms of performances.
I'll admit it… I'm a tech nerd. I love the way technology and performance are increasingly combined for an end result these days. But I am also a huge fan of performances where an actor pushes themselves to a physical extreme in pursuit of a transformation that no computer could accomplish.
One of the defining performances I saw as a young film fan growing up was Robert De Niro's in "Raging Bull." I studied that film, looking at the way De Niro took himself from lean, polished, chiseled physical perfection to this bloated, ruined bag of fat, and it stuck with me because I couldn't imagine that being the same person. Since then, we've seen other actors who have pushed themselves to extremes in order to create striking images and give life to stunning characters.
Christian Bale practically built his early career on his ability to waste away to almost nothing, and if you saw Matt Damon in one of his early roles in "Courage Under Fire," what he did to himself in the film actually hurt him. One of the reasons I would consider Michael Fassbender one of the most promising actors to emerge in the last few years is because of his harrowing work in "Hunger." It's dangerous to push your body to extremes in either direction, which is one of the reasons we can't look away when we're watching it.
In 1982, when the original "TRON" was released, I was a wee lad of 12 years old.
I feel like I should offer up some thoughts on the original film because it may help you gauge what you should think about my review of the new mega-budget sequel to the film, "TRON: Legacy," which arrives in theaters on December 17th on a wave of hype that is as big as Disney can possibly generate. They've been building to this moment for a while now, ever since that reveal of the test footage at Comic-Con. They've bet big on this one, and they're already working on an animated spin-off and talking about making more sequels. And all of that makes sense… if the film is good.
So in 1982, I was already a rabid movie addict, and that summer was, in my opinion, the single best genre year of my lifetime. And not just up till the point, but still. It was a preposterous avalanche of great genre films, and I soaked it all up happily.
I even ran a whole series of articles about the subject over at Ain't It Cool back in 2007, in which I had different writers tackle different films from that summer that they loved or that were important to them. Harry wrote the article on "TRON," and I wrote an introduction for that piece which I'll reprint here:
After the surprise success of "Pirates Of The Caribbean: Curse Of The Black Pearl," Disney quickly put a plan in place to create two sequels back-to-back. Gore Verbinski directed both of the sequels, and I spent time with him during the editing of both pictures.
Towards the very end of post-production on "At World's End," we spoke at the ADR stages, and I've never seen someone who looked more tired. He was so exhausted that Disney wouldn't allow him to drive himself anywhere. And when he got those films across the finish line, it didn't surprise me at all that he just kind of dropped off the radar for a little while. It's an unreal amount of work to pull off something like that.
Without Verbinski directing the fourth film in the series, and without Dick Cook at Disney to help shepherd the film, the prospect of "Pirates Of The Caribbean: On Stranger Tides" seemed daunting at first, but eventually, Disney hired Rob Marshall, and they've wrapped photography on the film now. My guess is that things went very, very well, better than Disney even expected.
How do I know?
It’s safe to say that for film fans of the non-“team-Edward” or “team-Jacob” variety, “The Twilight Saga: Eclipse” is the most accessible. It was choc full of action and included considerably less navel gazing than the previous installments. I’m biased of course, as I’ve known director David Slade since the days when I was in TV commercial production and he was primarily a commercial director.
Jeff Bridges has entered a new stage of his career, one that very few actors ever reach.
When he started in this business, he was "Lloyd Bridges' son." After his first few roles of note, movies like "The Last Picture Show" and "Thunderbolt and Lightfoot," he became a working actor and an Oscar nominee. With his work in recent years in films like "The Big Lebowski" and last year's "Crazy Heart," he has become a beloved screen icon, and it seems like the love for him just keeps growing.
So once you become a legend, what's left to accomplish?
How about co-starring in a movie with a 35-year-old version of yourself?
My review of "TRON: Legacy" will be here on the site on December 5th, but until then, we'll be bringing you some chats with the cast of the highly-anticipated sequel to 1982's cult film, and where better to start than with Obi-Wan Lebowski himself?
Welcome to The Morning Read.
I guess based on the volume of e-mails and messages and conversations I've had about this in the last few days, it's time to take a look at the lawsuit that 20th Century Fox is filing against the woman who was hosting the download page for screenplays. If you haven't read about the lawsuit, you should start by reading the basics of the case.
The core truth here is simple, and it's not one that the online community likes very much: no one has the right to distribute screenplays via an online archive. Not legally. One of the reasons I think people assume I'll pick up the charge on this one is because of my history reviewing scripts for Ain't It Cool, and David Poland was quick as always to bring my name up when writing about this issue, claiming once again that discussing something is the same as publishing that something. He calls it a semantics issue. I call him a donkey-headed moron because that distinction is a significant one. I knew from day one that you cannot and must not provide actual links to download screenplays, and especially not for in-development work. You can discuss something all day every day, and it's not legally actionable, no matter what someone thinks of it. But distributing the actual material? The reason Fox is lawsuit-happy right now is because of the leak of the script for "Deadpool," which they are actively working to get onscreen. The lawsuit may list the rest of the Fox scripts that were on the site of PJ McIlvaine, but it's "Deadpool" that made this lawsuit happen.