- Christopher Nolan has announced his next film will hit theaters in 2017, but that’s all we know. Besides Michael Caine.
- Netflix has picked up the fantastic Charlie Brooker series Black Mirror for more original episodes, which is welcome news for those dreading the proposed American remake. For those who’ve yet to see the show, take the first episode with a grain of salt. From the second episode onwards, you’ll be hooked.
- Spectre‘s theme song “Writing’s on the Wall” will be theme sung by Sam Smith, the first British male solo artist to do Bond since Thunderball‘s Tom Jones.
- The Force Awakens will be opening one day early in the U.K., as if I needed another reason to move to Europe.
Continue reading Film & TV News: September 9
- Sam Mendes has officially stated that he won’t return for a third Bond outing after Spectre… but by now, of course, we pretty much know to take these sorts of “confirmations” with a grain of salt. Mendes also teased that we might expect the artist of the theme song to be made public sooner rather than later.
- Another Accidental Franchise Sam (this one’s Raimi) has given his blessing to Marvel’s high-school approach to the new Spider-Man. So, yeah. Rest easy.
- We noted how weird the career of David Gordon Green is in our review of Manglehorn, wherein we also lauded the fact that he’s leaned toward smaller indie-feel projects like Manglehorn and Joe. Now Green will allegedly be directing Stronger, one of the many adaptations concerning the Boston Marathon Bombing, thus remaining one of the most unpredictable directors in Hollywood.
- It Follows is now available on Amazon Instant Video and several other platforms, so your excuses for not watching it are really starting to thin out (you know who you are).
Continue reading Film & TV News: July 21
Discovered an alternate universe the other day. Stumbled upon it by accident, stayed for a while to check it out. Pretty weird. Their eggs and ham are green and Transformers: Age of Extinction won Best Picture. Hoverboards are the primary mode of travel, everyone’s wearing Air McFlys. Don’t know why, but strong suspicion that George Bailey never existed. Can’t tell which universe is good and which is evil. Met their film director David Gordon Green and discovered him to be a talentless hack who sold out after making a few good movies and now just makes big budget stuff. He did the Oscar-winning Transformers. They’ve him to thank for those Batman/Terminator crossover movies and can look forward to his upcoming Star Wars anthology film R2-D2 Rises. In their universe David Gordon Green also directed Pineapple Express and Your Highness and The Sitter…ah, no, wait, that’s ours.
Thankfully, our David Gordon Green turned away from the big budget stuff in order to make movies like Manglehorn. While Bizarro DGG turned to the dark side and never came back, the chunk of studio comedies characterized by Pineapple Express, Your Highness and The Sitter just seems like a temporary detour in our world. Even if you liked those flicks, the point stands that Green’s career has followed one of the more unpredictable paths you’re likely to find on any Hollywood résumé. His first several features were intimate character dramas, beginning with the phenomenal coming-of-age tale George Washington. Most were well-received and all were small-scale, independent features. Understandable, then, that when three green things converged — money, weed, and David Gordon — and resulted in Pineapple Express, more than a few eyebrows headed north.
Continue reading Manglehorn (2014)
There’s a movie called Bob and the Trees that premiered at Sundance last month. It’s about a guy named Bob, and it’s about some trees. Bob’s a logger in rural Massachusetts, and when winter sets in he starts encountering problems. The premise alone isn’t particularly exciting, so Bob and the Trees draws compelling cinema from another source: the fact that Bob is played by a logger named Bob, and Bob the character is very much a version of Bob the logger. It’s fiction, of course, but it’s also true (“nonfiction” doesn’t seem like the right word). The characters are reading a script, but they’re more or less reading it as themselves. It makes Bob and the Trees into a kind of hybrid that looks and feels — again, for lack of a better word — real.
David Gordon Green’s Joe isn’t exactly that. It’s not a true documentary, not docudrama, not cinéma vérité, not kino-pravda (“film-truth”), and not even as factual as Bob and the Trees. But damn if it isn’t close, and damn if it isn’t Green’s most balanced and lifelike film since his 2001 debut George Washington.
Continue reading Joe (2013)