The Hush-Hush News Report: 06.13.12: Looking To The Blockbusters Beyond Batman
Also, do you Twitter? If not, you should! And while you’re at it, add these to your list of people that you follow so that you can get the latest updates! Come on Peeps, I and 411 need Twitter followers to validate our existence. Or something like that.
I’m an unabashed Orioles fan and I make no apologies for it. So I’m enjoying this baseball season in a way I haven’t since 1997 and one of the best moments came just last night. Brian Roberts, who was our catalyst for the better part of a decade, returned after more than a year out due to the very sever repercussions from a concussion suffered last May. Concussions have become huge issues in both football and hockey over the past couple years, but it has hit home in Baltimore in a more personal way as we’ve been forced to watch a sometimes dejected and sad B-Rob sitting in the dugout in recent months.
“There were times throughout the process that the future looked so bleak,” Roberts said before today’s game. “I haven’t started a family yet, I haven’t had kids yet. I have a wife that I want to love and support the rest of my life, and all those things take physical abilities to be able to do. Baseball is important and my contract is important, things like that. But I would hope people would understand that was No. 1.”
He’s healthy. He got a standing ovation. He got three hits. Led the O’s to a win against the first-place Pirates (wait, what?). And then he got the most gentle pie-to-the-face even seen on a diamond. Welcome back, Brian.
Moving on, allow me to plug some of our 411 film reviews here including reviews of:
Madagascar 3: Europe’s Most Wanted
Comic-Con IV: A Fan’s Hope
Snow White and The Huntsman
The Best Exotic Marigold Hotel
Men in Black III
What To Expect When You’re Expecting
Think Like a Man
We’d still write them if no one was reading, but to be honest it’s better and more worthwhile when people do. Something about a tree falling in a forest. Anyway, on with the news….
A smörgåsbord of photos follow. Included: Man of Steel, R.I.P.D., Pitch Perfect, Despicable Me 2, Jurassic Park 3D, The Smurfs 2, Robocop, Cloudy 2: Revenge of the Leftovers, After Earth, Hotel Transylvania, A Good Day to Die Hard, Epic, Percy Jackson: Sea of Monsters, Robopocalypse, Rio 2, Lovelace, Ender’s Game, Pacific Rim, Turbo, The Groods, DreamWorks’ Dragons, Mr. Peabody & Sherman, G.I. Joe: Retaliation, Ted and Iron Man 3.
For those not interested, hyper-scroll down. My favorite? G.I. Joe: Retaliation with the obviously slapped-on “Now in 3D!” on it.
Laurie would play the villain of the film, the wealthy CEO of Omnicorp, the evil corporation that creates Robocop. This would be a departure for Laurie, who has played the cranky, pill-addicted central character on Fox’s hit show House. That show’s successful eight season run ended last month; Laurie previously was best known as one half of the British comedy double act Fry and Laurie with Stephen Fry, joining his partner in the casts of Blackadder and Jeeves and Wooster.
Laurie would join Joel Kinnaman (as the title hero), Abbie Cornish (as his wife), Gary Oldman (as the scientist-creator) and Samuel L. Jackson (as a media mogul) in the cast. For a remake that nobody really wanted and many still aren’t sure is a good idea, Padilha’s Robocop is getting a remarkably good cast, no doubt due to the up-and-coming director’s presence (his Elite Squad movies are well thought of and have done big business abroad).
Do you like the cast being assembled for Robocop?
Sony is already in the Hasbro business, with a Candy Land project already in the works with Sandler and Happy Madison, as well as a Risk project. I had no idea kids still played with Tonka Trucks, so this must be welcome news for Tonka enthusists, whoever they may be. However, for film lovers everywhere, this sounds like another stupid idea for a feature film. As the folks over at Fim School Rejects titled their piece: “Beware the New Axis of Evil: Sony, Hasbro, and Happy Madison to Make a Movie About Tonka Trucks.”
However, to be fair, here’s the official press release of the announcement. Let’s let President of Sony Pictures Digital Productions, Bob Osher, try to gin up some excitement:
CULVER CITY, Calif., June 11, 2012 – TONKA, the Hasbro brand that for 65 years has stood for its line of toy trucks for children, will bring its TONKA toughness to the big screen in a fully animated motion picture to be produced by Sony Pictures Animation, Hasbro and Happy Madison Productions. The announcement was made today by Bob Osher, president, Sony Pictures Digital Productions, Michelle Raimo-Kouyate, president of Production for Sony Pictures Animation and Brian Goldner, president and CEO of Hasbro. The film will also be produced and developed by Goldner and Hasbro’s senior vice president and managing director of motion pictures, Bennett Schneir and will be written by Fred Wolf.
The new TONKA project strengthens the growing ties between Sony Pictures and Hasbro, following the announcements that Sony Pictures is developing motion pictures based on Hasbro’s RISK and CANDY LAND brands. CANDY LAND is also a Happy Madison project.
Commenting on the announcement, Osher said, “In its 65 years, TONKA has become more than a toy or a brand – TONKA trucks are a rite of passage for kids all around the world. Time spent with these toys creates memories that last a lifetime as kids are inspired to play using the boundaries of their imagination. We look forward to creating a family friendly motion picture that brings the TONKA experience to life.”
Raimo-Kouyate added, “Fred and our friends at Happy Madison and Hasbro have a truly inventive take on what it means to be ‘TONKA tough’ that will translate the multi-generational appeal of this world-renowned brand into a fun animated adventure for the whole family.”
“We’re thrilled to be working with Bob, Michelle, and the amazing team of artists and storytellers at Sony Pictures Animation,” said Schneir. “Together with Happy Madison, we’re excited to bring TONKA trucks to life in a terrific story for audiences around the world.”
One of the most recognized brands in Hasbro’s portfolio, TONKA has been the bestselling toy truck globally since 1947. Giving children real-life, relatable experiences, TONKA trucks help kids learn the confidence to get the job done.
Superhero Hype has posted a new teaser of the Resident Evil: Retribution trailer, which will premiere on June 14 at 11 AM EDT after a chat with star Milla Jovovich at Regal Union Square Cinemas in New York. The film itself will be released on September 14 this year.
Here’s a synopsis for the upcoming film, the fifth in the franchise:
The Umbrella Corporation’s deadly T-virus continues to ravage the Earth, transforming the global population into legions of the flesh eating Undead. The human race’s last and only hope, Alice (Jovovich), awakens in the heart of Umbrella’s most clandestine operations facility and unveils more of her mysterious past as she delves further into the complex. Without a safe haven, Alice continues to hunt those responsible for the outbreak; a chase that takes her from Tokyo to New York, Washington, D.C. and Moscow, culminating in a mind-blowing revelation that will force her to rethink everything that she once thought to be true. Aided by newfound allies and familiar friends, Alice must fight to survive long enough to escape a hostile world on the brink of oblivion. The countdown has begun.
Oscar winner Philip Seymour Hoffman has reportedly been offered the role of new gameskeeper Plutarch Heavensbee, according to Deadline. Hoffman may not take the part (he has just finished a run as Willy Loman in Death of a Salesman) and has decided to go agent-less for the time being, but Hoffman’s possible involvement continues to show that Lionsgate is shooting for the stars in the followup to their huge blockbuster from earlier this year.
Q: “It looks like you had a rough day.”
Jessica Biel: “We have a rough day every day. (laughs) At least it appears to be.”
Q: “Can each of you talk about how you see your characters?”
Colin Farrell: “How do I see Jess’ character?”
Biel: “A trick question.”
Farrell: “As often as possible and not often enough. Do you want to go first? I’ve started, shall I continue?”
Biel: “Whatever you’d like.”
Farrell: “I’ll give you a chance to formulate something that’s smarter than what I’m going to trip my way through. So I play Doug Quaid, which pretty much like the original incarnation, is a member of the Proletariat, a fairly low-level blue collar worker in a way really grand factory scheme, who lives in a part of the world called New Asia and travels daily to the United Federation of Britain, UFB, and makes a really long trip in a short space of time through the use of this public transport system called the China Fall, which is a really wicked concept. The China Fall is basically a 60-story escalator that transports about 30,000 people at a time that can travel from one side of the planet to the other. They’ve dug a tunnel system through the planet that traverses the earth’s core and there’s a switch in gravity at that stage, so that’s how Quaid gets to work every day.
“I have one friend that we know of in the film known as Harry, who I work very closely with in the factory, and basically he’s somebody who at the beginning of the film, as I found him in the script, is suffering from some form of mild discontentment with his lot. His life just doesn’t seem to be adding up in the way for so many of us, at various times, it doesn’t seem to. I don’t know, man, they’re all relative terms but maybe through success and hardship in a life, a state of grace that maybe people find themselves in every now and then is feeling that you’re living the life you’re supposed to be living. If someone can feel that, that’s a really cool thing. I don’t always feel it. Now and every then, I get a pinch of that and that’s a very cool thing if it ever arrives. This is a man, Quaid, that doesn’t feel that he’s living the life that he should be living, and this is a much more common thing that he’s going through. It doesn’t add up. He has a beautiful wife, he’s in a marriage that he seems to be content enough in and a job that, as I said, while it’s fairly low-level blue collar work, it pays okay, and yet, there is something beneath the system of what he can see that doesn’t add up. He can’t put his finger on, he’s not even that suspicious about it, but in the short space of time before there’s a fracture with the character, it’s beginning to come to the surface, the level of frustration that he’s experiencing.
“Then he goes into this place “Rekall” just to avail of the technology that is existent, which is you can go on a one or two-week holiday without leaving a room. You sit in this chair and you get implanted with a memory, and it all goes tits up, I suppose, for lack of a better term. He begins to be told and shown that he’s not actually who he thought he was, and that he discovers that he’s been a pawn in a much bigger game than he could have ever visualized. So yes, he’s just a regular Joe to start and then he finds out that he’s anything but that. That there’s a greater purpose to his life all along.”
Q: “When the armed guards burst into Rekall, you say “I’m nobody” so is this a search for identity?”
Farrell: “Completely. Regardless of how superficial or light something is, you approach it, or at least I approached every single thing I’ve done, with the same level of seriousness and you play it with the same level as respect, so for me, this is a story of a man who is going from being unconscious to being conscious, a man who is going from being lost in the quagmire of his own irrelevant existence, or what he feels is irrelevant, to something with more relevance and sustenance that can take him through. It’s basically that time-old thing that we all search for, which is meaning in our lives, just meaning, wherever that come. Sorry, I go on. I have to learn to shorten answers. I’m f*cking putting myself to sleep here (laughter)… (to Jessica) Please, jump in.”
Biel: “I definitely didn’t think of anything better, just so you know that you’re all safe. Melina, the first thing I thought if while you started your answer was that I don’t know Melina’s last name.”
Farrell: “Right, right. That’s cool, though. At least it’s interesting.”
Biel: “Is it? I don’t know. Identity questions? I think. So I play Melina, who in this story is a woman who has in her backstory that we’ve all kind of talked about, she’s grown up in this family who has always been against this particular government and system that they feel is quite unfair and corrupt and has always been part of an underground revolutionary-type movement, and that’s how she’s grown up probably–this is just the story we created, but maybe she lost her mother in the mess of this fighting and having a very close family member who is kind of a leader of this underground movement. This is very much that person’s dream and she wants to fulfill and be a part of this idea that the government that is ruling these two sides of the world is against the people, not for the people, and this revolutionary movement is trying very hard to stop that, break it up, and show the truth to the people. She’s grown up very much this underground soldier and this very strong empowered, very skilled, very able person, and obviously in our story, as these two come to meet each other (as Quaid thinks) for the first time, he feels that he remembers her in some way, my character obviously understands a lot more of the situation that he has been going through, which is terribly confusing for him. I pretty much spend the film trying to help him understand and remember and more than anything, feel that I’m someone that he does know cellularly, and that idea of that very deep and strong emotion like the emotion of love is not something that you can erase, even if a memory was taken or a brain was swapped with another brain, which is available in this world.”
Farrell: “She’s basically Quaid’s emotional GPS, you know what I mean? (Jessica laughs at this.) Seriously, she’s kind of the lighthouse that brings him home.”
Q: “What was the lure of doing this movie?”
Farrell: “I was open for the first time in a few years to do something that’s really big. It was terrifying. I have kind of been quite content in the last six or seven years creatively doing films that budgetarily were smaller in scale, and so you didn’t feel the pressure. It’s not exactly a tough life that I have that the pressure I feel of being the center of a $150 million dollar film or whatever it is, but I was quite happy doing, whether it was the film with Martin (McDonagh), “In Bruges,” or “Ondine” with Neil (Jordan) or whatever it may be, and I went, “You know what? It scares the shite out of me the idea of being in a really, really big film.” It really does, but I’m open to it and it’s something that I have a little bit of fear around then I’m really open to it. It’s really an attractive idea for me, and this came along. I met Len and I saw some of his artwork, some of his conceptual designs for the film, and the notion that I could be involved in something that was as magnificent as what I saw that was as all-encompassing cinematically, encompassed what a child’s mind could only wish it could dream of in terms of scale. That, along with the script, which I read before I met Len, so meeting Len and the artwork and the concept and the world and what he was going to create was the final thing. I came away from meeting him going, “F*ck, I’d really love to do it, I hope I can.” But initially I responded to the script, I responded to the idea of a man who really just didn’t know who he was and I was trying to grasp the idea of “What makes us all?” it’s that simple. It brings up those questions every day, “What makes a person idea of who they are?” It’s nature and nurture, it’s all those old arguments. Are we really formed by this society we’re in starting with the family, and then branching out into the school and the neighborhood and then the city and the country and it becomes the world. What forms us? Is it experience or is it some genetic make-up, something deeper than that, or is it a mix of both? Can you reclaim? Can you change? All those things. ‘Cause Quaid doesn’t know who he is. He’s told by Melina that he’s Hauser, and he’s been told recently that he’s Quaid. That’s all he’s known, that’s all he remembers. He’s had this life of memories, but it’s actually only been six weeks that he’s been this Quaid character, so his whole world keeps crumbling around him in a really violent and aggressive way. She’s very much my emotional GPS and the whole thing is him finding a journey, not being back to who he was, but back to who he is.”
Q: “This is the second time you’ve done a Philip K. Dick adaptation, so is there something you really like about his work that you can zero in on?”
Farrell: “I mean, just the idea of this film, the genesis of it, the concept. Dick’s work seems to always be very significant or pertinent to whatever time it’s viewed in, because power has always been abused. As long as human beings could think for themselves and as long as they had some degree of what people term consciousness, power’s always been sought out and it’s inevitably, even those who begun in a just way, abused and Dick was someone who seemed to understand that, and he seemed to understand the fearsome power that the state has and how easy it would be to subjugate people, and that’s something that we see around the world all the time. Just the ideas that he had and the vision for the future continues to be correct. There is no stop point. It’s not like “What future did he see?” You can set his stuff and go as far or as short into the future as you want and it works. His themes are timeless.”
Q: “Was it really obvious when you script that this was a different Quaid than the Schwarzenegger one?”
Farrell: “Yeah, it’s weird because I never read the script (for the original movie) and a script’s a script and a film’s a film. The original film I knew really well, and so I can see what Verhoeven brought to it and stuff, but you have the script and that has a particular tone and then there’s a lot of tone and color that’s thrown onto that palette. The story is lifted from the script and put on that canvas, and there’s so many factors and so much influence from the director of photography to how shots are set-up to the music that’s used, all of that stuff changes the texture of the film, but I noticed one thing. I noticed a lack of one-line jokes, and no one does those one-liners like Arnie. I grew up on “Commando” and “Predator” still stands up as a brilliant, brilliant film, and this one I love. This one just stood alone.”
Q: “What’s it been like working together? During the scene we watched you shoot, you were giggling and having fun before every take.”
Farrell: “She’s high all the time. (laughter) I’ve enjoyed working with you very much.”
Biel: “We’ve had a good time, honestly. It’s just so silly sometimes what we do and it feels so bad. It’s so physically painful.”
Farrell: “It’s not comfortable up there today.”
Biel: “There’s nothing to do but to laugh and get completely giggly and giddy.”
Farrell: “It’s really ungraceful. Things happening to your body, and you’re afraid if you laugh too hard you might fart.” (laughter)
Biel: “What’s going to happen? There’s been some close calls but okay. That’s what it is. For this particular scene and a few other ones, it just gets to the point where literally our eyeballs felt like they were about to pop out, and all the blood is rushing to your face and you’re looking like this (makes a face) as you’re coming through the camera. What’s happening? We’ve just done our best to laugh through it, have fun, and not take ourselves all that seriously.”
Farrell: “It’s tough and you have a certain amount of runway through the story and then you have to take off and leave it behind, and we’re coming up to that day. Initially, the shoot was supposed to wrap this Friday.”
Biel: “Yeah, Friday. Tomorrow’s supposed to be…”
Farrell: “The day before wrap day initially and we’ll go on now until the 18th or 20th (of September) so we’ve done a lot of the heavy lifting and all the emotional stuff has been covered, my point being that I think humor will take me through the next two weeks. (laughter) It’s a lot of action stuff…”
Biel: “And it just gets hard to connect to it.”
Farrell: “And then you find a thing today with Cranston and China Fall. “I’m not Hauser!” and I better get serious again, because there’s some stuff you can’t fake.”
Q: “Do you guys enjoy the physical part of this movie? The fighting?”
Biel and Farrell together: “Yeah!”
Biel: “Yeah, it’s very fun. I have to keep up with everybody else, but it’s wonderful to learn about your body and the limits of it and get yanked up on a wire and spin around. I really find that to be really, really, really fun. It gets tiring, it gets silly, it starts to hurt a LOT – it doesn’t always feel so great…”
Farrell: “And it gets tedious.”
Biel: “It gets really tedious.”
Farrell: “It’s almost harder than dialogue scenes. If you give me a dialogue scene, I can do 100 takes with you…”
Biel: “And it would be different every time.”
Farrell: “The physical stuff is all the same or you try to make it all the same sense. There’s a specific point you hit and it’s not necessarily imbued with the minutae of emotional thrust of dramatic scenes, but it’s fun.”
Q: “Jessica, Len said that you have a pretty intense fight scene with Kate. How was that?”
Biel: “We did, we did. It was really fun. We had a great time. That sounds a bit strange, but we were laughing, because we never fight with women. You’re always fighting a man or a monster or some thug. You never really fight a beautiful, sinewy long-haired woman, so we were both looking at each other trying to be delicate. I think the first time we did it, it was a strange experience.”
Farrell: “That didn’t last too long, the delicate thing.” (laughter)
Biel: “No, we got over that pretty quickly. It was all very mapped out and we were both very careful. One of the only issues that we kept having was Kate’s hair kept getting stuck on my jacket, like wrapped around a button, and she’d go (screaming) “Ow! Stop! Stop!” and we’d cut. “Are you okay? I’m okay, are you okay?” like a lot of that happening. It was great and I think it will look really cool, because it’s not a girlie fight. ”
Farrell: “Leave that to me.”
Biel: (laughs) “It’s far more aggressive.”
Q: “How do you find that aggression?”
Biel: “I fake it. It’s a combination of finding that kind of aggression against somebody that you really like. I substitute a lot of different people, depending on the day maybe (laughs). Different situations, it can be a lot of different things. That’s one way to get an emotional connection to something that feels somewhat obscure.”
Q: “Is it more difficult to play aggression and hatred than love?”
Biel: “For me, it is. I don’t know if that’s true for everybody but yeah, I’m kind of a really unbelievable mean person. I wish I was different. I think it would be interesting to have something else going on there, but yeah, it’s easier for me to be in love with her or him or whatever it is. I respond to that a little bit more, that’s a little bit more of my natural personality I think.”
Farrell: “I find anger and hatred easier I suppose, I think ’cause I have a fairly communal relationship with love in my life–family and friends and things I’ve been fortunate enough–that I have deposits of anger and stuff that don’t get to come out in life. I don’t hunt and I don’t gather, so there’s a lot of stuff in there that’s easier to access, where love is something that is constantly going, so to use it in work it gets very, very tricky. You have to be careful not to manipulate your own experiences too much whereas anger and rage, I think for a lot of the modern world, seems to be a very easily accessible place.”
Q: “What can you say about Len as a filmmaker?”
Farrell: “What would I say about him as a filmmaker? I do hope he works again after this. (Laughter) I really do. I have had such a wonderful time working with Len Wiseman. He’s so bright and he’s so decent, and he’s striving so diligently and nobly, really, to make what could be just an action film and a really spectacular one at that, but something that has a great deal of emotional resonance. We’re genuinely all trying to do that. Whether it works or it doesn’t as that, who knows, but that’s what we’re all aiming for, because I think we all have a shared understanding that regardless of how spectacular the sets may be or how grand a design and concept this film may have, that if it’s not grounded in something emotional, it’s not grounded in that human element, then it will fail to be of any interest. I’ve loved working with Len, he’s really specific and he’s a workhorse and he’s working all the hours that God’s given him and I’m looking forward to him getting a break.”
What are you planning on seeing this weekend
Lincoln – 13/5; 29% (Released: December 2012)
The Master – 11/2; 15% (Released: October 12, 2012)
The Great Gatsby – 13/2; 13% (Released: Christmas 2012)
Les Misérables – 8/1; 11% (Released: December 7, 2012)
Django Unchained – 14/1; 7% (Released: Christmas 2012)
Life of Pi – 20/1; 5% (Released: December 14, 2012)
The Hobbit: An Unexpected Journey – 25/1; 4% (Released: December 14, 2012)
Zero Dark Thirty – 33/1; 3% (Released: December 19, 2012)
Hyde Park on the Hudson – 33/1; 3% (Released: December 7, 2012)
Anna Karenina – 50/1; 2% (Released: November 9, 2012)
Beasts of the Southern Wild – 50/1; 2% (Released: June 29, 2012)
Brave – 50/1; 2% (Released: June 22, 2012)
Paul Thomas Anderson (The Master) – 23/10; 30% (Editors: 9/2; 19%)
Steven Spielberg (Lincoln) – 3/1; 25% (Editors: 13/5; 28%)
Ang Lee (Life of Pi) – 11/2; 15% (Editors: 10/3; 23%)
Kathryn Bigelow (Zero Dark Thirty) – 12/1; 8% (Editors: 15/2; 12%)
Tom Hooper (Les Misérables) – 14/1; 7% (Editors: 20/1; 5%)
Baz Luhrmann (The Great Gatsby) – 20/1; 5% (Editors: 16/1; 6%)
Quentin Tarantino (Django Unchained) – 25/1; 4% (Editors: 33/1; 3%)
Benh Zeitlin (Beasts of the Southern Wild) – 100/1; 1% (Editors: 50/1; 2%)
Christopher Nolan (The Dark Knight Rises) – 100/1; 1% (Users: 33/1; 3%)
Daniel Day-Lewis (Lincoln) – 10/9; 47% (Editors: 6/5; 45%)
Bill Murray (Hyde Park on the Hudson) – 5/1; 17% (Editors: 11/2; 16%)
Philip Seymour Hoffman (The Master) – 6/1; 14% (Editors: 9/2; 18%)
John Hawkes (Six Sessions) – 12/1; 8% (Editors: 9/1; 10%)
Hugh Jackman (Les Misérables) – 16/1; 6% (Editors: 25/1; 4%)
Leonardo DiCaprio (The Great Gatsby) – 20/1; 4% (Editors: 20/1; 4%)
Laura Linney (Hyde Park on the Hudson) – 15/8; 35% (Editors: 9/4; 31%)
Carey Mulligan (The Great Gatsby) – 4/1; 21% (Editors: 23/10; 30%)
Keira Knightly (Anna Karenina) – 13/2; 13% (Editors: 13/2; 13%)
Marion Cotillard (Rust and Bone) – 15/2; 12% (Editors: 9/1; 10%)
Helen Hunt (Six Sessions) – 10/1; 9% (Editors: 8/1; 11%)
Meryl Streep (Hope Springs) – 25/1; 4% (Editors: 25/1; 4%)
Quvenzhane Wallis (Beasts of the Southern Wild) – 50/1: 2% (Editors: 100/1; 1%)
Joaquin Phoenix (The Master) – 11/8; 42% (Editors: 8/5; 39%)
Leonardo DiCaprio (Django Unchained) – 27/10; 27% (Editors: 12/5; 29%)
Russel Crowe (Les Misérables) – 12/1; 8% (Editors: 25/1; 4%)
Bill Murray (Moonrise Kingdom) – 16/1; 6% (Editors: 9/1; 10%)
Christoph Waltz (Django Unchained) – 25/1; 4% (Editors: 16/1; 6%)
Joel Edgerton (The Great Gatsby) – 33/1; 3% (Editors: 20/1; 5%)
Dwight Henry (Beasts of the Southern Wild) – 50/1; 1% (Editors: 33/1; 3%)
Aaron Johnson (Anna Karenina) – 100/1; 1% (Editors: 50/1; 2%)
Anne Hathaway (Les Misérables) – 11/8; 42% (Editors: 2/1; 33%)
Amy Adams (The Master) – 21/10; 32% (Editors: 7/5; 41%)
Olivia Williams (Hyde Park on the Hudson) – 12/1; 8% (Editors: 8/1; 12%)
Sally Field (Lincoln) – 14/1; 7% (Editors: 14/1; 7%)
Vanessa Redgrave (Song for Marion) – 33/1; 3% (Editors: 33/1; 3%)
Nicole Kidman (The Paperboy) – 100/1; 1% (Users: 33/1; 3%)
Judy Dency (The Best Exotic Marigold Hotel) – 100/1; 1% (Editors: 50/1; 2%)
i can see this failing big time. marvel just has the better roster of super heroes while DC only has 2 people fans care about and thats superman and batman and superman has falling off too. nobody else in the DC Universe has anyone that fans really care about. but in marvel they got PLENTY of super heroes people care about. like in the avengers people care about iron man, hulk, captain america, even thor. and also people care about spiderman and the X men. Wolverine alone can take on and beat half of the people in the DC Universe. but some DC dorks think that batman is so great and all. oh plz, joker carried the last batman film the dark knight cause EVERYONE was complaining about batman and his voice in the movie. this justice league movie looks to be all the makings of a epic fail. its gonna be really bad.
Apple. Nintendo. Marvel.
Let the Fanboy Wars rage on.
From Guest#7000 (Guest):
I’m not the guy(s) you quoted, but I’m definitely in what you call the “significant minority” that thinks the movie Bane looks like shit compared to the comic version. It’s not trolling and it’s not a comment on how the character is portrayed in the movie, it’s an opinion of the visual aspect of the character based on promo photos. Movies are a visual medium so it’s reasonable that a “fuckin atrocious” looking character, based on a cool looking character, could put people off the movie.
How is it “fuckin atrocious”? It’s not a comic book. It’s not a 1-to-1 transfer; you can’t always get away with something from a comic working for a more mainstream film. I’m sorry, I just still don’t get what people want this character – in a more grounded, gritty, “realistic” Batman movie from Christopher Nolan to look like. Do you really want him looking more like a Lucha wrestler? Is the mask being different really a deal-breaker? Would that really make it better than what Nolan is delivering? I guess we could go back to a more “comics-based” look of Bane. How about this?
Personally I’m looking forward to a Justice League movie, but they have a real problem with Batman. The recent Batman movies have been very good and very popular, so it’s gonna be interesting to see how they meld that Batman into the JLA. Smallville aside, you can’t do a Justice League movie without Batman and expect monster success.
Agreed and it is probably going to be the trickiest part of all of it, although it seems like they’re taking the “WE NEED TO HURRY UP AND GET THIS OUT THERE” approach to take advantage of and catch up to The Avengers. Good luck with that WB. I honestly don’t know how you follow up Nolan’s Batman trilogy, but they’re going to have to come up with something.
From JD (Guest):
Other than Batman, DC aint got shit. Green Lantern already sucked. And no one gives a shit about Wonder Woman or Flash. The characters are too old timey, Whereas Marvel’s characters allow you to not have to go SOOOO far to suspend disbelief. Everyone in the JLA is an alien or magic or some hokey shit like that. But it will do as well as green lantern in the sense that little kids will dig it and it will sell toys. But I doubt it would have the legs of any of the Marvel hits.
DC: Boo, Hiss!
Yeah the guy in the red, white and blue uniform who started out doing USO shows and raising bonds for the war effort isn’t old-timey at all. Neither is the Norse God of Thunder who wields the giant hammer, hails from the golden, colorful realm of Asgard who tends to speak in a rather Shakespearean patois. Last time I looked Thor was kind of fell into the “alien or magic or hokey shit.”
I agree there are differences between the two companies and how the present their characters, but let’s not pretend that superheroes – in general – aren’t a bit old-fashioned, especially considering the history of the genre and where they started out. Not being much of a comics fan, I honestly don’t understand the hostility between fans of the two major comics companies. Don’t we want all of these to succeed?Wouldn’t THAT be better for superheroes and science fiction/fantasy in general?
From fiftysix (Guest):
JLA movie sounds really difficult to make for me. First reason is ‘too soon’. We comic book fans understand the long history of Marvel and DC, but most people don’t really even know about that and may simply dismiss JLA as a knock-off/copy of Avengers.
Two, the reason why Avengers is great is because it’s a /superhero/ movie. It’s not stupid, but doesn’t take itself too seriously–unlike Nolan’s Batman (which is great in its own way, don’t get me wrong). The public nowadays only care about Nolan’s Batman and arguably Superman, and Nolan’s Batman movies, while awesome and all, are NOT superhero movies. If they want to incorporate Nolan’s Batman to JLA movie, the JLA movie would turn into a… spy/thriller movie? with Superman and Wonder Woman in it? Yeah, no.
(The only way to evade this is to reboot Batman again and, yeah, not an option either. Also Green Lantern wasn’t well-received.
Also don’t forget JLA has Aquaman.)
Batman isn’t superhuman, but he is a superhero, so I don’t really agree with your underlying premise. I also don’t agree that they won’t reboot Batman. Of course they will and I would expect it to be relatively soon (meaning next 4-6 years). However, I agree that it would be exceedingly difficult to try and incorporate Nolan’s Batman into a JLA movie and I’m not sure the tone would work on that scale and involving different members of the JL. It appears as if they are simply moving straight into a JLA film, which is where we might see our first glimpse of the new Batman…which could act as an easier transition into the newly rebooted post-Nolan Batman.
From Guest#1363 (Guest):
They should treat Batman like Bond. Every few years give it to a different team to interpret.
That’s pretty much what they’ve done (Burton to Schumacher to Nolan) and I fully expect this to be the way forward for the franchise.
From TheR (Guest):
JLA movie is going to be a flop unless
1.Nolan is the director
2.CBale plays Batman
3.BRouth or HCavill plays Superman
4.RReynolds as Green Lanthern (even though I didnt like him playing the part)
And even then, the odds are against JLA being successful.
Please no more X-Men movies. They are fucked up. Stories/origins dont make any sense. Casting is misplaced. This is a franchise that needs a reboot. But HJackman is the only thing that works but the storylines have just been horrible.
WSnipes has had the inside track on Black Panther ever since Blade was taken away from him. But that could also be the very reason he loses out on Black Panther as well. Appealing to the “urban” crowd, you mean Black audience. Reality check, you dont have to have black actors to appeal to black audience. Does anyone honestly think the Black audience didnt watch Avengers? Hollywood does a dumb job at making a concerted effort targeting certain audiences to the point of blatant racism.
People like good movies, no matter the ethnicity.
The only thing I agree with is your last statement. I totally agree that people like good movies, no matter the ethnicity.
As for the rest of it, the idea that the JLA movie is going to be a flop unless it involves people who are never going to be invovled with it is insane. It might very well be a flop but it won’t be because Bale isn’t Batman or Cavill isn’t Superman (which might happen). There is less than zero chance that Brandon Routh would be Superman and if you didn’t like Green Lantern, why would you need Reynolds involved? I don’t think Christopher Nolan will direct it either; he’s moving on unless WB literally give him the farm. And by farm, I mean the highest base salary for a director ever and a decent chunk of the percentage with a producing credit. You’d be talking about many, many millions of dollars. Marvel and Summit have a different business approach and it might be one WB would be looking to emulate, after Nolan has had the studio by the balls for the past half dozen years. I’m not saying he’d leave the studio, but turning Batman or JLA to a director with less pull might help their bottom line.
From Gamer (Guest):
I liked that you started off talking about E3, I’m a huge gamer myself. I’m really surprised though you didn’t mention “Beyond:Two Souls”. The game itself looked beautiful and refreshing. But the main reason I’m surprised because the main character’s model and voice work is done by actress Ellen Page. I mean your giving us movie news, and opened with your take on E3. But you don’t mention this? I mean it would’ve been your best segway from E3 to the rest of the news.
Yeah, you’re probably right. I’m taking part in this weeks 411 Games Top 5, which is about E3. In my list I mentioned Beyond: Two Souls as an “honorable mention.” I liked what I saw, but I don’t feel like I saw enough. What they showed was a very intriguing cinematic cut-scene. We didn’t see a lot of gameplay, although they did show more of that behind closed doors and it sound very interesting. You’re right though Page’s involvement would have made sense for this column. I like Ellen Page and she looks pretty fantastic in the game. However, I never played Heavy Rain so I don’t honestly know what to expect from Quantic Dream and that’s probably why I forgot/didn’t mention it last week. Good point though.
From The Great Capt. Smooth (Guest):
After reading this, I just want a Bond/Batman team-up.
The amount of insane gadgets in that would be something to behold. Do they take the Aston Martin or the Batmobile?
From Mr. Pink (Guest):
The first person that came to mind to be cast as Black Panther would be Idris Elba but as he’s part of the Thor movies I doubt that would happen. Others I’d like to see are Djimon Hounsou, Chiwetel Ejiofor or Adewale Akinnuoye-Agbaje
I love Adewale Akinnuoye-Agbaje for the part. The only thing that goes against him is age and name. He’s 44 and that’s probably pushing it; Marvel (like most studios) will probably want a younger star for the part (this becomes more important down the road as sequels pile up; he’d be pushing 50+ beyond the first Black Panther. The name is another issue; let’s face it in Hollywood that matters. Hounsou’s age probably elminates him (he’s 48), although if this were 15 years earlier, he’d be the clear-cut favorite. I love Ejiofor and he’s done a lot of great stuff, but I think Marvel will want a more imposing physical specimen. But he’d definitely be on my short-list.
If I had to bet, I would imagine the casting folks at Marvel/Disney would be studying Red Tails very closely, since that film assembled one of the better groups of young black actors in recent years. David Oyewolo and Nate Parker would be a couple names from that movie who I would think would be under consideration. I’d also throw in Omar Sy and John Boyega as dark horses. If they go older than I think they will, AAA, Ejiofor, Omari Hardwick and Michael Jai White would be others who might get a look.
From Professor SEX (Guest):
Wolverine alone can take on and beat half of the people in the DC Universe.
From Guest#6622 (Guest):
The look of Bane is aesthetic. We can see it with our eyes. Why do we need to see the movie to know we don’t like the look of him? I have no problem with Bane… but that mask looks DUMB.
So you have no problem with Bane. But you think the mask looks dumb. Dumber than this?!
From Aprince66 (Guest):
Django Unchained looks freaking fun as all heck. While i sometimes get tired of the Tarentino style and bits, this looks straight up fun.
My vote is Adewale Akinnuoye-Agbaje
from OZ and Lost fame for Black Panther. The dude is just flat out intense and scary looking
Love AAA and like I said above, I think he’d make a great Black Panther.
And yes, Django looks like it’s shaping up as a bloody fun time.
From Mr. Me (Guest):
Not Wesley Snipes. Not Jamie Fox. I’d rather see Malcolm Jaleel White or Rodney Allen Rippy than them.
Wesley Snipes hasn’t been relevant since Blade. It’s not happening.
Oh I see what you did there! You combined Jaleel White’s and Malcolm-Jamal Warner’s names and brought up Rodney Allen Rippy in an attempt to be funny. Ha.
Not-So-Funny Video of the Week: “Batman & Robin vs Bane”