3-in-One: Mission Impossible, Girl with the Dragon Tattoo, and I Hate You Dad

In the time since my last entry (I've since completed 3 video projects, which I'll need to post here), I've taken in a number of movie previews. Two of them open this weekend, so I figured I'd post a word about them. The third is a far-off project which I saw an early cut of, so here's an early look at that, too. 

Anonymous (2011)

Conspiracy theorists, rejoice! A major motion picture seeks to popularize the idea that Shakespeare's plays were not, in fact, written by William Shakespeare, but by Edward de Vere, 17th Earl of Oxford.

Its a really complicated story, a weaving together of lives of the Elizabethan courts. Every time I watch something about the Tudors, I'm fascinated and have to go do some research afterwards. The complex social lives these guys had, its unbelievable. I can't imagine that the members of the Tudor courts didn't have a headache every moment of everyday, just from the struggle of having to deal with all the deceits, intrigues, and propriety that were ascribed to them.

The Thing (2011)

My review for the new prequel for John Carpenter's The Thing is up on Brutal as Hell. Mosey on over and take a look!

The Big Year (2011)

Director: 

David Frankel

Writers: 

Howard Franklin (screenplay), Mark Obmascik(book)

Stars:

 Owen Wilson, Jack Black and Steve Martin

In a word: quaint. 

Jack Black, Steve Martin, and Owen Wilson all play extremely devoted bird-watchers. The trailer, btw, does a remarkable job of obscuring how much of this movie is about bird-watching and makes it look like a screwball comedy. Its not. 

Black and Martin are our protagonists, both driven to complete 'The Big Year', a scavenger hunt to see as many birds as possible across North America in one year. The current champion is Owen Wilson, who goes out among the birders, to make sure no one beats his record of over 730 species sighted. 

While the film IS about birding, and does devote a remarkable amount of its run-time to the appreciation of birds and the hobby of watching them, it ultimately is about obsession, devotion, and the personal prices people pay in the quest for their passions. All 3 men want the title of 'best birder', and spend most of the movie trekking across the wilds of North America, but they all risk things at home. Black has already lost a marriage, and risks his job and his relationship with his ailing father. Martin is on the verge of retirement, and his business may collapse in his absence. Wilson's wife wants a baby, and his single-minded devotion to birding pushes his marriage to the edge. 

I don't like pushing the film into this particular demographic... but I will. The Big Year is for old people. 

I was in the screening theater with primarily older folks, 30's, 40's, and older. Free screening, and yet only older folks were interested. Steve Martin + bird-watching is just going to skew that way, I guess. While we were watching, I noticed that I wasn't really laughing at the jokes. Everything had a quaint, naive charm to it, but the comedy was about the level of your average sitcom. Very bland, very predictable, broad stroke characters. You know. But, the milquetoast comedy seemed to be winning over the crowd. 

There was a particular moment where Steve Martin and Jack Black have rented a helicopter, and the pilot is helping them chase a rare bird. They swoop over the rocks and see it, taking in the majesty. Next thing you know, they are a little too close to the rocks, and they all yelp as the pilot pulls them away from the mountain face... and the lady next to me recoiled in fright and yelled along with Steve Martin. Yep, there's the crowd this movie was made for: the old lady who is excited by really dry action moments, and thinks there might actually be a chance that Steve Martin and Jack Black could both die in a helicopter crash half way through this PG-13 buddy comedy. 

Don't get me wrong, its not a bad film. I thought all three characters, if a bit chilche, were workable and likable, and had well defined character arcs. The moral of the story, that you need to settle down and have kids like everyone else or else all your achievements aren't worth anything, is far from new (damn you Hollywood, for cramming this down our throats!) but well-worn by these characters, and comes across neatly, clearly. Owen Wilson actually does a great job of conveying this message in his final scenes; he really comes across as the strongest actor in the film. ... but while its not a bad film, its not a particularly funny or exciting one either, unless you're very easily pleased. 

The Big Year kind of reminds me of Wild Hogs or Old Dogs, in that its a comedy filled with aging stars that's been developed in a sterile laboratory to specifically please your mom's sense of humor. However, I will give Big Year big props for not falling for the same tropes of those two films; no one in the film is playing the idiot, and it doesn't rely on stupid, ridiculous situational humor to beg for laughs. What jokes are there come from zingers and observational humor, and Jack Black is restrained at only one prat-fall for the entire film. Dry, naive humor, maybe, but at least everyone involved kept their dignity. 

Drive (2011)

One more from SDCC.

Drive is the newest film from Nicolas Winding Refn, director of the awesome  Bronson (about Charles Bronson the British convict, not the actor), and soon to be helming the remake of Logan's Run. It features Ryan Gosling, who seems to be all over the place lately, Carey Mulligan, and Ron Perlman, along with a whole cast full of great actors in secondary parts.

Drive is about a movie stunt driver (Gosling) who, until now, I hadn't noticed is never named in the film. Hmm... well, anyway, he uses his driving skills to pull off heists for criminals. His system is that he is responsible for the safety of the crew for the five minutes immediately following the heist, during the getaway. Anything before or after is solely on them. To that point, he's never been out-driven, his crew always getting from A to B safely.

However, despite the excitement of crime and stunt driving, Driver's life is empty. His apartment is plain, his nights quiet and alone, his day job isolating. This all changes when he meets, literally, the girl next door. Irene (Carey Mulligan) is a young mom who's husband is in jail. Driver helps her out while hubby is in the slammer, and soon the two have developed a deep affection for each other, if not a relationship. When hubby gets out, he tries to reform, but his old gang isn't hearing it. Driver wants nothing more than to keep Irene and her kid safe, and takes on the responsibility of getting hubby out of hot water with his old gang.

Of course, that's when things get complicated...



Sometimes you get treated with a movie that's full of awesome stuff that you somehow haven't heard a damn thing about. Sadly, it means that the studio probably just isn't promoting the thing, but hey, bonus for me.

Anyway, went to the theater knowing nothing about this flick, my roommate suggested I go after seeing a clip for it at a panel earlier in the day. In the lobby I was grabbing popcorn, and happened to run across the cast and director who were coming in to introduce the show. Great bunch of people, very friendly. Mulligan and Perlman are both very, very quiet. Its almost off-putting. But, hey, they seem modest and polite, can't complain about that.

Socializing aside, I enjoyed watching this flick. Drive opens with an incredibly intense heist sequence that doesn't for a moment feel far-fetched or reaching. The Driver sets his watch and waits patiently while his clients knock off their target. The seconds tick by as client #2 gets held up inside grabbing the cash. As he finally reaches the car, the police scanner alerts them that the cops are in the area, and their car has been tagged as a vehicle of interest. The Driver's got five minutes to outrun, out think, and generally hide from the cops, on the streets and in the air, the tension never letting up. Engines blast through the speakers, as an idiosyncratic Atari-Fire-like score and credits written in 80's-style pink text chop up the style.  By the time the job is done, I couldn't help but find myself rooting for our silent, bad assed protagonist, the perfect opening.

The rest of the film is actually very slow by comparison, a long, tense character drama, it focuses on the relationship between the Driver and Irene, and the development of the Driver's sense of self, his goals, and a bit of heroism to boot. The scenes are all incredibly well directed, with some very unique styles making a story that has familiar beats feel very new. The drama is broken apart, at times, by stunningly violent, visceral action sequences, sure to make some wince.

My one complaint with the otherwise awesome film? A sheer lack of dialog. Now, I'm glad the film isn't exposition heavy, and it does at least avoid many movie cliches by skipping past the dialog, but those interactions between characters are still there, and those moments aren't filled with any sort of action. What results is a movie where most character interactions are simply two people on either side of the screen, staring at each other for painfully long moments.

Used sparingly, this could have been considered brilliant. "Oh, look at how much they convey just by looking at each other." But Drive uses this slow, plodding communication so much that by the end of the film its simply an exercise in self-parody.

"Would you like some water?"
...
...
...
...
...
"Sure."
...
...
...
...
...
..
"So, who's that?"
....
...
...
..
"My husband.......................................................................he's in jail."
...
...
...
...
...
"Oh............................................................I gotta go."
...
...
...
...
...
...
"Sure. Well thanks."
...
...
...
...
...
...
"Yeah...................................................................................thanks for the water. Later."

I'm really not exaggerating. That's a real conversation from the movie, and it takes about five or six minutes to get there, I swear to God.

A few others I pulled into the theater with me found the long, plodding line delivery grating, and spent the rest of the night mimicking it by staring at each other and refusing to answer each others' questions at dinner afterward. Others found the extremity of the violence hard to match up with the subtle-beyond-reason performances of the drama.  So, there may be some complaints.

But, hey, you've been warned. So far, most have been blown away by Drive, at film fests and such, and while I do try to avoid hyperbole, I can say its a quality flick with a lot of interesting bits, and I recommend it to ya.

Griff the Invisible

At SDCC this year, I got the chance to preview Griff the Inivisible, a little indy film, the first from director Leon Ford.

Super, Special, Paper Man, there have been many indy superhero movies of late, trying to examine the psychology of the hero, and likely, ride the wave of hero-movie popularity. The latest among these is Griff the Invisible, which differs from the others on this list in that it lacks most of the melancholy they contain.

Griff is a young man living alone in the city, a city which he prowls through at night, fighting crime. He has a powerful fighting suit, a great martial prowess, a crime lab, and a hotline direct to the mayor... or does he? Griff also has a new job where he is tormented by co-workers, a history of losing jobs to his daydreaming nature, and a bit of a checkered past.

Griff's newest challenge comes not in the form of a super-villain, but from a young woman. Griff's just an ordinary guy trying to fight crime, believing he has super powers, and when he meets a young woman who shares his beliefs, his world takes a startling turn.

The two of them battle against their most hated foe, banality.

This is a pretty good film, one finished last year, and probably only seeing release thanks to the young star, Ryan Kwanten of True Blood fame. He plays a dramatically different character, the sheepish Griff, afraid of everything in life. His neighborhood, his job; and his one relief from the torment is his time in costume, behind his mask, battling against rabble in the neighborhood.

The characters are all weird and delightful, quirky like so many other indy casts. They really pull it off, though, the love story is bizarre and sweet. I don't use the word often, but, this movie is cute.

Definitely check this one out if it comes your way. A good date movie for superhero fans.

Cowboys and Aliens

I got a chance to check out Cowboys and Aliens at the press screening at Las Vegas's Rave theater tonight (and thanks to my buddy Roland for the hook-up on that one. I totally missed out on registering for passes thanks to SDCC).

Happy to report that its pretty good.

The story is easy to surmise from the trailer. Jake (Daniel Craig), wakes up in the desert with amnesia, and a strange metal device strapped to his wrist. After taking out a small band of bounty hunters, Jake steals their gear and wanders back into town, only to find he's a wanted man, and Dolarhyde (Harrison Ford), a rich, mean, retired military man, wants the gold he had stashed on the train that Jake robbed. The two powerful men are the center of a conflict in town, fists flying and guns drawn, when...

Aliens attack.

In a turnabout that makes me wish I'd never seen the trailer and didn't know the name of the movie, aliens come from nowhere and abduct about half the town, taking them off to some secret base for experimentation. During the scuffle, the mysterious bracelet Jake has on his arm activates, and he's able to shoot down one of the alien spacecraft. The humans have a fighting chance, at least.

Luckily, the bracelet seems to not only shoot big lasers, but also produce plot contrivances, as the aliens only take the weakest members of the town. All the remaining gun-toting badasses form a posse and hunt down the space-faring varmints. Jake tags along, hoping to recover his lost memory.

So, yeah, the movie was a lot of fun. There wasn't a lot of originality to be had, other than the really unusual genre mash-up. The story is more Western than Sci-fi, with all of the protagonists coming from a Western world. And within that world, we cover just about every Western trope you could imagine. Because of that, the story is rather predictable. "Hey, Harrison Ford hates Indians. What do you bet we'll see him working together with those Indians to save the day later?", Indian ambushes, bandits, shoot-outs. All that's really missing is a duel at high noon and you'd pretty much have every event western ever trapped in this film.

While the film is predictable, its also very comfortable, and funny when it remembers to poke some self-aware humor at itself.

So, while nothing 'new' in terms of characters or events, we do have a pretty unique mix of movie elements here, and all of those elements are done very well. You've got all the ingredients of a solid traditional western here, and you've got some basic sci-fi, and Favreau does service to both genres, compiling great action scenes, some witty banter, and a decent score.

What could have been a complete goof-fest, however, is really pulled through by a strong cast. Daniel Craig is great as the perpetually dirty tough-guy, and Harrison Ford is wonderful as ever. Its great to see one of my all-time favorites in a movie that doesn't make me want to stab my eyes out; Harrison, I've missed you. The supporting cast are wonderful as well, a huge upgrade from the throwaway extras of most movies. Sam Rockwell, Clancy Brown, Paul Dano, Abigail Spencer, they all flesh out the town, and make the absolute most of their roles. Favreau really cashed in those Iron Man chips to get a cast full of people who have lead films before as his extras. Plus, that drunk guy who's taking a shit early on in the film is none other than Artie, the strongest man in the world, of Pete & Pete fame. 

So, its not perfect. The story is pretty paint by numbers and has few surprises. In a film like this, though, I really don't need a lot of new character elements or meta-textual writing. I just need cowboys doing cowboy stuff to aliens. Hey, do we see some aliens get lassoed and maybe have Indian spears chucked through their chest? Yeah? Awesome!

Popcorn movie extraordinaire. If you want some lighthearted fun, Cowboys and Aliens is offering it up. And unlike this summer's other big popcorn movie, it doesn't open with over an hour of Shia LaBeouf trying to get a job. A vast improvement.

The Dire Digest Cometh. Looking for Backers.

Heeeeeey kids! PMP Productions is looking for some finishing funds while we put together some of the more FX intensive scenes in our new anthology horror.

If you're interested in donating to the cause, gaining some Producer credit, and helping along an awesome movie, click on over to Kickstarter to pledge!

A few words on THE MIGHTY THOR!!! *thunder clap*

So, I saw this the other night. Yep, its good. I think most people were anticipating it to be a pretty solid film, trailers and hype have been positive and building, but not stupidly overwhelming, probably because Marvel is splitting their ad campaign 2 (X-Men makes 3?) ways this summer. And anyway, the critics have been enjoying it at early screenings as well.

But, if you wanted a bit of my opinion, I'll give it to ya, in brief.

Thor: 4 out of 5 Mjolnirs ... its not as good as Iron Man, but probably better than Spider-Man 3.

What worked:

- Casting. Marvel has done a great job finding talent thus far. Chris Hemsworth is fine as the brash young Thor, Natalie Portman is charming as always, and its great to see Ray Stevenson come in as Volstagg, rescued from the shit storm that was Punisher War Zone. I also really enjoyed Kat Dennings as the snarky Darcey.

- Production Design: Asgard looked wonderful, costumes generally were great (in particular, I liked Heimdahl a lot. He's a badass), and Destroyer, especially was bad ass. I would have liked to have seen him get to a more populated area to blow some stuff up.

- Action: The movie follows the typical Marvel movie formula, with one major action sequence per act. Act 1: Raid on Frost Giants. Act 2: Raid on Shield compound. Act 3: Thor vs Destroyer and Loki. Nothing very surprising here, and i honestly could have used a little more... but what was there was pretty well done. The Act 1 raid was especially nice, as it gave Sif and the Warriors 3 some time to shine on screen.

- Bumper: I don't think as many people will be blown away by the bumper on this one, because the image isn't as iconic as Thor's Hammer being found, or Cap in the ice or anything like that. But, if you're a comics fan, you know what it is already, and its pretty cool to see realized on the screen. Also, its the most plot-driven of the bumpers so far, directly tying in Cap and Thor to Avengers.

What wasn't so good:

-Loki: He was played well, but... not really written well. The God of Mischief was less of the evil trickster his comics self is portrayed as, and more of a sympathetic, kind of downtrodden kid in his brother's shadow. To some extent, this works, because we tend to like having villains we can reason with, like Magneto, it makes for a deeper character. But in the end, it made him anything BUT menacing.
Without revealing what Loki's master plan is here, I'll tell you what it boils down to: It involves him keeping Thor on Earth so that he can 1. Not kill anybody else in Asgard. 2. Not take the throne (he kind of tries to, though he says explicitly he doesn't want it. Seems like he plans on giving it back to Odin) 3. Not endanger anyone on Earth deliberately, and 4. Kill the badguys.
... so, wait, Loki's master plan is to set up all this crap he does in the movie so that he can kill a bunch of evil guys and then everyone will like him as much as Thor?
And how does this endanger Natalie Portman, in a way that might make Thor angry and engage the audience emotionally?... oh, it doesn't.

When Loki was busy blowing up the Giants, and Thor came in to stop him, my thoughts were "Why? You hate these guys and the live for murder. Just let 'em die off."

-Thor is a Jedi: The trick with high fantasy, especially when it focuses in on characters of near-godlike ability, or ones who are inhuman, is that we have a harder time sympathizing with them. We see this in Star Wars; in the original films, its very easy to get behind Luke and Han, because they are simple, human characters with the same kind of ambitions and flaws that we have. But in the prequels, Qui-Gonn, Obi, and Anakin are cold, distant figures with virtually no weaknesses, and unknowable motivation. Its hard to sympathize with them, as they apparently don't think, act, or feel in ways that are human.

Thor, here, as something of the same complex. He's fun to watch, all smarmy and, um, Viking-y. But he's aloof, distant, and has an air of superiority over all of the human characters in the film. Fun as he is, its hard to really get into his character, and we don't really feel for his grief when he's trapped on Earth.
If anything, Natalie Portman is our human center, and the heart of the show. She's really never in any danger, though, so it keeps the adrenaline toned down.

Overall, though, Thor is a very fun popcorn flick, and a good lead into Cap, and in turn, next year's Avengers movie. I'm sure many of you will check it out this weekend. Enjoy!

Brains? I'll just stick to the Cadbury Cream Eggs, thanks...

Easter is almost over, but if you're not quite ready to say goodbye to the Holy Ghost and all of his buddies, then you need to pop on over to Brutal as Hell, where we're got a series of posts celebrating Zombie Jesus Day! Wind down with a collection of reviews, looking a the finest of zombie films, and maybe even a couple of flicks featuring Jesus Christ himself! The Passion?, you ask. NO! We're talking Jesus Christ, Vampire Hunter, reviewed by yours truly.

Plus, original Easter art!

Click the pic to go to Brutal as Hell, and celebrate the resurrection of your lord and savior in style. If you can do it while eating the flesh of your choosing... bonus!

My Favorite Ladies

 Here's a little fluff piece for ya'll.

I rarely put 'cheesecake' up on the site. I really try to avoid it because, dammit, its everywhere, and its played for cheap ratings boosts from horny nerds. Its too easy to really have any artistic value, IMO. I think we should be able to convey beauty without lingering on cheap tit shots and... well, its a rant unto itself.

Still, I'm sitting here watching Dr Who season 5, and loving the character of Amy Pond, and I thought I should put up a little collection of my favorite, most attractive, actresses. Many of them get overshadowed by the Megan Foxes of the world (blerg), so here is a little moment for them to shine...

ROOKIE OF THE YEAR: Olivia Wilde

I'd seen her before as the Baroness in a GI Joe parody video (playing the clarinet, no less), and as Madonna in a Weird Al video, but Olivia really stood out this year in Tron: Legacy.
She has a TON of make-up on in that movie, so its kind of hard to tell how much of that is really her. She seems to look a lot more rough outside of the films... but then, who doesn't? From stills, she only looked jaw-dropping, to me, in that one film, as the living computer program, but her character was so goddamn adorable in the movie, that she couldn't be ignored. I'll have my eye out for her in future stuff, for sure. If nothing else, she can really fill out some leather jump-suits. Those are pretty popular, these days...

#5: Scarlett Johansson

Speaking of jump-suits, we just saw Scarlett here wearing one in Iron Man 2 as the SHIELD agent, Black Widow. Scarlett's had an interesting evolution in film, going from punk-ish girl next door in Ghost World, then to bored house wife in Lost in Translation, and quickly she turned over to glamor girl and femme fatale.
She hasn't really had a ton of film roles, but they've all been memorable, and mostly just because of how she looks.
I almost hate to say that, but seriously, she rarely even gets any good lines. She's just mesmerizing on the screen.

#4: Natalie Portman: The Professional and Star Wars Episode 1, I've kind of grown up along with Natalie Portman. She an interesting actress, as she shows a lot of versatility, but she needs a strong director. Star Wars was a good example of her just phoning in the performance, and V for Vendetta, as much as I love that movie, also shows that, sometimes, damn she can be weak. But despite those, you see things like Garden State and most recently Black Swan, and you can't help but see and respect her talent. With the right guidance, Natalie can dominate the screen. And, with her innocent face, the ability to adopt a tough attitude, and comedic timing (see her Lonely Island videos), she's become versatile enough to fit into any movie. She's the go-to girl, kinda like how George Cloony is for leading men.
She did a nude scene once in the short film Hotel Chevalier. She was beautiful, and it was an excellent little short. But, she was embarrassed by the way everyone spread still shots of it around. Thanks for ruining it for us all, guys, she says she'll never do another. Well, enjoy that one you got, people.

#3: Anna Farris: I was sad when she got her plastic surgery done. Anna had some work done on her nose and lips. The lip work is kind of obvious, they're just a little TOO plump for her, and there seems to be a little scar on one of them. Well, she still pretty much has that same girlish charm that got me during Scary Movie.
Her real charm and talent comes from her comedy. Anna's movies don't appeal to all crowds, though she does run the gamut from Lost In Translation to House Bunny, art to fluff; but no matter your taste its impossible to ignore her great comedic timing. And her face, oh God, her face. Its probably the most expressive of any female comic working now. She's got this Lucille Ball kind of range of facial expressions, and I just can't stop laughing at her when she starts mugging for the camera.

#2: Emma Stone: Also in House Bunny, where she played the lead 'extremely nerdy chick', Anna Farris saved the day by slutting her up a bit. Emma works on screen because she's got good girl charm, but kind of an evil grin, and beauty to accompany those assets. Following up on Zombieland, Easy A was her big breakout roll, where she took the lead and solidified herself as an actress who plays smart, level-headed female characters who overcomes obstacles with good intentions and a bit of articulation. Her kind of roles have otherwise been pretty rare in film lately, and its great to see them back. I can't help but think that they must reflect some part of her own personality.
Frankly, its part of her appeal. The ability to mix sex appeal with intelligence, wit, and a strength of moral character, and to STILL be interesting and funny on screen... she's the type of girl you'd take home to Ma. Can't wait to see her play Gwen Stacy in the upcoming Spider-Man films.

               

 

#1: Karen Gillan: She's the girl who inspired this little column. Amy Pond, of Dr Who's latest season. I really only know her from that show, though its a good 12 hours of screen time, so you see her in a range of situations and the emotional spectrum. Amy has won over most Who fans in a way no other companion probably has since Sarah Jane, way back in the Tom Baker days.
Its the adorable round face, the striking red hair, the lilting Scottish accent, that lean body, her cheeky remarks, everything she does on screen is a delight. And, Hell, she just looks like she'd be a good kisser, doesn't she? Maybe that's just me...
There's not been a moment of her time on screen, be it embarrassing her parents at a wedding, blasting aliens, time traveling to torment herself as a little girl, or falling in love with Roman soldiers, in moments funny or sad (but mostly funny), that's been anything less than wonderful. The 6th season starts this Saturday night.

So, that's all I've got for now. Thanks for humoring me, folks. Go check out the fine work of these actresses, some of them well known, some not so much. All of them, though, worth watching.

         

Affection/Affectation Plays at Bare Bones Film Festival!!

Probably the first of many posts about this. So, for all of those who subscribe to this blog, my Twitter, my Facebook, and all of that... well, you don't get an apology, just grin and bare it. This is PMP Production's first film fest selection and, like an over-eager teen who just lost his virginity, we've got to brag about it where ever we can.

So, more concisely stated: Affection/Affectation, the first full-length feature completed by Lawrence, KS based PMP Productions, and Directed by Aubry Peters, has been made an official selection of the Bare Bones Film Festival. As if that weren't cool enough, the film has also been nominated for Best Comedy of the year, and Aubry has been nominated for Film Auteur of the Year. Really, its an honor just to get a selection (we can put those little laurels on subsequent package printings! And not ironically or mockingly!), but to get the nominations on top is just... well, its goddamn amazing is what it is.

The one down-side is that the film's screening area is away from the main festival, and in a little side shop, John Michael's. So, if you're in the Oklahoma area, or attending the con, please find your way over to the screening. If you know people who might be going to the festival, or live in Oklahoma, tell them to check out the film. We're small, of course, and can use all the support we can gather.

Link to Festival Info

Link to Venue Info

Link to Film Trailer

Also, the film is already available on DVD. I know Aubry just got fresh copies in from the printers, and they should be ready to ship! Get a copy for yourself here. A bargain really. Amazon will carry this eventually, but they will be doubling the price, so buy direct.

Not ones to rest on our laurels, PMP has also had one of its shorts, You Dun It, directed by yours truly, requested by the Dead by Dawn film fest in Scotland. If we get selected to screen, be aware, I'm calling for donations so I can fly over there and crash in a hostel to be able to show the damn thing.

And, as mentioned last time, production has officially begun on The Dire Digest, our second full length feature. Without going into too much detail, its a horror piece, and each of the PMP founders will be shooting and directing their own segment of the film. Portland's own Josh Winegarner has just finished shooting his section, with myself as the (nearly dead) lead actor. Only five more to go! More on that as it develops.

In the meantime, thanks very much to everyone who has supported the works so far, and also to those who will be supporting in the near future. Our little group has stories to tell, and its all of the encouragement given by friends and family that allow us to pursue our dreams, and cast our voices out into the world.

External Linkage Double Dose

I forgot to put a couple of my articles here in the archives. Well, no time like the present. Over on Padinga, we explore the death of Guitar Hero. Find that HERE.


And over on Brutal As Hell, we talk about the VOD release of the Chinese Horror flick, Dream Home. Find that HERE.

Its GOOD FOR YOU!!!... but really, do go and support these two fine media outlets.

External Linkage

After a long wait, we're treated once again with another fantastic fright-fest from BthroughZ.com! This month's issue includes a plethora of interviews, and a gaggle of film reviews, atop a cornucopia of cadavers. Er... something, yeah, that works.

Speaking of BthroughZ, have you ever tried Googling that? The site's title, run through a search engine, produces probably the greatest series of non-sequitur images ever conceived. Along with Jamie's awesome art compilations and the beautiful faces of both Britt (who actually Edits Brutal As Hell... whatever) and Ben, you also find a bevy of bloody, bare-breasted babes and an assortment of mind-twisting images. Example below. Follow the period girl to the front page.

Here are direct links to my own work for the month, an interview with and review of the film works of Andre Perkowski. He's an odd duck, and a very unique film personality. Give 'em a read! Your brain will thank you, just before it explodes.

FILMS OF

WORDS WITH

External Linkage

Another review up on BRUTAL AS HELL, this time for Sean Bean vehicle Black Death. Its pretty awesome, check out the deets on BAH.

Or, if you want to just jump right to the movie, follow the links below!


(Links forthcoming, I appear to have beaten Amazon to the punch in adding their VOD images)

Your Highness

Last night, Vegas was treated to a preview screening of the upcoming movie, Your Highness. Its a new comedy Directed by David Gordon Green, most famous for Pineapple Express, and written by and starring Danny McBride of Eastbown and Down, which is also one of Green's productions. 

Right off the bat, lemme tell ya, if you're going to go see this movie, you better be comfortable with dicks. Every couple seconds, you'll be hearing about, thinking about, and maybe even seeing a bit of cock. If you're okay with that, then proceed. 

Your Highness is a medieval comedy with a few stoner twists tacked on (appropriate, given the creators' past works). The adventure mainly belongs to Thadeous (McBride), though the quest would not even be were it not for his brother Fabious (James Franco, 127 Hours, Spider-Man). Fabious has returned from his latest quest, once again successful and heroic, this time with a betrothed Bride, the lovely and simple (possible Asperger's Syndrome?) Belladonna (Zooey Dechenel). There is a great celebration for Flabious's wedding, and its during this that the sibling rivalry that drives the movie kicks in. 

Thadeous lives in his brother's shadow, getting stoned and messing up even the simplest of tasks, usually in his bid at bedding whatever easy ladies may cross his path. He feels he can never live up to his brother's might and valor, and skips the wedding, opting to go toke-up with the Shepards  outside of town. Its during this night of cavorting and sheep-chasing that the castle is attacked by the evil wizard Leezar (Justin Theroux, Parks and Recreation), who steals Belladonna, hoping to impregnate her with his wizard's seed so that he might have her birth a dragon in accordance with an ancient prophecy. 

Okay, so, that's the detailed explanation. Really it all boils down to: bad guy has the girl, and is doing bad stuff. Brothers have to stop bad guy by putting their differences aside. Yes, Thadeus is ordered to help his brother save his bride or be exiled, much to his disdain. Fabious regards the thing as a grand adventure, two brothers on a quest, and acts giddy with child-like glee through the whole escapade. 

Oh, and along the way they run into Isabel (Natalie Portman, Black Swan). We'll come back to her in a second. 

So, the best way to describe this thing, and I'm usually loathe to use this technique, is to compare it to two other well known movies. Its Robin Hood: Men in Tights meets Tropic Thunder. Seriously. It has the goofiness and irreverence of Robin Hood, but it is dirtier and raunchier and feels like Tropic Thunder, no doubt thanks to McBride's writing. I don't know that I'll say its as successful as Tropic Thunder, as its not as nicely layered with biting satire, or as relatable, but it does work in a lot of ways. 

So, overall I liked it, and I think the test audience did too. There were lots of laughs the whole time through, and some surprising one-liners that you could hear a few audience members repeat out loud, as if doing so just made the moment that much more satisfying. There are also some action scenes and creative magic attacks that are honestly pretty impressive, but the audience isn't so into the story as to really care all that much. We want the jokes, dammit!

What makes the film work all around is the cast. McBride is pretty funny as Thadeus, though his character isn't anything new. He's your typical selfish slob that has to find his own self-worth and turn it around and yadda yadda yadda. This could have been played by Jack Black or Seth Rogan and it would have been pretty much the same. A necessary character to have, in order to have a development arc, but the character is very plug and play. Fabious is what makes the brother dynamic work. James Franco is my homeboy. Since Spider-Man 2 (not so much the first one), this guy's been impressing the crap out of me in dramatic and comedic roles. He just seems to put 110% into every role he plays. Also, he's on my top list of dudes in Hollywood I'd want to party with. He brings a bit of serious action, melodramatic intensity, and a ridiculous child-like wonder to the role. He really seems to love his brother, and enjoy every second of the adventure, and he passes that along to the audience. 

Of course, its just as the brother dynamic starts to get a little too serious, wear a little thin, that we're introduced to Natalie Portman as Isabelle. Though she gets first billing, Portman is only in about half the movie, so you can tell how much value her star has these days. Her character is played completely straight, which is what makes her so ridiculously funny. She's in so many stupid situations, but her straight-man attitude is so over-important that you can't help but laugh at her. She's like a 90's comic character, all blood and guts and misery, with a hatred for her enemies that "has been burning in her beaver for years." Natalie keeps the movie fresh and sexy, and the audience seemed to really like seeing the Best Actress contender flex her comedic muscles. 

Beyond the cast and their great delivery, there are a few choice scenes that all audiences who aren't easily offended should enjoy. Highlights include a visit to a perverted old wizard (Voiced by John Kassir, famous for The Crypt Keeper's voice), a battle against a giant snake backed by an army of topless women, a hilarious dash of anachronism (just about every curse or cheer sees the characters drop their fakey Brit accents and use modern expressions), and most memorably a well-endowed minotaur. Yes, he's hung like a bull. 

Toss in a few bizarre bickerings between the (honestly underused) Belladonna and the wizard, and you've got the workings of a good genre comedy. Nothing like seeing the wedding ceremony banquet and then creeping over to the tower of the bachelor wizard to see him making a feast of fish sticks, mashed potatoes, and peas. 

On a more personal note, this movie works very well for the nerd-niche. Your Highness plays very similar to the silliest nights playing Dungeons and Dragons. You know those evenings, where your DM has crafted this epic, in-all-seriousness adventure full of twists and turns and drama. Your characters get in place, you think you can stop the evil-wizard's plans for the young virgin and then... you roll a critical miss. And your character yells, "Fuck. Balls! This fuckin' quest sucks." Likewise, you get the character who has to get drunk at every turn, and the character that is so stupidly serious and badass that everyone else snickers at them behind their back. Everything becomes a sexual innuendo. Before you know it, the drama is gone, and the game has become guys tossing dice around and making sex jokes. Thats Your Highness. Its my Saturday nights in High School compressed into two hours. 

Alright, so, from that you should be able to tell if this is your kind of movie or not. Its sick and twisted, its really just ridiculously goofy, and full of 'what the fuck?' kind of moments all the way through. Good for a shocker kind of laugh. Here's a couple things to watch out for. 

First off, the stoner humor doesn't really work. Its kind of tossed in because of the connection to Pineapple Express, and it does kind of fit the character of Thadeous, but its honestly the weakest selection of jokes in the film. There are probably a lot of weed jokes on the cutting room floor, and the ones that are left in the movie just seem to stick out like a sore thumb, and never go anywhere. The ones in the wizard's chamber do pretty well, but the rest just kind of hang around awkwardly. There need to be either more of these to play off each other, or none at all. 

Of course, that's kind of the whole issue that makes the movie feel a little jumbled and weird is the editing. Its terrible. People just looking for a night out and a few laughs won't notice, really, but the cinema-philes will hate the bad cuts and the lack of continuity. This is becoming more typical in the post-Apatow era of comedy movies. Film the thing, ad-lib and whole bunch of different lines, and cut and paste a movie together from the favorite takes. Sometimes the lines dont' fit in certain scenes though, and sometimes scenes get excised as all the constant ad-libbing changes the flow of the movie. Its noticeable. You get things like lines in the trailer that aren't in the movie, some jokes that seem to get cut-off half developed, and other ones that maybe go on a bit too long. Continuity errors result, the most notorious one being a spear that magically appears next to a previously captured and unarmed Isabelle, just before she uses it to kill a major bad guy. There was probably supposed to be a sequence in there where she got the spear, but it was likely cut around in favor of other jokes, or the joke in that scene got ad-libbed in somewhere else. I get the feeling there are a lot of these that will pop up upon multiple viewings. 

See that picture up there in the above paragraph? That scene is in the movie, but that shot isn't; just more ad-libs than an editor knows what to do with. 

Overall, its not bad. I had a good time, and I think most of the rest of the audience did too. A strange crowd pleaser in the vein of Pineapple Express, Tropic Thunder, Superbad, Walk Hard, etc. The sword and sorcery bit may be a little too exotic for some, but if you can get into the fantasy elements and laugh at the old cliches, then you'll really dig this sloppy, goofy mess of a movie for what it is.

Hey, bonus, there's a big cock hastily edited out of the below scene from the end of the movie. Can you spot it? I guarantee if you go to see this movie, you will...

External Linkage

Got a review up on BrutalasHell.com, covering the upcoming horror flick, The Vanishing on 7th Street. You can either wait for theatrical release or, as these smaller movies have been doing lately, you can already find it on Amazon.com's VOD channels.

Follow the link to Brutal As Hell, and enjoy!

(these nearly identical links are for the VOD downloadable film, and for the Soundtrack, respectively. Choose, but choose wisely)

   

Old MacDonald Had a Zombie, ia ia oooooooongh

A new indy-distribution group called Maya-Entertainment has popped up, and sent a little bit out one of their upcoming horror releases to my inbox the other day. It looks interesting enough, so I thought I'd toss it up for you guys.

ZOMBIE FARM:
Part zombie, part voodoo! Desperate to end her husband’s domestic abuse, a young woman seeks asylum from a local voodoo priestess.  When warned that her husband (Khotan) may “change” if given a special potion, the abused wife is relieved.  But waking up in bed next to a zombie isn’t exactly the transformation she was hoping for.  Her once violent husband becomes the leader of a zombie uprising, terrorizing, and then converting the townsfolk into un-dead assassins.  Clearly, some things are far worse than death.





So, it obviously suffers from some of the usual bits of cheese thats typical to straight-to-video movies, particularly horror. I mean, the idea that people can be so focused on the spy video they're filming to not see a ring of about ten zombies circle their car and pop up from around them... yeah, video cheese, and a cheap jump-scare. 


Still, its kind of cool to see the notion of VooDoo zombies come back into play, as you don't really see it much any more. The rising popularity of Romero's zombie model continues to eclipse what had once been the sole vision of the zombie as a creation of black magic. Tales from the Crypt had some VooDoo creations in it, and I think before that the last feature about VooDoo was Serpent and the Rainbow. 
This seems to mix the two genres together, the undead appear to be pretty cannibalistic in that trailer; but still it could be interesting to see some magic, and someone crafting a little regional army of brainwashed ghouls. 


The DVD comes out March 8th, so it won't   be long before we can give it a shot!


Zombie Farm

Them Goldenest of Globes

Tomorrow is the 2010 Golden Globes. I thought I'd take a moment to try to guess the winners, and maybe chime in on the selection of 'best films' for this last year. Overall, it was a weak year for films, the lowest attendance in theaters in 15 years. Despite that, there are always some gems that stand out above the rest. Even so, a few crap films slipped into the mix this year. Ahhh, studio politics.

Oh, and we're going doing the film portion of this. I don't watch TV, can't fairly judge it.

So, here we go...

Best Motion Picture – Drama
Black Swan

The Fighter

Inception

The King’s Speech

The Social Network

Five great films. The Fighter was an unexpected addition to the lists, but its in almost every category. I think every year, its just required that there's a boxing movie up for best picture. Its a genre unto itself. Aside from that we've got a dark, female, character driven drama in Black Swan. You've got a crazy sci-fi commercial hit in Inception (the popular one, to give the ratings a boost). And to round it off you've got 2 historic dramas in Kings Speech and Social Network.

The smart money here is on The Social Network. Kings Speech and The Fighter are both good, but their direction is a bit pedestrian. Black Swan is an amazing film, but I don't think it has the wide appeal to win over the judges; also, telling an analog of Swan Lake in a movie about Swan Lake, might be too cheeky for some. Inception is great, but very exposition heavy, and those big sci-fi crazy films don't USUALLY win at awards time. They're more about concept than cinema.

In Social Network, you've got a smartly directed drama peppered with fine performances, and fantastic dialog. Its been on the top of most critics' top 10 lists all year, and I don't think that's bound to change now.

Best Motion Picture – Comedy Or Musical

Alice in Wonderland

Burlesque

The Kids Are All Right

Red

The Tourist

Alice in Wonderland: Derivative Crap. Red: Predictable Crap. Burlesque and The Tourist: Just Crap. By process of elimination The Kids Are All Right will take it. That and its the only one with any dramatic punch on top of its comedy.

Best Director – Motion Picture

Darren Aronofsky – Black Swan

David Fincher – The Social Network

Tom Hooper – The King’s Speech

Christopher Nolan – Inception

David O. Russell – The Fighter

I immediately count out King's Speech and The Fighter. Kings Speech was good but too general. Fighter had some interesting shot choices, but the fight sequences were... ugh, just so bad. Movie wasn't really about that, but still, they looked like ass. Black Swan lacks any real problems, but I just don't think its going to push past the rest of the competition.

Its either Social Network or Inception here. 50/50 and I think I'm going to go with Inception as my guess here. While Social Network pulled better dramatic performances from its cast, Inception required an incredible eye for detail to pull off, and managed to turn a very complex, mentally taxing story into a popular success. I think only Nolan could have done that.

Best Performance by an Actor in a Motion Picture – Drama

Jesse Eisenberg – The Social Network

Colin Firth – The King’s Speech

James Franco – 127 Hours

Ryan Gosling – Blue Valentine

Mark Wahlberg – The Fighter

All fine performances here, but to me, it comes down between James Franco and Colin Firth. James Franco was the only man on screen for the majority of 127 Hours, and managed to keep you riveted with his one-man show. Meanwhile, Firth went through a complete transformation into Prince Albert with his very convincing speech tick. Look for Colin Firth to pull this one out, I think.

Best Performance by an Actor in a Motion Picture – Comedy Or Musical

Johnny Depp – Alice in Wonderland

Johnny Depp – The Tourist

Paul Giamatti – Barney’s Version

Jake Gyllenhaal – Love And Other Drugs

Kevin Spacey – Casino Jack

Geh. All of these kind of came out of nowhere. Really, Jake Gyllenhaal for his turn in a fine but typically forgettable rom-com? Okay. Money is on Paul Giamatti. 

Best Performance by an Actress in a Motion Picture – Drama
Halle Berry – Frankie and Alice

Nicole Kidman – Rabbit Hole

Jennifer Lawrence – Winter’s Bone

Natalie Portman – Black Swan

Michelle Williams – Blue Valentine

Impressive as Jennifer Lawrence was as the young lead in Winter's Bone, I don't think she showed the transformation, the range of emotion of the other actresses here. Her age wins her points, but it isn't quite enough. For me the choice is Natalie Portman, and I think this is where Black Swan will win its deserved award.

Best Performance by an Actress in a Motion Picture – Comedy Or Musical
Annette Bening – The Kids Are All Right

Anne Hathaway – Love And Other Drugs

Angelina Jolie – The Tourist

Julianne Moore – The Kids Are All Right

Emma Stone – Easy A

Again, Love and Other Drugs comes from nowhere. Interesting to see Emma Stone up there too, but I like her a lot. This one is going to one of the Kids Are All Right ladies. Flip a coin for which one ummmm... Annette Bening.

Best Performance by an Actor In A Supporting Role in a Motion Picture
Christian Bale – The Fighter

Michael Douglas – Wall Street: Money Never Sleeps

Andrew Garfield – The Social Network

Jeremy Renner – The Town

Geoffrey Rush – The King’s Speech

Of the group, Jeremy Renner's the weakest. Geoffrey Rush and Andrew Garfield were good in their parts, but I don't think they stole the show. No, Christian Bale and Michael Douglas were the best parts of the films they were in, shining above the lead actors. I give it to Christian Bale, who again transformed himself from Batman to a crack head, losing weight, gaining the accent the mannerisms. Great. If Douglas wins, it'll be on a cancer vote. Hate to say it, but that's just how the politics of Hollywood work. Congrats, Mr. Douglas, on your recently announced remission, tho.

Best Performance by an Actress In A Supporting Role in a Motion Picture
Amy Adams – The Fighter

Helena Bonham Carter – The King’s Speech

Mila Kunis – Black Swan

Melissa Leo – The Fighter

Jacki Weaver – Animal Kingdom

Again, tough choices. And two more from The Fighter! Never expected it, but the movie really did run on strong character portrayals. Still, the only one who stole the show here was Mila Kunis. She ran on par with Natalie Portman's powerful lead, turning a one-woman show into an ensemble piece. The two of them had to play reflections of each other for the film to work. She's grown so much from That 70's Show, and has finally cut her teeth as a dramatic actress, even if it is as a femme fatale.

Best Animated Feature Film
Despicable Me

How To Train Your Dragon

The Illusionist

Tangled

Toy Story 3

If there's any dark horse here, its going to be The Illusionist, the seldom screened comedy by Sylvain Chomet, Director of the beloved Triplets of Belleville. Still, I think its a pretty safe bet that Toy Story 3 will take the prize here. It was good for kids, and still able to make adults weep at the end. Toy Story 3 brought a successful close to what I like to call 'The Abandonment Trilogy'. Those toys have issues.

Best Foreign Language Film
Biutiful (Mexico, Spain)

The Concert (France)

The Edge (Russia)

I Am Love (Italy)

In A Better World (Denmark)

I haven't seen all of these, but just to hazard a guess, it'll probably go to the intense Biutiful. Gotta love Javier Bardem

Best Screenplay – Motion Picture
Simon Beaufoy, Danny Boyle – 127 Hours

Christopher Nolan – Inception

Stuart Blumberg, Lisa Cholodenko – The Kids Are All Right

David Seidler – The King’s Speech

Aaron Sorkin – The Social Network

I liked all of these movies, but it has to go to The Social Network. There's no way around it. While the other movies were all driven by concept, The Social Network was driven by dialog and force of character. Aaron Sorkin is one of my screen-writing heroes, and here he showcases his mastery of wit, of characterization, and does it while adapting a long, complex series of events into two quickly passing hours.

Best Original Score – Motion Picture
Alexandre Desplat – The King’s Speech

Danny Elfman – Alice in Wonderland

A. R. Rahman – 127 Hours

Trent Reznor and Atticus Ross – The Social Network

Hans Zimmer – Inception

This award goes to Tron Legacy... wait, Tron isn't nominated for Best Score? Well that's bullshit. Say what you will about that movie, Daft Punk's score was pitch perfect, and can be listened to over and over again outside of the parameters of the movie.

Off hand, I'm going to go with Inception here, because it was the most memorable to me, but both 127 Hours and Social Network had great scores to accompany the films, so I wouldn't be surprised if either of them snuck up and took it.

Best Original Song – Motion Picture

“Bound To You” – Burlesque /Music By: Samuel Dixon /Lyrics By: Christina Aguilera and Sia Furler

“Coming Home” – Country Strong/ Music & Lyrics By: Bob DiPiero, Tom Douglas, Hillary Lindsey and Troy Verges

“I See The Light” – Tangled/ Music By: Alan Menken/ Lyrics By: Glenn Slater

“There’s A Place For Us” – Chronicles Of Narnia: The Voyage Of The Dawn Treader/ Music & Lyrics By: Hillary Lindsey, Carrie Underwood and David Hodges

And as for best original song... ugh, I don't even care. None of these stuck with me even moments after the movie. Dawn Treader had a song? Oh, was that the one played over the credits? I think we talked over it. How moving.

I leave that one to you, dear audience...

So, that's my predictions, check back in a day or two and we'll have the tally. Agree, disagree? Shout it out!

Green Hornet: UK Style

Finally got out to another advance screening the other night: The Green Hornet!  But when I sat down to write the review, I found that fellow writer and friend across the pond, Ben Bussey, had already written a review. And not only that, but his thoughts pretty much mirrored my own. What a guy.

Well, anyway, I'm going to save myself some typing time by just sending you over to Ben. Go check out Ka-Boomski!  Its his awesome action blog, where you can read about Green Hornet, and all of the guilty pleasure of the action genre. Explosions abound!

KA-BOOMSKI!

A couple of quick additions, before you go:

- My preview was in 3-D, and I have to say that the 3-D is not worth the extra money here. There are very few sequences where its noticeable, and even when it is, you can tell it was added as an afterthought. The 'Kato-Vision' sequences work, but the rest is forgettable. Save the money, see it normally.

- The beginning is really, really choppy. One minute Seth Rogan is getting yelled at by his dad, hung over from a party, and then a cut and Seth Rogan is coming home from a party, and finds out his dad is dead. It seems like a bunch of establishing scenes were cut out. There's also references to the Green Hornet blowing up traffic cameras before a scene that appears to be the first time they actually do that with the car's missiles. It seems like the studio did a lot of re-cutting and trims. It moves quickly, but feels awkward. But then, it is 2 hours as is...

- I really wish they would have given a more definite ending to the film. I mean, it ends, the story resolves, but The Green Hornet never really evolves as a character. A final action sequence with he and Kato both able to fight as equals, set over the Green Hornet theme, would have been awesome. It really is Kato's film.

Well, between myself and Ben, I think you are now prepared. Green Hornet isn't a great film, but its worth seeing. A fun distraction. And after the studio had written it off as 'disaster' in their usual political games, that's a pleasant surprise.