First, let me just say, I am a huge fan of Tim Burton. And that ain’t easy, sometimes, let me tell you as you’re trying to sit through a remake of… well, any remake he has made. But From Pee Wee’s Big Adventure to Edward Scissorhands to yes, even Sleepy Hollow, I enjoy my time…
I was SO looking forward to The Wolverine. Expectations, meet being met. And I have to say, it was an amazingly good time at the movies.
It’s not quite summer yet, but The Kings of Summer hopes it will put you in the mood. Teenage coming of age movies set in the suburbs during the summer are nothing new, but Kings tries a few things to make it a new season.
90% of the time a completed movie sits on a shelf or can’t get distribution because it is terrible and no one would want to see it. Eventually it gets dumped to DVD or theatrically released in February, and some of the money gets recouped that the investors have already declared as a loss. However, 10% of the time, everyone involved in getting a film to market is stupid, and good movies do not get the attention they deserve. Solomon Kane falls strongly in that 10%.
My expectations were pretty high for Brave. They were made higher by the fact that Cars 2 was so awful. But the problem with high expectations, is that they are easy to fall short of.
Having read all three books and having seen all three Swedish movies, I was really interested to see what David Fincher did with the source material, and what he did TO actress Rooney Mara.
The first thing I noticed about the movie Carnage, is that we are definitely getting invited to better and better press screenings.
Jason Segel and his Hollywood friends had quite a difficult task in front of them. How do you take a franchise that’s both beloved and woefully outdated and make it compelling for audiences both old and new? And make it not suck?
(PART ONE OF TWO) The entertainment industry is changing. Everyone knows that. Even the thickest executive to the most stoned production assistant sees the writing on the wall. Usually when you hear the industry is changing, it’s meaningless execuspeak for wall street earnings reports or it’s an excuse for lowball contract negotiations with writers directors…
(PART TWO OF TWO) But ultimately who are the studios really afraid of? Not the writers. Making them strike proved that. And what is the big bone of contention in the discussions? Internet residual payments. Everyone knows that’s where the future of entertainment lies. Broadband on your television and your computer is soon to be…