Selma Blair Guests on "Out There" on IFC

Tune in on Friday (March 22, 2013) for a new episode of “Out There” at 10/9c:

About the show:
Out There chronicles the misadventures of socially awkward Chad, his little brother Jay (Kate Micucci) and his best friend, Chris (Justin Roiland). Living in the small town of Holford, the boys wander its surreal, bleak landscape waiting out their last few years of adolescence. Along the way, viewers meet Chad’s conservative parents, Wayne (John DiMaggio) and Rose (Megan Mullally), as well as Chris’ single mother, Joanie (Pamela Adlon) and her disastrous boyfriend, Terry (Fred Armisen). They also meet the object of Chad’s affection, Sharla (Linda Cardellini).

Awesome clips:
Coming this Friday, Selma Blair makes a guest star appearance on OUT THERE as the eccentric new girl at school. Check it out here: http://www.ifc.com/shows/out-there/blog/2013/03/out-there-paired-up-with-destiny

On last Friday's episode of OUT THERE, when Wayne agrees to let Chad pull the car out of the driveway, obviously Chad is going to do it perfectly on the very first try and then will execute a perfect three-point turn, merge on to the highway and drive off into the sunset as a fully licensed driver. Or so he seems to think, because driving is really easy and doesn’t involve any practice other than watching your mom or dad do it for 15 or 16 years.

Check out the clip here: http://www.ifc.com/out-there/videos/out-there-chad-behind-the-wheel

Ryan Quincy discusses his inspiration for the episode “Frosty King" - see how it correlates with the clip of Chad Behind the Wheel!: http://www.ifc.com/out-there/videos/out-there-ryan-behind-the-wheel

Find out more about the show by perusing the Holford High Yearbook:
http://www.ifc.com/holford-yearbook/

Here's what the critics are saying about Out There:

"Not since Freaks and Geeks has adolescent humiliation been handled so warmly." - Entertainment Weekly

"Ryan Quincy's coming-of-age cartoon series charms" - Los Angeles Times

"...finding the humor in growing pains..." - Animation Magazine

Review: "Rise of the Guardians" Rises with Jack Frost

TRASH IN MY EYE No. 20 (of 2013) by Leroy Douresseaux


Rise of the Guardians (2012)
Running time: 97 minutes (1 hour, 37 minutes)
MPAA – PG for thematic elements and some mildly scary action
DIRECTOR: Peter Ramsey
WRITER: David Lindsay-Abaire (based on the book The Guardians of Childhood by William Joyce)
PRODUCERS: Nancy Bernstein and Christina Steinberg
EDITOR: Joyce Arrastia
COMPOSER: Alexandre Desplat
Golden Globe nominee

ANIMATION/FANTASY/ACTION/COMEDY/FAMILY

Starring: (voice) Chris Pine, Alec Baldwin, Jude Law, Isla Fisher, Hugh Jackman, Dakota Goyo, Khamani Griffin, Kamil McFadden, and Georgie Grieve

Rise of the Guardians is a 2012 3D computer-animated, fantasy film from DreamWorks Animation. The film is based on The Guardians of Childhood books series by William Joyce and is also inspired by Joyce’s animated short film, The Man in the Moon. Joyce and Guillermo del Toro are among the film’s executive producers. Rise of the Guardians is also the first big-budget, computer-animated (CG-animated) film to be directed by an African-American, Peter Ramsey.

Rise of the Guardians is apparently set 300 years after the book series. The movie focuses on a newcomer caught in a battle between immortals that protect the innocence of children and an evil spirit that launches an assault on Earth.

Tooth Fairy or Tooth (Isla Fisher) is the mythical tooth collector and Guardian of Memories. E. Aster Bunnymund or Easter Bunny (Hugh Jackman) is the fabled keeper of Easter eggs and Guardian of Hope. Sandy or Sandman (who does not speak) is the Guardian of Dreams and the oldest of the Guardians. Nicholas St. North or Santa Claus (Alec Baldwin) is the Guardian of Wonder and the leader of the Guardians. The Guardians watch over the children of the world and keep them safe; the Guardians also bring wonder, hope, and dreams.

Pitch Black (Jude Law) is The Boogeyman, the essence of fear known as the Nightmare King. Pitch announces to the Guardians that he is going to destroy children’s faith in them as an act of revenge because children no longer believe in him. The Man in the Moon tells the Guardians to induct a new member, Jack Frost (Chris Pine), in time for their struggle with Pitch Black. Jack declines the offer, as he has spent centuries in isolation because children do not believe in him. However, as Pitch’s threat looms, Jack finds himself dragged into the conflict and forced to find himself and his place.

Rise of the Guardians reminds me of DreamWorks Animation’s 2010 surprise CG-animated hit, How to Train Your Dragon. Dragon had two great characters, the Viking teenager, Hiccup, and his partner, the Night Fury dragon, “Toothless.” When Dragon focuses on Hiccup and Toothless, the film soars, but everything else about the movie, from characters to plot, is inconsistent in quality.

Rise of the Guardians is similar in that aspect. Jack Frost is a truly spectacular animated character. The rest of the film, from characters to action, ranges from good to mediocre to tolerable. Pitch Black, the villain, is merely a jumped-up stage villain full of typical grudges and complaints, and Jude Law’s voice performance does little to lift the character. And what the hell was Alec Baldwin doing as Santa Claus? This film’s concept, plot, and screenplay are an exercise in ups-and-downs and hits and misses. Attempts to give the story heart and meaning sometimes seem contrived, and when the story does have depth, it occasionally comes across as sugary or even fake.

On the other hand, Jack Frost is a treasure. This is his movie and his story – the journey of a hero, and Jack’s internal dilemmas and outward struggles ring with authenticity. He is the star, and the other Guardians are his supporting cast. Chris Pine delivers his finest performance as actor… in a voiceover role, but he brings Jack Frost to life with verve and depth. Pine left me wanting more.

Director Peter Ramsey does a good job of making the action in Rise of the Guardians rise above the defects in plot and narrative. Rise of the Guardians moves like an action movie, but it is imbued with something classic Walt Disney animated films, like Cinderella and Snow White, have. That is the sense of a fantasy movie that is really like a fairy tale, filled with magic and enchantment. CG-animated films don’t really have that sense of the supernatural because, as art created largely by computers, they feel more like technological marvels, but Rise of the Guardians has that old animation magic.

It is both this sense of magic and the magical Jack Frost that help Rise of the Guardians rise high above its shortcomings.

8 of 10
A

NOTES:
2013 Golden Globes, USA: 1 nomination: “Best Animated Film”

2013 Black Reel Awards: 1 nomination: “Best Director” (Peter Ramsey)

2013 Image Awards: 1 nomination: “Outstanding Directing in a Motion Picture-Theatrical or Television” (Peter Ramsey)

Sunday, March 17, 2013

Warner Bros. Starts Production on "Godzilla"

Warner Bros. Pictures and Legendary Pictures Announce Cast and Start of Production for “Godzilla”

BURBANK, Calif.--(BUSINESS WIRE)--Warner Bros. Pictures and Legendary Pictures announced today the final principal cast for the upcoming tent pole “Godzilla.” Aaron Taylor-Johnson, Ken Watanabe, Elizabeth Olsen, and Juliette Binoche are starring in the film, with David Strathairn and Bryan Cranston.

The companies also announced that principal photography began today on location in Vancouver.

Gareth Edwards is directing the film from a screenplay by Max Borenstein, Frank Darabont and Dave Callaham. Legendary’s Thomas Tull and Jon Jashni are producing with Mary Parent and Brian Rogers. Alex Garcia and Patricia Whitcher are serving as executive producers alongside Yoshimitsu Banno and Kenji Okuhira.

A presentation of Warner Bros. Pictures and Legendary Pictures, “Godzilla” will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company, except in Japan, where it will be distributed by Toho Co., Ltd. Legendary Pictures is a division of Legendary Entertainment.

Slated to open on May 16, 2014, the film is expected to be presented in 3D.

Restored "Lawrence of Arabia" Returns to Cinemark Theatres

Academy Award Winning ‘LAWRENCE OF ARABIA’ Returns to Screens for Cinemark’s Classic Films Series

Fully Restored, Hollywood Classic to Play at Select Cinemark XD Auditoriums and Other Locations on Wednesday, March 20th

PLANO, Texas--(BUSINESS WIRE)--Cinemark Holdings, Inc. (NYSE: CNK), one of the world’s largest motion picture exhibitors, is pleased to announce that the 1962 Academy Award Winner for Best Motion Picture, LAWRENCE OF ARABIA, will play at Cinemark’s Classics Series in over 120 Cinemark theatres across the country. Ranked # 7 on the 2007 American Film Institute’s 100 Greatest Movies of All Time, the film is scheduled to play on Wednesday, March 20, 2013, with two separate show times, 2pm and 7pm.

“Lawrence of Arabia is the quintessential big screen epic,” states James Meredith, Head of Marketing & Communications for Cinemark. “It’s adventurous, award-winning, and features memorable directing and acting performances. It will look spectacular in our Cinemark XD auditoriums at participating locations!”

Consistently rated as one of the finest films from director David Lean, this classic featured an indelible performance from Peter O’Toole as the lead character, T. E. Lawrence, as well as those from Sir Alec Guinness, Omar Sharif, and Anthony Quinn. In addition to winning the Best Picture Oscar, LAWRENCE OF ARABIA was also awarded Best Director honors for Lean, Best Original Score for Maurice Jarre, Best Cinematography, Best Editing, Best Sound and Best Art and Set Decoration. It was nominated in three other categories including Best Actor for O’Toole and Best Supporting Actor for Sharif.

Cinemark takes pride in creating the best entertainment experience in the industry. In order to make movie-going as easy and enjoyable as possible, Cinemark focuses on offering more choices to their customers. For example, “Print at Home” ticketing available at www.cinemark.com makes it easy for patrons to purchase tickets in advance from the comfort of their home or office. Customers can bypass lines at the box office and go directly to a kiosk in the theatre lobby. Also, guests can download and purchase tickets through Cinemark’s mobile applications that are available for iPhone and Android phones. Finally, to stay connected, customers can sign up online to receive free, weekly showtime e-mailers that contain online coupons for discounts at the concession stand and other weekly special offers.

A full list of participating Cinemark Classic Series locations, advance ticket purchases and show time information can be found at www.cinemark.com.


About Cinemark Holdings, Inc.
Cinemark is a leading domestic and international motion picture exhibitor, operating 465 theatres with 5,240 screens in 39 U.S. states, Brazil, Mexico, Argentina and 10 other Latin American countries as of December 31, 2012. For more information go to www.cinemark.com.

Review: Halle Berry Needs the Call in "Perfect Stranger"

TRASH IN MY EYE No. 120 (of 2007) by Leroy Douresseaux


Perfect Stranger (2007)
Running time: 109 minutes (1 hour, 49 minutes)
MPAA – R for sexual content, nudity, some disturbing violent images and language
DIRECTOR: James Foley
WRITERS: Todd Komarnicki; from a story by Jon Bokenkamp
PRODUCER: Elaine Goldsmith-Thomas
CINEMATROGRAPHER: Anastas N. Michos (D.o.P.)
EDITOR: Christopher Tellefsen
COMPOSER: Antonio Pinto

DRAMA/MYSTERY/THRILLER

Starring: Halle Berry, Bruce Willis, Giovanni Ribisi, Richard Portnow, Gary Dourdan, Florencia Lozano, Daniella Van Graas, and Nicki Aycox

The subject of this movie review is Perfect Stranger, a 2007 psychological thriller from director James Foley. The film star Halle Berry and Bruce Willis, respectively, as an undercover journalist and a shady businessman in a cat-and-mouse game.

Playing the role of the abused woman of African-American descent has served Halle Berry quite well. In 2002, Berry won an Oscar for playing just such a character in the film, Monster’s Ball. She portrays another put upon woman or sufferin’ sistah type in the film, Perfect Stranger, with Bruce Willis playing the apparent central bully. But this time, Berry’s loyal audience is the victim of a truly bad movie.

After her friend, Grace Clayton (Nicki Aycox) is found murdered, investigative reporter Rowena “Ro” Price (Halle Berry) is determined to find the murderer. She believes that Grace’s death is connected to a powerful advertising executive, Harrison Hill (Bruce Willis), who seduces women in the online dating world of chat rooms, although he is married. Rowena infiltrates Hill’s advertising agency, H2A, as a temp worker named Katherine Pogue, and she also secretly teases him online under the moniker, Veronica. With the help of newspaper colleague and friend, Miles Haley (Giovanni Ribisi), Rowena pries into all facets of Hill’s life. The closer she gets to the truth, the more Ro learns how far people will go to protect it, and she finds herself struggling to protect her own secrets.

Perfect Stranger is vile, vulgar, cheap, and tawdry in the way the director and writers portray sexual relationships and in the coarse manner in which characters speak to each other. What makes this film really bad, however, isn’t the sex, nudity, crude language, explicit violence or even the woefully bad acting. It’s that Perfect Stranger is a poorly conceived mystery thriller. Perhaps, the writers knew how the story would end, and they were clear about who the victims would be and when they would be victimized. Beyond that, this narrative is full of holes.

Even viewers who normally find both obvious and none-too-subtle clues flying over their heads (that includes me), will find themselves scratching their heads at how easily and early this story disintegrates. The central murder doesn’t make sense when one considers that the killer is supposed to be so clever. The subsequent police investigation would certainly break up this film’s story within the first half hour. Sure, we’re supposed to suspend disbelief in the movie theatre, but what about verisimilitude? Since Perfect Stranger is set in a world like ours, it should also work logically in the real world.

Without Halle Berry and Bruce Willis, who both gave poor, poor performances, Perfect Strangers would have been a direct-to-DVD film… that not many people would rent. Only my love for Berry prohibits me from giving this an “F.”

1 of 10
D-

Friday, August 24, 2007

JAY Z Hooks Up with Baz Luhrmann for "The Great Gatsby"

Shawn “JAY Z” Carter Teams up with Baz Luhrmann on “The Great Gatsby”

Shawn “JAY Z” Carter to serve as Executive Producer and perform on “The Great Gatsby” soundtrack which will feature a varied collection of the world’s most talented and compelling musical artists

BURBANK, Calif.--(BUSINESS WIRE)--Grammy Award-winning musical artist Shawn “JAY Z” Carter has collaborated with writer/producer/director Baz Luhrmann on “The Great Gatsby”—in the capacity of Executive Producer—to bring the modern “Jazz Age” energy of F. Scott Fitzgerald’s original text to the big screen, procuring, performing, producing and arranging for a soundtrack featuring some of the world’s top musical artists.

JAY Z’s contributions, woven amongst a score by long-time Luhrmann collaborator, composer Craig Armstrong, drive Gatsby’s champagne-infused dance floors, rumble in New York’s illegal speakeasies, and foreshadow the tragedy behind Gatsby’s “extraordinary gift for hope.” To articulate the film’s “1920s-Meets-Now” sound, JAY Z also comes to “The Great Gatsby” soundtrack as a performer and contributor of original music.

Luhrmann and JAY Z were introduced by Leonardo DiCaprio (Jay Gatsby), and this led to a two-year collaborative effort. During this time, JAY Z worked with Luhrmann and his team to capture, translate and contrast the feelings of Fitzgerald’s decadent era with that of our own, using hip-hop and jazz, music contemporary and period, to bring two distinct American moments to simultaneous life. They sculpted the film’s musical landscape alongside Armstrong, who worked with the director on “Moulin Rouge!” and “Romeo + Juliet.” The film’s music supervisor is Anton Monsted.

Luhrmann calls the collaboration with JAY Z “a credible and natural fit. Fitzgerald was a pioneer, famed and controversial for using the then-new and explosive sound called jazz in his novels and short stories—not just as decoration, but to actively tell story using the immediacy of pop culture. He coined the phrase ‘the Jazz Age.’ So, the question for me in approaching Gatsby was how to elicit from our audience the same level of excitement and pop-cultural immediacy toward the world that Fitzgerald did for his audience? And in our age, the energy of jazz is caught in the energy of hip-hop. Not only is JAY Z a great artist, full stop, but I had heard that he was a great collaborator. Leonardo and I were lucky enough to be present in a recording session over two years ago as JAY Z was recording ‘No Church in the Wild,’ and the collaboration grew from there.”

JAY Z said, “As soon as I spoke with Baz and Leonardo, I knew this was the right project. The Great Gatsby is that classic American story of one’s introduction to extravagance, decadence and illusion. It’s ripe for experimentation and ready to be interpreted with a modern twist. The imagination Baz brought to ‘Moulin Rouge’ made it a masterpiece, and ‘Romeo + Juliet’s’ score wasn’t just in the background; the music became a character. This film’s vision and direction has all the makings of an epic experience.”

“The Great Gatsby” soundtrack will be released by Interscope Records.

From the uniquely imaginative mind of writer/producer/director Baz Luhrmann comes the new big screen adaptation of F. Scott Fitzgerald’s novel The Great Gatsby. The filmmaker created his own distinctive visual interpretation of the classic story, bringing the period to life in a way that has never been seen before, in a film starring Leonardo DiCaprio in the title role.

“The Great Gatsby” follows would-be writer Nick Carraway as he leaves the Midwest and comes to New York City in the spring of 1922, an era of loosening morals, glittering jazz, bootleg kings, and sky-rocketing stocks. Chasing his own American Dream, Nick lands next door to a mysterious, party-giving millionaire, Jay Gatsby, and across the bay from his cousin, Daisy, and her philandering, blue-blooded husband, Tom Buchanan. It is thus that Nick is drawn into the captivating world of the super rich, their illusions, loves and deceits. As Nick bears witness, within and without of the world he inhabits, he pens a tale of impossible love, incorruptible dreams and high-octane tragedy, and holds a mirror to our own modern times and struggles.

Academy Award® nominee DiCaprio (“Django Unchained,” “Aviator”) plays Jay Gatsby, with Tobey Maguire starring as Nick Carraway; Oscar® nominee Carey Mulligan (“An Education”) and Joel Edgerton as Daisy and Tom Buchanan; Isla Fisher and Jason Clarke as Myrtle and George Wilson; and newcomer Elizabeth Debicki as Jordan Baker. Indian film legend Amitabh Bachchan will play the role of Meyer Wolfsheim.

Oscar® nominee Luhrmann (“Moulin Rouge!”) directs the film in 3D from a screenplay co-written with frequent collaborator Craig Pearce, based on Fitzgerald’s novel. Luhrmann produces, along with Catherine Martin, Academy Award® winner Douglas Wick (“Gladiator”), Lucy Fisher and Catherine Knapman. The executive producers are Academy Award® winner Barrie M. Osborne (“Lord of the Rings – Return of the King”), JAY Z, and Bruce Berman.

Two-time Academy Award®-winning production and costume designer Catherine Martin (“Moulin Rouge!”) designs as well as produces. The editors are Matt Villa, Jason Ballantine and Jonathan Redmond, and the director of photography is Simon Duggan. The music is by Craig Armstrong.

Warner Bros. Pictures presents, in association with Village Roadshow Pictures, in association with A&E Television, a Bazmark/Red Wagon Entertainment Production, a Film by Baz Luhrmann, “The Great Gatsby.” Opening May 10, 2013, the film will be distributed in 3D and 2D by Warner Bros. Pictures, a Warner Bros. Entertainment Company, and in select territories by Village Roadshow Pictures.

www.thegreatgatsbymovie.com

Review: "Bruce Almighty" Not So Mighty

TRASH IN MY EYE No. 20 (of 2004) by Leroy Douresseaux


Bruce Almighty (2003)
Running time: 101 minutes (1 hour, 41 minutes)
MPAA – PG-13 for language, sexual content and some crude humor
DIRECTOR: Tom Shadyac
WRITERS: Steve Koren & Mark O’Keefe and Steve Oedekerk; from a story by Steve Koren and Mark O’Keefe
PRODUCERS: Michael Bostick, James D. Brubaker, Jim Carrey, Steve Koren, Mark O'Keefe, and Tom Shadyac
CINEMATOGRAPHER: Dean Semler (D.o.P.)
EDITOR: Scott Hill
COMPOSER: John Debney

COMEDY/FANTASY/ROMANCE

Starring: Jim Carrey, Morgan Freeman, Jennifer Aniston, Philip Baker Hall, Catherine Baker, Lisa Ann Walter, Steven Carell, Nora Dunn, Eddie Jemison, Paul Satterfield, Mark Kiely, Sally Kirkland, and Tony Bennett

The subject of this movie review is Bruce Almighty, a 2003 comedy and fantasy film from director Tom Shadyac and starring Jim Carrey. The film was a worldwide box office hit and yielded a spin-off film, Evan Almighty, in 2007.

Bruce Almighty isn’t Jim Carrey’s best film, although it was one of his biggest ever at the box office. I wanted to see it for a long time, but never got around to it, and after having finally seen it, I now realize that it would have been perfectly fine, if in my life as a moviegoer, I had never seen it. It’s not bad; it’s just not good Jim Carrey.

Bruce Almighty focuses on Bruce Nolan (Jim Carrey) an unhappy television reporter who complains about how unfair God is to him. When he doesn’t get the promotion after which he lusted and gets himself fired as a result, he condemns God as a do-nothing. God (Morgan Freeman) decides to make an appearance and see if Bruce can do better a job ruling existence. He gives Bruce his almighty powers just to teach him how difficult the job of being God can be.

First of all the concept is a piece of shit. Granted that the job of watching the universe is, to say the absolute least, difficult, can’t God do the job? He is, after all, God…

Secondly, the script is very smart, for at least half the film. Bruce acts just as you’d think he would – selfishly and carelessly doing whatever it takes to make things easy for him. It turns out he was always a self-obsessed bastard. Even after he gets his way via his newly gained almighty powers, he doesn’t think to make things better not only for himself, but also for his girlfriend, Grace Connelly (Jennifer Anniston). When Bruce does finally at least pay attention to the (presumed) basic duty of God, answering prayers, he takes the easy route and creates a disaster. All this stuff is smart and probably pretty accurate when it comes to describing how someone would handle the situation.

After that, Bruce Almighty becomes a feel good fest of fixing things and doing the right thing. That makes for a pleasant movie, and the story resolves in the way it probably should: life lessons learned, good will towards men, respecting God (but, according to the film, respecting God in a bland and non-evangelical way). However, that’s the problem. Bruce Almighty plays it too safe; it would have really been a funnier film if it had actually went against the grain – maybe be radical.

And as silly and crazy as Jim Carrey has been, he’s rarely done anything dangerous in his career. As a stage comedian, he was a gagman, the Prince of Ass Jokes, really. He does great impersonations and he’s a human sound effects machine, but we’re not talking Lenny Bruce or even Carrey’s idol, Andy Kaufman. His film career has pretty much been the same act, but he’s been so damn good at it. The Ace Ventura films and Dumb and Dumber are priceless.

Since the mid to late 90’s, Jim has been trying to prove to everyone that he’s not a comedian turned actor or just a comic actor, but an actor – one capable doing serious dramatic roles. I think several years of trying to prove that he’s a great actor has dulled the talent that justifies his popularity and humongous paychecks – his talent as the Prince of Ass Jokes, the Duke of Juvenile Humor, and Lord of Rubbery Faces.

You can see it in Bruce Almighty. His silliness, childishness, and zaniness lack the zip they once had. He’s does some really hilarious clowning around in this film, but a lot of it is soft and too much of it strained.

So see Bruce Almighty, if you like Jim Carrey. Sadly, it’s the closest we’ll get to the early to mid-90’s pet detective.

5 of 10
C+

NOTES:
2004 Black Reel Awards: 1 nomination: “Best Supporting Actor” (Morgan Freeman)

2004 Image Awards: 1 win: “Outstanding Supporting Actor in a Motion Picture” (Morgan Freeman)