Online Video Contest Offers LEGO® Fans Worldwide a Chance to Place Their Own Work in the Upcoming 3D Animated Feature, “THE LEGO MOVIE”
Entries are Eligible for a Score of Prizes, and One Grand Prize Winner’s Creation Could Be Included in the 2014 Release
BURBANK, Calif.--(BUSINESS WIRE)--Beginning March 25, LEGO® fans registered worldwide on http://rebrick.com will have a one-of-a-kind, hands-on opportunity to take part in the growing excitement for “THE LEGO MOVIE” by creating a 15-30 second video clip based on its story, in the LEGO ReBrick Movie Competition. The winning video could be featured in the film, the first-ever, full-length theatrical LEGO adventure, from Warner Bros. Pictures and Village Roadshow Pictures, opening February 7, 2014.
The fan-produced clips will relate to an exciting scene in the film, in which the citizens of the LEGO universe rally to prevent an unspeakable disaster. They do this by quickly disassembling the elements of their environments, brick by brick, and rebuilding them into fantastic and fun hybrid vehicles and tools—the stranger and more innovative, the better, like rocket/dragons or butterfly/speedboats—to take part in an epic battle.
Using only LEGO bricks and non-licensed LEGO minifigures, contestants will select a character and set their action sequence in one of their favorite LEGO worlds, such as LEGO City, Space, Pirates, Western, Vikings, Dino, Castle, and others. After building and recording their LEGO designs, they will upload the video to YouTube, and bookmark it on the rebrick.com Building Challenge page, where it will be open for voting from the entire ReBrick membership. The 25 videos earning the most “Likes” will ultimately be reviewed for creativity, originality, theme and suitability for the film by a panel of judges, including Phil Lord and Christopher Miller, writers/directors of “THE LEGO MOVIE.”
The Grand Prize winner will receive a trip for two to Warner Bros. Studios in Burbank, California, for a VIP Tour; a meeting with the directors, to participate in a LEGO build; an exclusive LEGO film camera designed and built by the official LEGO model shop; plus souvenir items from the movie’s set, signed by the designers. His or her winning entry may also be edited into the film’s big battle sequence. Second and third place winners will also be honored, as well as winners of bi-weekly prizes selected during the challenge’s six-week run, for a range of additional prizes, including tickets to the Studio’s tour, “THE LEGO MOVIE” merchandise, a $200 gift card for the Studio’s online store, and a feature spot on The Official LEGO Channel on YouTube.
All entrants must be at least 16 years old and be registered on the LEGO fansite http://rebrick.com. Submissions will be accepted from March 25, 2013, at 9:00 A.M., until May 6, 2013, at 8:59 A.M., EDT. Videos must be between 15-30 seconds and be captured using a camera that is at least 3.2 megapixels, and framed to fit within a 2.40:1 aspect ratio. Submissions must contain only LEGO elements and figures with no customized parts, must follow the ReBrick House Rules, and must be suitable for children.
Local regulations and complete prizing information can be found on the Contest Rules page at http://rebrick.it/Contest, with additional guidelines, examples and updates available at microsite http://rebrick.it/LEGOMovie.
Winners will be announced on May 20, 2013.
“THE LEGO MOVIE” opens in theaters February 7, 2014. The 3D computer animated adventure tells the story of Emmet, an ordinary, rules-following, perfectly average LEGO minifigure who is mistakenly identified as the most extraordinary person and the key to saving the world. He is drafted into a fellowship of strangers on an epic quest to stop an evil tyrant, a journey for which Emmet is hopelessly and hilariously underprepared.
“THE LEGO MOVIE” stars Chris Pratt, Will Ferrell, Elizabeth Banks, Liam Neeson, Will Arnett, Nick Offerman, Alison Brie and Morgan Freeman as the voices of the animated characters. The film is directed by Phil Lord & Christopher Miller (“21 Jump Street,” “Cloudy with a Chance of Meatballs”) from their original screenplay, and story by Dan Hageman & Kevin Hageman and Phil Lord & Christopher Miller, based on LEGO construction toys. It will incorporate some of the LEGO world’s most popular figures while introducing several new characters, inviting fans who have enjoyed the brand’s innovative toys and hugely popular video games for generations to experience their visually unique LEGO world as never seen before.
The film will be produced by Dan Lin (“Sherlock Holmes,” “Sherlock Holmes: A Game of Shadows”) and Roy Lee (“The Departed,” “How to Train Your Dragon”).
LEGO, its logo, brick & knob configuration and the Minifigure are trademarks of The LEGO Group. ©2013 The LEGO Group. All rights reserved.
Sunday, March 24, 2013
Saturday, March 23, 2013
Michael Moore, Anniversaries, and Old Movie Reviews
by Leroy Douresseaux
Today is the 10th anniversary of the 75th Academy Awards, which occurred on a Sunday night on March 23, 2002. Steve Martin hosted the Oscar ceremony for the second time. Chicago won “Best Picture,” one of its six wins (after receiving a leading 13 nominations). This was also the night that a hip hop song won the best song Oscar for the first time (“Lose Yourself” performed by Eminem and written by Eminem, Jeff Bass, and Luis Resto).
Probably the most memorable event was the acceptance speech by Michael Moore, who won the Oscar for “Best Documentary Feature” with Michael Donovan for the film, Bowling for Columbine. Moore invited his fellow nominees on stage and spoke about the then-recently started Iraq War:
"We live in fictitious times. We live in the time where we have fictitious election results, that elect a fictitious president. We live in a time where we have a man sending us to war for fictitious reasons. Whether it's the fiction of duct tape or fiction of orange alerts, we are against this war, Mr. Bush. Shame on you, Mr. Bush! Shame on you! And any time you got the Pope and the Dixie Chicks against you, your time is up! Thank you very much!"
I still love that acceptance speech, and it’s one of my favorites. Anyway, I’m still doing some house cleaning. As you noticed, I posted reviews for Lilo & Stitch and The Wild Thornberrys Movie. They were the last two reviews of films nominated for the 75th Academy Awards that were posted on the original site, but had not been moved to the new Negromancer. Welcome.
By the way, Moore is holding a nationwide series of house parties tonight, in which people will get together and watch Bowling for Columbine. For more information, go here.
Today is the 10th anniversary of the 75th Academy Awards, which occurred on a Sunday night on March 23, 2002. Steve Martin hosted the Oscar ceremony for the second time. Chicago won “Best Picture,” one of its six wins (after receiving a leading 13 nominations). This was also the night that a hip hop song won the best song Oscar for the first time (“Lose Yourself” performed by Eminem and written by Eminem, Jeff Bass, and Luis Resto).
Probably the most memorable event was the acceptance speech by Michael Moore, who won the Oscar for “Best Documentary Feature” with Michael Donovan for the film, Bowling for Columbine. Moore invited his fellow nominees on stage and spoke about the then-recently started Iraq War:
"We live in fictitious times. We live in the time where we have fictitious election results, that elect a fictitious president. We live in a time where we have a man sending us to war for fictitious reasons. Whether it's the fiction of duct tape or fiction of orange alerts, we are against this war, Mr. Bush. Shame on you, Mr. Bush! Shame on you! And any time you got the Pope and the Dixie Chicks against you, your time is up! Thank you very much!"
I still love that acceptance speech, and it’s one of my favorites. Anyway, I’m still doing some house cleaning. As you noticed, I posted reviews for Lilo & Stitch and The Wild Thornberrys Movie. They were the last two reviews of films nominated for the 75th Academy Awards that were posted on the original site, but had not been moved to the new Negromancer. Welcome.
By the way, Moore is holding a nationwide series of house parties tonight, in which people will get together and watch Bowling for Columbine. For more information, go here.
Review: "Lilo and Stitch" a Delightful Surprise
Lilo & Stitch (2002)
Running time: 85 minutes (1 hour, 25 minutes)
MPAA – PG for mild sci-fi action
DIRECTORS: Dean DeBlois and Chris Sanders
WRITERS: Dean DeBlois and Chris Sanders; from an idea by Chris Sanders
PRODUCER: Clark Spencer
EDITORS: Darren T. Holmes and Michael Kelly
COMPOSER: Alan Silvestri
Academy Award nominee
ANIMATION/COMEDY/FAMILY/SCI-FI/ACTION
Starring: (voice) Daveigh Chase, Chris Sanders, Tia Carrere, David Ogden Stiers, Kevin McDonald, Ving Rhames, Zoe Caldwell, and Jason Scott Lee
The subject of this movie review is Lilo & Stitch, a 2002 animated science fiction and family film from Walt Disney Feature Animation. This hand-drawn (or 2D) animated film is the 42nd film in the Walt Disney Animated Classics series.
With the release of Mulan in 1998, Walt Disney’s animated films soared to new heights of artistry, and the craft of their storytelling also greatly improved. With that film, not only were Disney films glorious eye candy, their stories were also quite moving, dealing with such universal themes as loss, redemption, acceptance, and triumph.
In Lilo & Stitch, we leave behind the China of Mulan, the virgin jungle of Tarzan, and the sensational underground world of Atlantis, The Lost Empire to travel the interstellar space ways and lush landscapes of Hawaii. It’s a fantastic ride of eye-popping visuals that capture the imagination and create the perfect backdrop to tell this story of two loners and outcasts who find companionship in one another.
Genetic Experiment 626 (voice of Chris Sanders) is the most dangerous weapon in the galaxy, created by Dr. Jumba (voice of David Ogden Stiers) for the sole purpose of destroying civilizations. Marked for destruction by the United Galactic Federation, 626 makes his escape to earth. After a series of mishaps on this planet, 626 lands at a dog pound where a friendless little girl named Lilo (voice of Daveigh Chase) adopts him as a pet and names him Stitch. After their parents died, Lilo’s sister Nani (voice of Tia Carrere) took on the task of rearing her sister. She isn’t having much success, and Stitch’s arrival has complicated matters. Mr. Cobra Bubbles (voice of Ving Rhames), a strict social worker who cuts an imposing figure, also applies serious pressure on Nani to do a better job taking care of her small sister or risk losing her. With his creator on the trail to capture him and pressure on her sister to take better care of her, Stitch and Lilo have to bridge the gap of worlds and become the only friends each other has.
Like most Disney animated films, the fact that Lilo and Stitch is entertaining is a given. What makes it stand out is the story’s touching drama and the animation’s colorful bounty. Co-writers/co-directors Dean DeBlois and Chris Sanders created a story with much dramatic impact. I really felt Lilo’s loneliness and her desire to fit in with other children and Nani’s desperation to hold what was left of her family together. DeBlois and Sanders really work the audience because they didn’t make it easy for the characters to obtain their hearts’ desires, so we have to really pull for them. Nani keeps dropping the ball, and Lilo is a handful to rear, to say nothing of the fact that Stitch is not much of a pet and is hard to train. Each character’s needs keep getting in the way of what other characters need. All this struggle makes the pay off at the end all the more rewarding.
As for the animation – what more can I say about Disney’s work? The sci-fi element of this film is quite strong, and several scenes takes place in sci-fi settings, many of which feature complicated chase sequences involving masses of star ships. Computers provide the animation for the tech stuff, but the computer animation looks, for the most part, like traditional cel animation.
Lilo and Stitch is also a throwback in the use of the watercolor backgrounds. Combined with the character animation, Lilo looks as if it were made at the height of the golden age of animation. The blend of traditional and modern was so seamless that it amazed me. With Atlantis, it was clear that Disney animators can create battle and chase sequences that rival those in the best live action movies, and the chase at the end of Lilo affirms that.
Lilo & Stitch will certainly please the target audience for which Disney aims it, but I think everyone likes Disney animated features when they give them a chance. Lilo doesn’t have smart aleck gags to keep adults awake while they suffer through this film for the sake of a children. In fact, what adult would suffer from watching this film? It’s one of those movies with a story that reaches out to everyone. And it’s filled with Elvis Presley songs. Who can resist that?
8 of 10
A
NOTES:
2003 Academy Awards: 1 nomination: “Best Animated Feature” (Chris Sanders)
Review: "The Wild Thornberrys Movie" More Than a Spin-Off
The Wild Thornberrys Movie (2002)
Running time: 85 minutes (1 hour, 25 minutes)
MPAA - PG for some adventure peril
DIRECTORS: Cathy Malkasian and Jeff McGrath
WRITER: Kate Boutilier (based upon the characters created by Arlene Klasky, Gabor Csupo, Steve Pepoon, David Silverman, and Stephen Sustarsic)
PRODUCERS: Arlene Klasky and Gabor Csupo
EDITOR: John Bryant
COMPOSERS: Randy Kerber, Drew Neumann, and Paul Simon
Academy Award nominee
ANIMATION/FANTASY/ADVENTURE/FAMILY
Starring: (voices) Lacy Chabert, Tom Kane, Cree Summer, Tim Curry, Lynn Redgrave, Jodi Carlisle, Danielle Harris, Flea, Crystal Scales, Kimberly Brooks, Alfre Woodard, Brock Peters, Marisa Tomei, and Rupert Everett
The subject of this movie review is The Wild Thornberrys Movie, a 2002 animated feature film. This hand-drawn (or 2D) animated movie is based on the long-running Nickelodeon animated TV series of the same title, The Wild Thornberrys.
The film's winning story finds The Thornberry clan on safari doing what they usually do. Nigel (Tim Curry), the father, hosts a nature show, and Marianne (Jodi Carlisle), the mother, films it. Elder daughter, Debbi (Danielle Harris), is annoyed to be in Africa instead of back in civilization. Adopted wild boy, Donnie (Flea), is doing his wild boy thing.
Eliza (Lacey Chabert), ostensibly the lead character, explores nature with Darwin (Tom Kane), her chimpanzee best friend. You see, Lacey rescued a tribal shaman and he bestowed upon her the magical gift of being able to talk to animals. When a poacher snatches a cheetah cub, Eliza and Darwin launch a daring rescue mission that takes them from Africa to England and back to Africa, where Eliza discovers that the poaching of the cub was just the beginning of a larger conspiracy to massacre thousands of elephants for their tusks.
That many people looked at this film upon its release in 2002 as merely a film spin-off of a TV show is a shame. The Wild Thornberrys Movie is simply a great animated feature film, especially when compared to 9 out of 10 American-produced animated films released since 2002. Producers Klasky-Csupo, the two directors, the screenwriter, and the creative staff envisioned a mini-epic that spans two continents and takes the viewers through a multitude of environments.
The thrilling action starts in sprawling grassland of Africa and heads to a boarding school in the English countryside. The sprawl of central London leads to a subway ride, which becomes a plane ride. Then, a train ride back to the plains of Africa leads deep into the jungle and finally into a hidden valley for the showdown. It's a breathtaking action adventure that recalls Raiders of the Lost Ark and the older films that inspired Raiders.
The voice acting is good top to bottom (although Chabert, Kane, and Harris are personal favorites), and the soundtrack is a tasty gumbo of world music and cross-cultural jams. The inventive character design captures both the fun and imagination of cartoons. The animation (by Korean studio Sunwoo Entertainment) moves in a smooth, brisk manner, and the digital color emphasizes earth tones and golden hues that are pitch perfect with this film's story and message. The Wild Thornberrys Movie, a treat for young and the young at heart, is both a pastoral and a call to get in touch with the wild.
9 of 10
A+
NOTES:
2003 Academy Awards: 1 nomination for "Best Music, Original Song" ("Father and Daughter" by Paul Simon)
Friday, March 22, 2013
Friday, March 22, 2013
Review: "End of Watch" a Blast to Watch
End of Watch (2012)
Running time: 109 minutes (1 hour, 49 minutes)
MPAA – R for strong violence, some disturbing images, pervasive language including sexual references, and some drug use
WRITER/DIRECTOR: David Ayer
PRODUCERS: David Ayer, Matt Jackson, John Lesher, and Nigel Sinclair
CINEMATOGRAPHER: Roman Vasyanov (D.o.P.)
EDITOR: Dody Dorn
COMPOSER: David Sardy
CRIME/DRAMA/ACTION
Starring: Jake Gyllenhaal, Michael Peña, Natalie Martinez, Anna Kendrick, David Harbour, Frank Grillo, America Ferrera, Jamie FitzSimons, Cle Sloan, Cody Horn, and Yahira “Flakiss” Garcia, and Maurice Compte
End of Watch is a 2012 thriller and cop movie from writer/director, David Ayer. End of Watch looks like a documentary, but is entirely fictional. The film stars Jake Gyllenhaal and Michael Peña as two young Los Angeles police officers who run into criminal activity that is bigger than they can handle.
Brian Taylor (Jake Gyllenhaal) and Mike Zavala (Michael Peña) are close friends and partners in the Los Angeles Police Department (LAPD). They are assigned to Newton, an area in South Central Los Angeles that is one of the toughest divisions in the LAPD. Both young officers, who are in their late 20s, have active personal lives. Brian meets and falls in love with Janet (Anna Kendrick), and Mike and his wife, Gabby (Natalie Martinez), are expecting a child.
Investigating gang activity in Newton, Brian and Mike uncover something so big that it also involves federal authorities. The actions of the young policemen draw the attention of the Curbside Gang, a vicious Latino street gang, and other criminal forces that are bigger than Brian and Mike realize.
Writer/director David Ayers is known for writing such police and crime films as The Fast and the Furious (2001), Training Day (2001), and Dark Blue (2004). Shot documentary-style, End of Watch is gritty and immediate, while films like The Fast and the Furious and Training Day are stylish, neo-Noir crime movies. In fact, End of Watch is at its best when it’s being gritty and in the middle of some kind of police action. Car chases, foot chases, shoot-outs, domicile entries, traffic stops, and stakeouts: they are riveting and nerve-wracking. Ayer’s collaborators give him some of the best cinematography and film editing of 2012.
When it focuses on the daily grind of police life or the ordinary moments of civilian life, End of Watch grinds to a halt. It’s as if the hum-drum of life is much less interesting to the filmmakers. It’s not that I have to have constant titillation; the movie simply loses its way when it’s not doing the exciting cop stuff.
The cast gives its all, however, even when they’re not chasing perps and popping caps. While Jake Gyllenhaal gives a good performance, of the two lead actors, Michael Peña gives the better performance. He earned a “Best Supporting Male” nomination at the 2013 Film Independent Spirit Awards (which was won by Matthew McConaughey for Magic Mike). Gyllenhaal tries so hard, but he looks like he’s acting. Peña is subtle, effortless, and natural, so that Mike Zavala seems like both a real person and a genuine police officer.
In the movie, a few of the male characters talk about the allure they believe Captain Reese (played by Jamie FitzSimons) has. I have to admit that I also think that Captain Reese/Jamie FitzSimons does have some strange magnetism.
End of Watch is probably the movie that the 1988 film, Colors, wanted to be. As cop movies go, End of Watch is quite good.
7 of 10
B+
Thursday, March 21, 2013
Review: "Dark Blue" Dark Indeed
Dark Blue (2003)
Running time: 118 minutes (1 hour, 58 minutes)
MPAA – R for violence, language and brief sexuality
DIRECTOR: Ron Shelton
WRITERS: David Ayer; from a story James Ellroy
PRODUCERS: David Blocker, Caldecot Chubb, Sean Daniel, and James Jacks
CINEMATOGRAPHER: Barry Peterson
EDITORS: Patrick Flannery and Paul Seydor
COMPOSER: Terence Blanchard
CRIME/DRAMA with elements of action and thriller
Starring: Kurt Russell, Scott Speedman, Michael Michele, Brendan Gleeson, Ving Rhames, Kurupt, Lolita Davidovich, Dash Mihok, Master P, and Khandi Alexander
The subject of this movie review is Dark Blue, a 2002 crime drama from director Ron Shelton (Bull Durham) and writer David Ayer and based on an original story by James Ellroy. The film was released to theatres in February 2003.
Describing Ron Shelton’s Dark Blue is not an easy task. Even if I only dealt with the surface issues, I’d still have a hard time defining the film. What I can say is that it is brutal and unflinching in its display of violence, corruption, and human frailty. Shelton, who usually writes his own screenplays, has a devil of script in this one with which to work. James Ellroy, the mack daddy of American crime fiction and the novelist of L.A. Confidential, wrote the story and David Ayer, the writer of Training Day and The Fast and the Furious, wrote the script; thus, the pedigree of the story is one of immense power and frank honesty when dealing with the Los Angeles on a street level and in its darkest corners.
Set in the Los Angeles Police Department (LAPD) on the eve of the 1992 riots after the “Rodney King Beating Trial” verdict, the film focuses on a hardnosed cop with a penchant for shooting suspects, Sgt. Eldon Perry, Jr. (Kurt Russell) and his youthful partner Bobby Keough (Scott Speedman), whom Perry is training to follow in his tough footsteps. Perry is sometimes a kind of hit man and troubleshooter for his boss Jack Van Meter (Brendan Gleeson), who is also Bobby’s uncle. Van Meter’s web of deceit has drawn the attention of an ambitious deputy chief (Ving Rhames), who closes in on the corruption as the city awaits the verdict of King trial.
Dark Blue isn’t just about police corruption although that seems to be its central focus. The film has so much going on around the central character Perry that it’s hard to zero in on any particular issue. It’s about how people get drawn into the darker side of the law and remain there despite their misgivings. It’s about the ends justifying the means and about doing whatever you want to do or believe you have to do regardless of the cost to others.
More than anything, Dark Blue reveals how a select group of men treat the LAPD like their own personal boy’s club where they can live the most selfish and hedonistic lifestyle they want to live and the public pays the their club dues. Dark Blue makes it quite plain and matter of fact that quite a few cops look the other way when it comes to corruption and that some “officers of the law” are as bad or worse then the criminals they supposedly fight. Even the good guys are tainted. In fact, after seeing this, I have my doubts that bad cops actually only make up a very small percentage of police departments. Corruption is the cancer, but material gain is the alluring scent that draws them to the sickness. Of course, a lot of policemen look the other way because they know how easy it is to cross the line.
It takes a good cast to carry off a film like this, one that deals with difficult and angry subject matter in such a frank manner. Kurt Russell continues to affirm his status as a great male star in the tradition of the great tough guys, and he can act. I could read the drama in his face and see the character’s turmoil and conflict; Russell didn’t have to say a word. He only had to act. Scott Speedman plays the youthful and slowly corrupted Bobby with a charm that engages us to him especially when he’s trying to be a bad boy. Ving Rhames and Brendan Gleeson are fine character actors; they always bring something of themselves, their own personal style, to their characters, which gives those characters flavor.
Dark Blue may be an L.A. story, but its elements and themes are universal. The same issues that plagued the men and the bureaucracy of law enforcement in 1992 before the riots still bother them today. It’s good that Ellroy, Ayers, and Shelton can turn this disease into a big messy film full of ugliness, making us confront the mean streets and the even meaner men who play on it.
Dark Blue isn’t slick entertainment, and it does drag at times. Like Michael Mann’s Heat, it takes its time building up steam before it blows up in our faces. Good. Some things about “the law” need to gut punch America if the country’s going to pay attention. Shelton builds the tension slowly, but the audience needs the set up to get the payoff. If the ending seems confused, it’s the only appropriate one for a movie so deeply involved in the drama of life. I like having an important movie be this rough, crime drama (heck, I just like a good crime drama) that craps on the gloss of Hollywood. The art of drama doesn’t have to be pretty.
7 of 10
B+
NOTES:
2004 Black Reel Awards: 2 nominations: “Best Supporting Actor” (Ving Rhames) and “Best Supporting Actress” (Michael Michele)
Thursday, March 21, 2013
"Return of the Jedi" Returns for New Film Festival
ENTERTAINMENT WEEKLY ANNOUNCES THE “CAPETOWN FILM FESTIVAL” SPONSORED BY TNT’s FALLING SKIES AT THE EGYPTIAN THEATRE IN HOLLYWOOD, CA
Sci-Fi, Superhero, and Fantasy Screenings with Q&A Panels and Special Guests
Six-Day Festival to Run April 30th – May 5
(NEW YORK, NY) - March 20, 2013 - Entertainment Weekly today announced that they will launch the Entertainment Weekly CapeTown Film Festival (CapeTown ) in conjunction with American Cinematheque and sponsored by TNT’s Falling Skies. The festival will run from Tuesday, April 30th through Sunday, May 5th at the Egyptian Theatre in Hollywood, CA. The EW CapeTown Film Festival will offer sci-fi, super-hero, and fantasy fans the opportunity to see their favorites on the big screen, and hear from the visionaries and biggest stars from the genre who have brought them to life.
The EW CapeTown Film Festival will make its super-heroic debut with a six-day event featuring fan favorite films, including some that will be returning to the big screen for the first time in many years, alongside rare live Q&A panels with their filmmakers – and a surprise or two. Panels will be hosted by Entertainment Weekly senior writers Geoff Boucher, Jeff Jensen and others. A highlight of the festival will be a very special “May the Fourth Be with You” screening of Return of the Jedi on Saturday, May 4th. The screening celebrates the film’s 30th anniversary and will be one of the few times since 1997 that moviegoers can experience it on the big screen. “We’re thrilled to celebrate the 30th anniversary of Return of the Jedi with a screening at the Egyptian - the very same theatre where it premiered in May, 1983,” said Bill Gannon, Managing Editor, EW.com.
Earlier this year, EW.com launched CapeTown (ew.com/capetown), a new digital destination devoted to the intersection of Hollywood and "Comic-Con culture" -- the surging scene that encompasses super-hero, sci-fi, fantasy and horror that stretches across film, television, gaming, comics and novels. "Fantasy, sci-fi and super-heroes have transformed nearly every entertainment medium the past few years. EW's CapeTown Festival celebrates these fantastic genres and gives our audience front-row access to the entertainers creating modern mythology," said Jess Cagle, Editor of Entertainment Weekly.
The complete festival line-up and ticket sales information will be released soon.
About Entertainment Weekly and EW.com
Entertainment Weekly, with a combined print and digital audience of over 17 million loyal, engaged fans, helps readers have fun. It is your all-access pass to Hollywood’s most creative minds and most fascinating stars. The print weekly was introduced by Time Inc. in 1990 and is America’s leading consumer magazine in the entertainment category, with a guaranteed circulation rate base of nearly 1.8 million. It is a winner of four National Magazine Awards (two for General Excellence, one for Design and one for Special Interest) and was named one of min’s 25 Most Notable Magazine Launches of the Last 25 Years. Entertainment Weekly is the first to know about the best (and worst) in entertainment, and with sharp insight and a trusted voice, EW keeps readers plugged into pop culture. This is where buzz begins.
Each day, EW.com publishes a myriad of online-only articles, blog posts, videos, and photo galleries – plus a complete archive of Entertainment Weekly magazine. Over the last year EW.com has received more than a half dozen industry awards including the 2012 Min Editorial and Design Award for our feature writing and a 2012 Folio Gold Eddie award for Best Online News coverage. In July 2012, the site set new records with 130MM pageviews. As of Dec 2011, Entertainment Weekly is also available on the iPad®, NOOK Color™, HP Touchpad, Kindle Fire and select Android™ devices.
On social media, join the Entertainment Weekly community on Facebook, Twitter, Instagram, Pinterest, and Tumblr.
About American Cinematheque
Established in 1981, the American Cinematheque is a 501 C 3 non-profit viewer-supported film exhibition and cultural organization dedicated to the celebration of the Moving Picture in all of its forms. At the Egyptian Theatre, the Cinematheque presents daily film and video programming which ranges from the classics of American and international cinema to new independent films and digital work. Exhibition of rare works, special and rare prints, etc., combined with fascinating post-screening discussions with the filmmakers who created the work, are a Cinematheque tradition that keep audiences coming back for once-in-a-lifetime cinema experiences. The American Cinematheque renovated and reopened (on Dec. 4, 1998) the historic 1922 Hollywood Egyptian Theatre. This includes a state-of-the-art 616-seat theatre housed within Sid Grauman's first grand movie palace on Hollywood Boulevard. The exotic courtyard is fully restored to its 1922 grandeur. The Egyptian was the home of the very first Hollywood movie premiere in 1922. In January 2005 the American Cinematheque expanded its programming to the 1940 Aero Theatre on Montana Avenue in Santa Monica.
www.americancinematheque.com
Sci-Fi, Superhero, and Fantasy Screenings with Q&A Panels and Special Guests
Six-Day Festival to Run April 30th – May 5
(NEW YORK, NY) - March 20, 2013 - Entertainment Weekly today announced that they will launch the Entertainment Weekly CapeTown Film Festival (CapeTown ) in conjunction with American Cinematheque and sponsored by TNT’s Falling Skies. The festival will run from Tuesday, April 30th through Sunday, May 5th at the Egyptian Theatre in Hollywood, CA. The EW CapeTown Film Festival will offer sci-fi, super-hero, and fantasy fans the opportunity to see their favorites on the big screen, and hear from the visionaries and biggest stars from the genre who have brought them to life.
The EW CapeTown Film Festival will make its super-heroic debut with a six-day event featuring fan favorite films, including some that will be returning to the big screen for the first time in many years, alongside rare live Q&A panels with their filmmakers – and a surprise or two. Panels will be hosted by Entertainment Weekly senior writers Geoff Boucher, Jeff Jensen and others. A highlight of the festival will be a very special “May the Fourth Be with You” screening of Return of the Jedi on Saturday, May 4th. The screening celebrates the film’s 30th anniversary and will be one of the few times since 1997 that moviegoers can experience it on the big screen. “We’re thrilled to celebrate the 30th anniversary of Return of the Jedi with a screening at the Egyptian - the very same theatre where it premiered in May, 1983,” said Bill Gannon, Managing Editor, EW.com.
Earlier this year, EW.com launched CapeTown (ew.com/capetown), a new digital destination devoted to the intersection of Hollywood and "Comic-Con culture" -- the surging scene that encompasses super-hero, sci-fi, fantasy and horror that stretches across film, television, gaming, comics and novels. "Fantasy, sci-fi and super-heroes have transformed nearly every entertainment medium the past few years. EW's CapeTown Festival celebrates these fantastic genres and gives our audience front-row access to the entertainers creating modern mythology," said Jess Cagle, Editor of Entertainment Weekly.
The complete festival line-up and ticket sales information will be released soon.
About Entertainment Weekly and EW.com
Entertainment Weekly, with a combined print and digital audience of over 17 million loyal, engaged fans, helps readers have fun. It is your all-access pass to Hollywood’s most creative minds and most fascinating stars. The print weekly was introduced by Time Inc. in 1990 and is America’s leading consumer magazine in the entertainment category, with a guaranteed circulation rate base of nearly 1.8 million. It is a winner of four National Magazine Awards (two for General Excellence, one for Design and one for Special Interest) and was named one of min’s 25 Most Notable Magazine Launches of the Last 25 Years. Entertainment Weekly is the first to know about the best (and worst) in entertainment, and with sharp insight and a trusted voice, EW keeps readers plugged into pop culture. This is where buzz begins.
Each day, EW.com publishes a myriad of online-only articles, blog posts, videos, and photo galleries – plus a complete archive of Entertainment Weekly magazine. Over the last year EW.com has received more than a half dozen industry awards including the 2012 Min Editorial and Design Award for our feature writing and a 2012 Folio Gold Eddie award for Best Online News coverage. In July 2012, the site set new records with 130MM pageviews. As of Dec 2011, Entertainment Weekly is also available on the iPad®, NOOK Color™, HP Touchpad, Kindle Fire and select Android™ devices.
On social media, join the Entertainment Weekly community on Facebook, Twitter, Instagram, Pinterest, and Tumblr.
About American Cinematheque
Established in 1981, the American Cinematheque is a 501 C 3 non-profit viewer-supported film exhibition and cultural organization dedicated to the celebration of the Moving Picture in all of its forms. At the Egyptian Theatre, the Cinematheque presents daily film and video programming which ranges from the classics of American and international cinema to new independent films and digital work. Exhibition of rare works, special and rare prints, etc., combined with fascinating post-screening discussions with the filmmakers who created the work, are a Cinematheque tradition that keep audiences coming back for once-in-a-lifetime cinema experiences. The American Cinematheque renovated and reopened (on Dec. 4, 1998) the historic 1922 Hollywood Egyptian Theatre. This includes a state-of-the-art 616-seat theatre housed within Sid Grauman's first grand movie palace on Hollywood Boulevard. The exotic courtyard is fully restored to its 1922 grandeur. The Egyptian was the home of the very first Hollywood movie premiere in 1922. In January 2005 the American Cinematheque expanded its programming to the 1940 Aero Theatre on Montana Avenue in Santa Monica.
www.americancinematheque.com
Subscribe to:
Posts (Atom)