The Halloween weekend marked the lowest total box office of the year—even lower that first weekend in September that was topped by that “faith-based” movie you still haven’t heard of. So what happened? Well… …Read More
We have, after all, been told that this is a dramatization of that 2005 documentary, and thus expect a straight-up adaptation along the lines of The Walk, Rescue Dawn, or Devil’s Knot. Turns out, the credit is correct: the new Crisis, while “suggested” by the old one, is very much its own (fictional) story, it’s own thing with its own style. …Read More
Even though we’re over a year away from the next national election, political content is dominating the news these days, so it is no surprise that this year’s Toronto International Film Festival is loaded with political films. …Read More
David Gordon Green’s newest film, Our Brand is Crisis, premieres at the Toronto International Film Festival this week, and a trailer was just released in advance of the screening.
When the first trailer hit for the Reese Witherspoon/Sofia Vergara vehicle Hot Pursuit a couple months back, the universal reaction seemed a widespread, “But… why?” For Vergara, it’s almost understandable — an above-title studio starring role for a charismatic performer who’s usually stuck in supporting roles. But why on earth was Reese Witherspoon — an Oscar winner and recent nominee, one of our savviest and smartest actor/producers — wasting her time with an aggressively stupid buddy-cop throwaway? Did she owe somebody a favor? (Like, a serious, fine-you-saved-my-life-so-I’ll-star-in-your-terrible-movie favor?)
“Our world interconnected. Our systems interconnected. Our identities vulnerable.” So goes the on-screen tagline in the trailer for Michael Mann’s new cyber-thriller Blackhat, and as the word “identities” is replaced by “security,” “homes,” “secrets,” “money,” “privacy,” “safety,” and the like — along with a giant close-up of a cable plugging in — it’s easy to chuckle along with Hollywood doing one more fear-mongering thriller about hackers taking down sacred cows and exposing private information, as if such a thing were actually plausible. (Oh, wait.) Yes, the Sony hack suddenly made Blackhat’s potentially worrisome January release suddenly timely and relevant, but it’s part of a long tradition of films that looked at the capabilities of computers, artificial intelligence, and the Internet — and shit their collective pants over it.
This week, the Criterion Collection unveiled a new Blu-ray edition of The Vanishing, George Sluizer’s critically acclaimed and bluntly effective 1988 Dutch thriller. But it’s also a film with a tainted legacy, as most American moviegoers are far more familiar with the inferior and ill-conceived 1993 remake, starring Jeff Bridges, Kiefer Sutherland, and Sandra Bullock. Yes, it was another case of the disastrous American remake, and rest assured, for every Departed or Birdcage, there are three or four stinkers like these.
Woody Allen’s latest, Magic in the Moonlight, is out this weekend, and all of the discussion surrounding its release is good news for at least one group of people: the marketing folks who designed and approved its comically inept poster. It’s yet another example of godawful Photoshop work in movie marketing, an area already tainted by a stunning lack of originality. Click through for a closer look at Magic and a few other egregious movie poster …Read More