I know one reaction I’ve had to the (allegedly) North Korean hackers and their attack on Sony and their movie ‘The Interview’ is “Why now?” Seth Rogen and Evan Goldberg are not the first American filmmakers to make fun of North Korea, or even its real-life leaders. ‘Team America: World Police,’ for example, featured a marionette-version of late North Korean dictator Kim Jong-il, who wants to destroy Western Civilization (but is also very lonely); the 2012 ‘Red Dawn’ remake actually changed its Asian invaders from Chinese to North Koreans in post-production because at the time that seemed like the more politically and financially safe choice. That’s not going to happen again anytime soon.
This is a fun little video curio to brighten your Monday. Tucked away in a random corner of YouTube for the last five years has been a clip titled ‘Paramount Today ... Where the Future Goes On.’ The description says it’s presumably something that was made by the studio “for Hollywood insiders [and] investors,” and it details the company’s upcoming slate for 1985 and the rest of the decade. And it’s a very entertaining, behind-the-scenes look at the movie hype machine some 30 years ago.
Trailers are a huge part of the fabric of movies. They play before every film shown in theaters, and on every movie website around the world. They’re commercials, obviously, but they’re also more than that; miniature works of art that utilize the core elements of cinema—image, sound, music, action, editing—at their most pure and refined. And today at ScreenCrush we’re celebrating movie trailers by saluting the best sneak previews of 2014.
Every year, Little White Lies Editor-at-Large David Ehrlich celebrates the best movies with a video countdown supercut. The newly released 2014 edition is typically excellent, and covers Ehrlich’s picks for the top 25 films of the calendar year (even if I might quibble with some of his individual choices coughsomethinginmythroatnotreallyIjustdon’tlike‘Godzilla’cough).
That is one of the most famous lines from one of the most famous scenes in all of cinema: Dustin Hoffman’s Benjamin trying not to be seduced by Anne Bancroft’s Mrs. Robinson, his father’s partner’s wife in 1967’s ‘The Graduate.’ The film was just the second directed by Mike Nichols, the enterprising comedian turned theater and cinema director, who died Wednesday at the age of 83.
'The Hangover' giveth and 'The Hangover' taketh away.
The first 'Hangover' made Bradley Cooper, Ed Helms, and especially Zach Galifianakis stars, and it elevated Todd Phillips from middling Hollywood director to name-brand comic auteur. But in the film industry, success that surprising and enormous demands more success; the beast must be fed. But as 'The Hangover Part II' and especially the new 'Hangover Part III' prove, it is very hard to make a good sequel to a truly original idea. 'Part II' went the rehash route, recycling the plot of the first movie so brazenly you almost had to admire its chutzpah. 'Part III' finally breaks with the formula a little (SPOILER ALERT: there is no hangover), but still doesn't produce anything even remotely worthy of the first film.
From the earliest days of his appearances in Marvel Comics' 'Tales of Suspense,' Tony Stark has always been modeled after aviator/inventor/industrialist Howard Hughes. With 'Iron Man 3,' Stark assumes a new dimension of Hughes' persona: that of the paranoid shut-in who, in his later years, became notorious for roaming his private floor of the Desert Inn Hotel in Las Vegas, freaking out about invisible germs and collecting jars of his own urine. 'Iron Man 3's' Tony Stark, played once again by the inimitable Robert Downey Jr.isn't quite that bad, but he's getting there.
After the events chronicled in 'The Avengers,' where Manhattan was nearly leveled by invading aliens and Tony himself was almost killed, he's become obsessed with upgrading his armor -- leaping all the way from the Mark VII to the Mark 42 in a matter of months. When anyone mentions New York or aliens, Tony gets panic attacks. There's a reason Daredevil, not Iron Man, is the Marvel hero known as "The Man Without Fear." Poor Tony is terrified.
"I don't want to be a good man; I want to be a great one." So says Oscar, a humble (read: crummy) magician in a traveling circus circa 1905, just before a magical tornado sweeps him and his hot air balloon away to a land that just so happens to share his nickname: Oz. In 'Oz the Great and Powerful,' Oscar (James Franco) finds exactly what his heart desires; the chance to be a great man, wealthy and powerful, the ruler of a beautiful kingdom. And the kingdom does look damn good, and most of Oz's adventures in it are pretty entertaining as well.
Dirty Harry would love 'Gangster Squad,' a movie about cops who operate so far outside the law they make Clint Eastwood's signature detective look like a pencil-pushing dweeb. Assembled by LAPD police chief Bill Parker (Nick Nolte), and supposedly inspired by a true story, the members of the so-called Gangster Squad operate as judge, jury, and executioners. They don't arrest their targets; they "wage war" against their enemy, mob boss Mickey Cohen (Sean Penn). In their quest to bust up Cohen's rackets, the Gangster Squad brandishes about a billion guns and not a single badge. Hell, even Dirty Harry waited until the end of his movie to toss his away.
If he hadn't already used that title for another movie, Tom Cruise could have easily called 'Jack Reacher' 'The Last Samurai.' There's a bit of Toshiro Mifune's Sanjuro in this Reacher guy: the masterless warrior who strides into a corrupt town, answers to no one, rights a few wrongs, busts a few heads, and wanders away to find his next challenge. He has no possessions; he owns exactly two shirts and one jacket. All he carries with him is a roll of $100 bills, a passport, a toothbrush, and his inflexible moral code. He would have fit right in back in feudal Japan. Or the Old West, for that matter. He'd make a hell of a Man With No Name.
If its portrait of him is accurate, then Abraham Lincoln would have loved Steven Spielberg's 'Lincoln.' The film is exactly like the man at its center: thoughtful and talkative, equally adept at spinning tales and navigating the murky waters of backroom politics. It suggests that well before Ronald Reagan, our 16th President was truly our nation's Great Communicator.
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