Category: Society, Movies & Future (page 1 of 6)

Tom Hardy releases the amazing IMAX poster of the film!

Venom the new Sony cinefumetto belonging to Spider-Verse, arrives in theaters on October 4th and now the protagonist, Tom Hardy, has decided to publish the IMAX poster of the film on his social account.

The closer the Venom release date is, the more the hype rises to the stars. Certainly Tom Hardy the protagonist of the cinefumetto, knows it well and then decided to divulge via Twitter the image of the poster that will advertise the screening of the film in the IMAX rooms.

As you may know, Venom will be a film in PG-13 and so it will not be as violent as many fans expected. This is because, we had also reported in some previous news, there is the hidden hope that one day the character can also peep in Marvel Cinematic Universe (in a film by Spider-Man for example, or vice versa) that, being property Disney can not divulge too extreme contents.

However, it also seems that a different, uncensored version of the direct film could be released from R uben Fleischer who declared to Fandango:

"I can not exclude anything, we'll see."

"The Golden Lion has been tamed by Netflix"

He was expected and in fact arrived on time as the angel of death: the ANAC the national association of film authors, issued a statement against the decision of the Venice Film Festival to reward with the Golden Lion the film Netflix Rome of Alfonso Cuaron .

You can read the official press release below:

" The ANAC – National Association of Film Authors , together with FICE [Federazione Italiana Cinema d’Essei, ndr] and ACEC [Associazione Nazionale Esercenti Cinema] consistently with what was declared at the press conference of the exhibition in July in Rome, reiterate their opposition about the choice of having included in the Venice competition some films not intended for vision in the hall, unlike what the Cannes festival had decided. In full respect of the choices of the jury chaired by Guillermo del Toro and without detracting from the high quality of the film "ROMA" by Alfonso Cuaròn, winner of the Golden Lion, ANAC, FICE and ACEC consider unfair that the Biennial brand is a vehicle marketing of the NETFLIX platform that with huge resources is putting in difficulty the system of Italian and European cinemas. The Golden Lion, symbol of the International Film Festival, which has always been financed with public resources, is the patrimony of Italian spectators: the film that bears it should be within everyone's reach, in the proximity rooms, and not exclusively subscribers of the American platform. ANAC, FICE and ACEC reiterate the request to the director Barbera to review his position for the next year, while asking the Minister of Culture to launch with the utmost care rules that also regulate from us as it happens in France a fair chronology of outputs on different media . "

What do you think of this matter? Please let us know in the comments!

The Church, Michele Soavi's horror review

We are in the Middle Ages. A group of Teutonic knights performs a real massacre of unarmed civilians, considered as followers of the devil. On the mass grave where the bodies were buried, in order to ward off the return of Evil, it was decided to build a cathedral.
Nowadays the structure, frequented by dozens of faithful, is the site of restoration works and the new librarian Evan discovers the ancient narrative manuscripts of a legend concerning his own The Church ; during subsequent investigations, the man accidentally opens a seal in the subsoil, giving away free to demonic entities that will soon return to the surface taking control of those who frequent the religious place.
In the first person will also be involved in the beautiful restorer Lisa, with whom Evan had just started a relationship, and the young Lotte, daughter of the sacristan whose identity seems to hide more than a secret. And when the gates of hell are likely to open up to the outside world, the only hopes remain in the determination of a young priest of color.

In the name of Satan

It was to be the third chapter of the lucky franchise of Demons but after the abandonment of Lamberto Bava (engaged in the filming of Fantaghirò ) the project took another direction by the will of the successor Michele Soavi then back (in 1991) from the good results of the public and critics of the debut Deliria (1989). Despite the desire of Dario Argento and the other writers to maintain a thematic continuity with the previous films, La Chiesa is considered by its director as a work in its own right, while sharing with the succinct titles different similarities at the narrative level, with the religious setting in this case to make an ideal background to the demonic escalation that takes place in the hundred minutes of vision.
After a brief but fascinating medieval prologue, with an army of Teutonic knights who, without mercy and under the command of the ecclesiastical organs, carry out a real massacre of men, women and children (for whom clear indications were given to the incipit of Conan the Barbarian 1982), 'action moves into the present by adopting the typical style of that local horror that has made school, leaving the restless atmosphere, increasingly macabre, and the camera movements become catalyzed visual actors able to turn a blind eye to a narrative that is not always coherent and in which several forcing are revealed.
The structure that hosted the shooting is actually the Matthias Church, which is located in Szentháromság Square in Budapest, and turns out to be the perfect stage at least in the parts in "surface", since the many sequences in the basements were shot in the studio

The origins of evil

Even the characters are tailor-made for a story in which there is a true protagonist, but rather an ideal and heterogeneous coexistence between triggering elements and sacrificial victims, whose roles soon end up inexorably mixing when madness begins to assail everything and everyone, both in mad deeds of violence and in frightening hallucinations, unleashing a real horrifying climax of undoubted aesthetic effectiveness. A narrative ascension excellently supported by almost pictorial solutions and special effects that are simple but able to reach the primary objective with incredible naturalness
Among stylistically unexceptionable subjects (above all those through the helmet of the Teutonic knights, shaped like a cross) and shots from the most unthinkable positions, The Church (now available in high definition for the home video market thanks to CG Entertainment) lurks like a celluloid nightmare in which the public can identify with the fundamental look of the young Lotte, excellently interpreted by a Asia Argento then fourteen years old, a real empathic vehicle through which to watch the ever more tortuous and dramatic events.
The heterogeneous soundtrack is signed by the likes of Goblin Philip Glass and Keith Emerson and incisively insinuates in the tense flow of history, up to a deliberately ambiguous epilogue that gives further fascination to a work perhaps imperfect but rich in an alchemical magnetism.

from Ellen Ripley to Black Mamba, the female heroes in power

Cinema, like literature, is certainly crammed with strong male characters, undisputed leaders capable of holding the stage in any situation. However, there are striking cases in which everything has been reversed, with female protagonists able to overshadow anything around.
Probably the last example in chronological order is Revenge, the film of Coralie Fargeat that arrives in Italian theaters on September 6th. Let's talk about a rape & revenge movie "in pink" that rests completely on the shoulders of Matilda Lutz busy giving life to the ingenuous Jen, a charming girl who will be forced by events (and from three men) to completely change his way of doing, becoming aggressive and vindictive.
His strong character, which is formed minute by minute on the screen, can be approached to other great female characters in the history of cinema, recent and not.

Wonderful women

Without going too far, in May of last year, a new iteration of Wonder Woman, probably the character DC Comics with more media resonance over the past 4-5 years
If the public has become accustomed to seeing Batman and Superman fighting crime, admiring a statuesque woman, an Amazon with great intelligence and strength, leaping from one era to another has certainly left a different mark, worth over 800 million at the box office.
It is not just about money, income and industry : the new Wonder Woman, played by Gal Gadot has immediately become an icon, an inspiring muse, that people can not wait to find again on the big screen – we remember in fact that Wonder Woman 1984 is currently being worked on.
Moving away slightly from contemporary cinecomics, let's jump back in time, remembering two heroines, symbol of their era of reference, or the '80s. To many fans of film action, just read the names Sarah Connor and Ellen Ripley for their skin to become goose. The first is the famous female protagonist of the saga of Terminator appeared in four films, a TV series and soon to appear "in its original form" also in Terminator 6 . Native because in the role of the character is back Linda Hamilton, actress of the first two iconic films of the franchise, before the ball passed then to Lena Headey and Emilia Clarke .
The determination of Connor, it can certainly be compared to that of the Lieutenant Ellen Ripley the film alter-ego of Sigourney Weaver in the frightening saga of Alien . It's hard to think of her without a shotgun in her hand and her stern look, while she completes what her companions have not been able to do.

Beyond the action

To create a female icon on the big screen however, it is not necessary to have firearms, if necessary can also be very fine white weapons: we are thinking of Beatrix Kiddo also known as La Sposa or Black Mamba, the absolute protagonist of the two Kill Bill tarantiniani
Moved in his films by an ideal of revenge, just like the protagonist of Revenge Kiddo is an authentic war machine, silent and calculating, so determined to undertake a real "training path" to become ruthless and precise to the millimeter
Annihilates its victims, names of a black list accurately drafted, with an infallible katana, for the joy of all I made them of blood and underground poetry. Of course, to read the article so far you might think that the action component is absolutely necessary to get a good on-screen leader, but that's not the case.

Think of a film like Erin Brockovich – Strong as the truth whose real protagonist of the story has been played in the cinema by an exceptional Julia Roberts . A job that can collect five Oscar nominations and win three statuettes, best film, director and actress, without creating too much "noise" at the level of plot.
It speaks in fact of the courage of a woman capable of challenging two great companies such as Pacific Gas and Electric Company, accused of contaminating groundwater in Hinkley, California

Heroines often silent

Adventure lovers have instead been able to count on an iron-defiant champion: Lara Croft . Protagonist of the videogame series Tomb Raider the fascinating archaeologist became the protagonist – on the big screen – of two films between 2001 and 2003, with Angelina Jolie in her skimpy cloths, while in 2018 the reboot of the series with Alicia Vikander arrived. Two very different actresses but both capable of giving a strong and decisive character to the character.
It was often underestimated, however, Marge Gunderson of Fargo a masterpiece of the Coen brothers who sees a police officer calm and attentive, able to get – step after step, in total solitude – to find the perpetrators of an unusual kidnapping. Silent heroine played by the same Frances McDormand of the Three posters in Ebbing, Missouri film of 2017 with another unforgettable female character, Mildred Hayes
Blurring into the fantastic field, we must remember as with Maleficent the Maleficent witch managed to take the whole scene and to change, radically also, a classic story like Sleeping Beauty – becoming in fact, as the title suggests, the absolute protagonist of the film, to the detriment of princes and princesses
Even a "sacred" saga like Star Wars has changed skin in the name of a strong and important female character: starting from The Force Awakens the young and beautiful Rey has collected so much of the legacy left by the Jedi Knights of the original films, and who knows that in the future his figure can become even more fundamental in the general picture of 'opera.
A sign that cinema has always had, and will always have, strong female characters, able to support and characterize entire productions and franchises, making them unique.

Casey Affleck in the cast of Jasmine McGlade's sports drama

It is Collider who reveals that Casey Affleck will be one of the protagonists of Fencer a sports drama in which he will also play the role of producer. The film follows the vicissitudes of a tough and tormented fencing athlete in search of a place for the US national Olympic team.

The film will be written and directed by Jasmine McGlade ex-wife of Damien Chazelle (La La Land) who made her directorial debut with Maria My Love an independent film released in 2011. Fencer will be produced by Affleck through her Sea Change Media together a Whitaker Lader and McGlade

"I have this production company and a really smart woman at my side, always ready to solve every situation." Affleck told the Associated Press. "We are looking for people who can tell untold stories in pop culture, film and mainstream media, storytellers who need a helping hand.

Two years ago, the actor won the Oscar for best actor starring thanks to his beautiful and touching performance in Manchester by the Sea Affleck will star opposite Robert Redford in The Old Man & the Gun, directed by David Lowery who will see the last appearance of Redford after announcing the final goodbye to his career as an actor The Old Man & the Gun will debut in September in American cinemas.

Sony is developing a Christmas horror produced by Platinum Dunes

In the past few hours Deadline has announced the news that Sony has agreed to produce through the house Platinum Dunes the screenplay for a new horror written by Patrick Melton e Marcus Dunstan .

Platinum Dunes recently released the horror boxing A Quiet Place – A Quiet Place directed by John Krasinski and starring Krasinski and his wife Emily Blunt .

The new film for the moment has only been described as "a Christmas movie currently untitled", but some sources have suggested that the script of Melton and Dunstan will follow the atmospheres of Scream and I know what you did . The project was brought to Sony by Aaron Janus executive producer of A Quiet Place .

Melton and Dunstan are known mainly for the screenplays of some films of the franchise of Saw and other projects such as The Collection and The Neighbor . They are currently working on the highly anticipated horror series Scary Stories to Tell in the Dark together with the Oscar winner Guillermo del Toro, who will produce and co-script the project that will be released the year next

A Quiet Place earned $ 331.7 million at the world box office from a budget of only $ 17 million, earning in a very short time the status of a real cultural phenomenon. The film is currently available for the home-video market, and a sequel is already in progress.

the review of the film by Jennifer Yuh Nelson

We know that in the cinema those who arrive second – in proposing any kind of content, visual or narrative – in the eyes of the public will remain forever " younger brother of this " or the " far relative of that ". Darkest Minds not only is not exempt from this problem, but it is even its primary source, that is the novel of the same name from which the film is drawn, to appear incredibly derivative.
Written in 2012 by Alexandra Bracken The Darkest Minds brings together elements of the most famous young modern novels (first of all Hunger Games ), mixed with world of comics, starting with X-Men . The novel to us cinephiles may not even matter (or import relatively), but the problem is that all the narrative cues and all the visual ideas in the film Jennifer Yuh Nelson have already been seen or told before today, both at the cinema and on television, countless times and much better than that.

Dystopia for young people

The funniest thing to do during the film is to find all the sources of inspiration for the screenplay of Alexandra Bracken and Chad Hodge : at a base from Hunger Games with breading of X-Men is added a spray of Divergent and a pinch of Twilight stuffing with a garnish of The Leftovers and dusting with a little bit of Infinity War . The plot is set in the near future, where an illness cancels 98% of people under the age of 18, while the remaining 2% (in practice the same numbers of the HBO series created by Damon Lindelof ) receives special powers: some become simply very intelligent, some develop telekinetic skills (like the Jedi), some strange electrical skills, someone can cast fireballs and someone else discovers that they can control or read the minds of others.
In short, the franchise of X-Men reported at the high school age (which, among other things, already made with the last film of the saga, Apocalypse ).
But back to us: fearing this new situation, the government takes the children with controllable powers and transfers them into brand new labor camps, or shooting the most dangerous ones (the telepaths and the fireballs). All this based on a selection process focused on colors, where the green corresponds to the lowest level of threat, mostly reserved for super-intelligent children, blue at a medium level, those that can manipulate matter, yellow to one major (electricity) and so on.
Our protagonist, Ruby ( Amandla Stenberg ), is in the most dangerous category, that of mental control (orange). It follows that his life is at risk, since the government dangerous children kills them directly, so he decides to hide in the green category, that of the intelligent. The trick works for a while, but then obviously things will get complicated and Ruby, along with other peers, will be forced not only to set himself in the bush, but also to become the symbol of a revolution.

A new film, but already seen

The Stenberg, which alongside Nick Robinson was really adorable in its fragility in We Are All seems to have to express the magnetic personality of a character who assumes strong but instead is often uncertain. In his defense, it must be said that even the director proves to have no clear in mind how to manage the character, hiding his indecision as soon as he can focus on the love story between the protagonist and her boyfriend, Liam ( Harris Dickinson ), but also here the sense of déjà vu is present: in X-Men Rogue was afraid to kiss the Ice Man – or touch anyone else – because he would have risked killing him; same thing Robert Pattinson in Twilight whose vampire nature would be awakened in kissing Kristen Stewart . And, guess what, in Darkest Minds Ruby fears that, touching Liam, he could mess his brain up.
The action sequences and the CGI, present but not very incisive, do not hit the mark. The adults in the supporting cast, as Gwendoline Christie, Mandy Moore and Bradley Whitford are sadly underused. Well instead the costumes: the film manages to stand out in the look, but unfortunately this can not be enough to save a film that simply fails to stand out in a market full of similar productions.

Did Netflix kill the cinema? Perhaps the rooms still have hope

A few days ago David Cronenberg, guest of the Neuchâtel International Fantasy Film Festival 2018 as a member of the international jury, made some statements regarding the future of traditional cinema.
as always, a good starting point for reflection and arise from what is an accurate analysis, daughter of a character that the cinema has lived and built with his hand
Despite this, however, it is good to analyze the other side of the coin, being the current film landscape and, more generally, that of video entertainment, much more complex than it seems.

The numbers of the cinema

Data in hand, as regards the calendar year 2017 (not yet concluded 2018) Italian cinema signals a decline. Attendance decreased compared to 2016 and consequently also collections.
The percentage change was over 10%, a considerable amount. At the same time, however, 2016 had represented a year of considerable growth for Italian cinemas. In short, the market is in clear change and, until it reaches the most consistent results, it is difficult to understand to what extent the negative data is due to the phenomenon of paid streaming (Netflix on all) or from contingent factors such as the tastes of the average user, the service of the halls or the cost of the ticket.
At the same time both the European and American cinema are showing a strong growth between 2016 and 2017, which, considering also the fact that accessibility of online services is undoubtedly superior in many other countries compared to the Bel Paese, contrasts with the general meaning of the "death of the hall."
Summing up we can not but agree with the speech made by the same Cronenberg which was not so much the box office as the "hall" as a center of socio-cultural aggregation, even better as a nerve center of video entertainment.
that the film product par excellence, the film, in its concentrated and homogeneous structure, remains anchored to a "classical" fruition. In this sense it can not be concealed that most of the attempts to move investments and productions on alternative channels have resulted in sensational failures

The Netflix case

Taking as a unique example Netflix, the colossus of subscription streaming has more attempted (and continues to try) to offer film products for use and consumption of private screens. The almost unanimous response of the critics and the public has always been negative – because of mediocre products, with rare exceptions.
There is generally talk of works with cast level, budget not very high but sufficient to bring home the result and well-seasoned insiders. Despite this almost nobody has managed to take flight.
Bright, the fantasy sci-fi movie with Will Smith directed by David Ayer has disappointed many subscribers, thanks to a story that it does not take off and that it can never concentrate on the most interesting ideas. An almost impossible flop, seen both the cast and the director, certainly criticized by some for Suicide Squad but undoubtedly able to churn out big box office hits. The same goes for The Titan title that sees protagonist Sam Worthington and that clamorously patch in the trivial development of interesting ideas.
Even the King of the comic box office Adam Sandler failed to dispel the myth of bad films signed by Netflix, offering, in particular with The Ridiculous 6 and The Do Over an experience that is clearly tired and out of shape , devoid not only of originality but also of the fast-paced and frenetic rhythm of a prime-time entertainment show. The list is long and the result is constant: the film is not a product for everyone.

Obviously, names and budgets are not enough to be able to propose, with the timing and the public of streaming services, the works that need production, marketing and narration completely divorced from the system. The need to convey a deep story, a coherent and sensible development of characters in highly condensed times, against the almost monthly production needs of the Netflix on duty, are probably a still insurmountable rock.
Certainly, it is certain that the film market is changing. The film, however, as an entertainment medium, still continues to follow certain rules and to comply with precise criteria: to maintain these standards, we can not ignore film production and distribution. But how much longer?

Bautista against Disney: "I will work for them if I have to, but it would be sickening"

Guardians star of the Galaxy used Twitter to publicly attack Mickey Mouse House.

A few minutes ago Dave Bautista star of the franchise of Guardians of the Galaxy appeared on Twitter to severely criticize Disney because of the senseless dismissal of James Gunn .

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the producer explains why the project has been shelved

The latest film of the franchise of Friday 13 dates back to 2009, a remake that was co-produced by Brad Fuller . According to what was revealed in the following years, a new sequel was due to go into production in 2017 but the project is over with forgery. Fuller recently explained the reasons for this rather sudden stop.

"There were a couple of things … I think there was concern about the rights, we never received a clear answer from Paramount about why that movie was canceled I think the old administration did not see in the horror genre a fundamental part of what they were doing.Many of these studios want to make films with big stars and I think they have never been passionate about the project. to the New Line ".
A cause could also be the period in which it was initially designed: " At that moment the sequels did not go well, I think of The Ring 3 ".
A question of rights and problems that have blocked the project at the moment.
The franchise of Friday 13 is very rich in chapters after the 1980 film, Friday 13 directed by Sean S. Cunningham and starring Betsy Palmer in the role of Pamela Voorhees and Adrienne King in those of Alice Hardy.
The last remake dates back to 2009, directed by Marcus Nispel and direct sequel to the first film, the twelfth chapter in which Jason is featured.

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