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The first message when you play the Eraserhead Blu-ray from Criterion.

The first message when you play the new Eraserhead Blu-ray from Criterion.

I couldn't sleep one evening and decided to pop in my Blu-ray of Eraserhead since it's, for me at least, the ultimate midnight movie. You can't watch Eraserhead middle of the afternoon, it just doesn't work that way. You have to watch it late at night and with as much isolation surrounding you as possible. This message surprisingly popped on the screen before the film began. I did as was told and closed every light in my apartment.

The film is all about atmosphere with Lynch's masterful calibration of sound and image colliding to create a toxic and surreal atmosphere that just sucks you in, even when you're not always entirely sure what is going on. Suffice to say, if you didn't "get" Erasherhead, you just haven't experience it the right way or in the right setting.

I can wholeheartedly confirm this theory to you based on personal experience. The first time I saw "Eraserhead" was in an afternoon film class, same thing with the following viewing. I didn't feel any of it. Nada. It left me shrugging in indifference, but upon third viewing, in the right time and setting, everything just clicked. This has been billed for year as a "cult" midnight movie for a reason. It has been created for you to watch it in the wee-wee hours of the evening and revel in its atmospheric absurdities. You gotta love Lynch.

Steven Spielberg on superhero movies: "There's eventually going to be an implosion"
















"There's eventually going to be an implosion — or a big meltdown. There's going to be an implosion where three or four or maybe even a half-dozen megabudget movies are going to go crashing into the ground, and that's going to change the paradigm. We were around when the Western died and there will be a time when the superhero movie goes the way of the Western. It doesn't mean there won't be another occasion where the Western comes back and the superhero movie someday returns."

Source: THR

Marion Cotillard Says She Cries Whenever She Watches "Step Brothers" and that she's seen it more than ten times




Well, who da thunk it? Cotillard seems to be full of surprises.

"It might sound weird, but I always cry at the end of Step Brothers," she said. "I've seen the movie ten times, and it still touches me at the end, when Will Ferrell sings. You don't expect to cry watching that type of comedy, but I always do."

This is the scene she is referring to.


















Source: W Magazine

Can anyone complain about this? "Step Brothers" has become over the years a classic in comedy. Which has had more than a few people name-checking it in interviews. Rolling Stone also had a much talked about piece about how its aged like fine wine (click HERE). For me, it's up there with "Old School" and "Anchorman" in the Ferrell pantheon. In fact, when's the last time he actually had a "good" movie? "Casa De Mi Padre," "The Campaing," Anchorman 2," "Daddy's Home," and "Zoolander 2" all were disappointments.

"Rogue One" editors reveal how they massively changed Jyn's intro and the third act

Image result for rogue one cushing


I didn't know the idea of hacking other movies apart and splicing them together was an actual, legit process in order to get an idea of the pacing. Really interesting, but also feels convoluted and unethical.

John Gilroy is an enigma, he edited both Suicide Squad and Nightcrawler. Nightcrawler is one of the most beautifully edited films of the decade, reminiscent of the gritty work of editors in the 1970s. Suicide Squad is one of the most poorly edited films I have seen. Does it have to do with lousy the material he had to work with?

We all know that reshoots happened with "Rogue One: A Star Wars Story" We also know that Gareth Edwards got pushed aside to make way for screenwriter Tony Gilroy, who got payed more than $5 Million for them. You don't get payed that much for just rewrites. Make no mistake about it, he was part of the film-making process. 

The editors of "Rogue One" spoke to Yahoo and have given us the most insightful interview yet about what happened.

For more on the production mess of "Rogue One" click HERE

You can read the full Yahoo piece.

Jyn's intro and the third act were massively changed

John Gilroy: The scene with Cassian’s introduction with the spy, Bodhi traipsing through Jedha on his way to see Saw, these are things that were added. Also Jyn [Jyn Erso, the reluctant leader of the film, played by Felicity Jones], how we set her up and her escape from the transporter, that was all done to set up the story better.


Colin Goudie: The point with the opening scenes that John was just describing was that the introductions in the opening scene, in the prologue, was always the same. Jyn’s just a little girl, so when you see her as an adult what you saw initially was her in a meeting. That’s not a nice introduction.
So having her in prison and then a prison break out, with Cassian on a mission… everybody was a bit more ballsy, or a bit more exciting, and a bit more interesting.
They got there eventually in the film, but this way we came in on the ground running, which was better.


"Wargames" and "Aliens" were influences on the pacing

Colin Goudie: The sequence of them breaking into the vault I was ripping the big door closing in ‘Wargames’ to work out how long does a vault door take to close.
So that’s what I did and that was three months work to do that and that had captions at the bottom which explained the action that was going to be taking place, and two thirds of the screen was filled with the concept art that had already been done and one quarter, the bottom corner, was the little movie clip to give you how long that scene would actually take.
Then I used dialogue from other movies to give you a sense of how long it would take in other films for someone to be interrogated. So for instance, when Jyn gets interrogated at the beginning of the film by the Rebel council, I used the scene where Ripley gets interrogated in ‘Aliens.’
So you get an idea of what movies usually do.

There is no extended cut
Colin Goudie: [The assembly] was not much longer than the finished film. I think the first assembly was not far off actual release length. Maybe 10 minutes longer? I genuinely can’t remember because that was nearly a year ago now. There’s no mythical four hour cut, it doesn’t exist.

...but there's a handful of deleted scenes
Colin Goudie: There’s a handful that if people see them they’ll be like ‘oh that’s interesting’, but I don’t think there’s anything whereby you’d be like ‘why did they cut that out?

Transition wipes were used to match the original ‘Star Wars.’
I think we used all those original wipes and we temped [a temporary soundtrack] it with John Williams as well, and it would feel right. Like when we did the original story reels, I was using footage from other movies, so having those wipes and having the John Williams score helped with making the hodgepodge of shots I’d put together feel like what we were aiming for.
Once we actually got in everything we’d shot, we no longer needed those things and I was initially sad to see the transitions go, but then when I watch the final film, I don’t miss them, because it feels like a different beast.
It feels familiar but at the same time fresh.

This is the FURY ROAD legend that George Miller wrote on flight from LA to Australia in 1997

This is the FURY ROAD legend that George Miller wrote on flight from LA to Australia in 1997


The above was concoted by Miller on his LA flight to Australia, something must have sparked in his head because this draft of the story is vastly detail-filled and encompasses most of the plot that we saw in 2015's "Mad Max: Fury Road."

Miller's first draft of MAD MAX: FURY ROAD was this electro-board printout, dated 15/3/99. Again, the visionary that Miller is, detail-filled and with an abundance of imagination. 





















It all turned out great, didn't it?





Here's an excerpt of my review for Awards Daily in the summer of 2015:

"You can't deny the sheer impact of Mad Max: Fury Road. Director George Miller's Fourth installment of the film franchise is proof that not all blockbusters should be greeted with an indifferent shrug. If anything, this brutal action film is even more intense and exciting than its predecessors. With its nihilistic outlook on human nature and a nasty, in-your-face style, this is Miller's triumph through and through. The amount of detail that he brings to every frame is as obsessively meticulous as any Wes Anderson picture I've seen, as is the editing by Margaret Sixel, which – as we stand – is most deserving of next year's Film Editing Oscar. Edited at breakneck pace and staged with manic fury, Sixel is the unheralded hero here. The celebrated one is of course Miller who's passion and vision comes through in every frame. The total control he must have had with this project to pull off what he did on screen is unheard of, which is good for him and great for us."

Vince Gilligan's brilliant Better Call Saul adds Gus Fring to the mix



Breaking Bad was quite possibly the greatest TV drama of all time, right up there with The Sopranos and The Wire, at least. So then, it was with great restraint that I started watching its spin-off Better Call Saul. Any doubt I had was quickly eviscerated by the first episode. This is a really good show, even maybe a great one. You can't make comparisons to Breaking Bad though; it'd be like comparing The Godfather to Goodfellas. On its own, Better Call Saul is a significant achievement because of its focus on character and the subtle dilemmas that invade these well thought-out characters' lives. If the other show was showy and epic, this one is restrained and minimalist. It has nothing to do with Breaking Bad, which is another reason why it's so damn good.

Of course Bob Odenkirk owns this show, but if there is a true undervalued MVP in the cast it's Rhea Seehorn as Kim Wexler. Her film credits are reduced to mostly TV movies, but something tells me we'll be seeing her on the big screen soon. She is phenomenal as Wexler, who is really the heart and soul of the whole show. She encompasses the most pronounced example of a strong female lead on TV and does it with such bravado. The whole show is supposed to be about the boys club, but she reduces their impact and makes you cheer harder for the lone female warrior. There's a great Salon interview with Rhea, which you can find HERE.

All this to say that the much anticipated third season has a sneak peek and it looks like Gus Fring will be back. Should add extra spice to an already invigorating show. Vince Gilligan was touted as a kind of David Chase-like genius with "Breaking Bad," but I find that what Gilligan has done post-Breaking Bad is much more successful than what Chase did post-Sopranos. It is no secret that they both reinvented television with their landmark shows, but TV seems to be changing every year and you have to keep up with the zeitgeist if not you'll probably get written off as a has-been and the next genius will show up and, eventually, get lost as well. Very interesting times we are living in and it seems like TV is slowly, but surely, overtaking American cinema's artful cred.

The 5 Best Stop-Motion Animation Movies

I actually wish I could have included the underrated "Shaun the Sheep," but, alas, we'll have to settle with these 5 landmarks of stop-motion animation. With Wes Anderson announcing his next film, Isle of Dogs, will be using stop-motion, we figured it would be a good time to look back at the very best that stop-motion animation has offered us over the years. This isn’t a new technique by any stretch of the imagination. Stop-motion animation has been in use for decades, notably in 1933’s King Kong, which had animator Willis O’Brien creating the aforementioned monster-sized ape out of a model with movable limbs. Here are ten movies that advanced the technique and made unequivocally beautiful art out of it.

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Ridley Scott: "Cinema is pretty bad ... I'm Concerned for its future prospects"





















Ridley Scott was in town doing press for a few of the big projects he has lined up for 2017 ("Alien: Covenant" and "Blade Runner 2049"), I thought it would be one of those marketing junkets where he would try to hype up whatever he was working on, but he ended up surprising more than a few of us when asked about the current state of cinema (and superhero movies), these were a few of the snippets that I gathered:

"Cinema mainly is pretty bad ... I'm concerned for its future prospects.."


"I want to keep doing cinema and I hope it doesn't affect those of us who still keep making smart films, I'm hoping it doesn't affect me"


"Superhero movies are not my kind of thing - that's why I've never really done one, [I've been asked] several times, but I can't believe in the thin, gossamer tight-rope of the non-reality of the situation of the superhero."

"I've done that kind of movie - Blade Runner really is a comic strip when you think about it, it's a dark story told in an unreal world. You could almost put Batman or Superman in that world, that atmosphere, except I'd have a f**king good story, as opposed to no story!"


The rest of the questions were about "Blade Runner 2049" and "Alien: Covenant," I'll post some of his quotes about those promising ventures in the next week or so. 


Also, he went on to talk about how it is much tougher to green-light a project in 2016, with a few of his "passion" projects failing to go anywhere. I do believe him, I just can't see a film like "Kingdom of Heaven" or "Gladiator" getting greenlit today. It would just not be a smart, viable business decision for a studio, they would rather use the big budget for a safer product (sequel, reboot, superhero movie).


It's not like he hasn't been giving us great enterainment the last 15-20 years - "Gladiator," "Black Hawk Down," "American Gangster," "Kingdom of Heaven," "Prometheus," and "The Martian" all have big followings and are great examples of epics that still feel like personal and intimate statements.

The Best Movies of 2016

Image result for best movies of 2016

It's been a pretty good year. I know there will be those that say movies just aren't what they used to be and, if you're talking about Hollywood cinema, I would somewhat agree with you, but there is so much to choose from these days that It'd be a sin to miss out. My list of 40 very good to great movies is mostly composed of indies and foreign-language films. What did make it from the Hollywood studio system? "Arrival," "Zootopia," "10 Cloverfield Lane," "Silence" and "Hacksaw Ridge." That's 5 out of 40. Pathetic. Look outside the box, see the greatness of the smaller studio fare that is breaking the rules and making cinema great again. 

1) La La Land (Damien Chazelle)
2) Manchester by the Sea (Kenneth Lonergan)

3) Moonlight (Barry Jenkins)
4) OJ: Made in America (Ezra Edelman)
5) Paterson (Jim Jarmusch)
6) Krisha (Trey Schultz)
7) Indignation (James Schamus)
8) A Bigger Splash (Luca Guadagnino) 
9) Zootopia (Howard, Moore and Bush)
10) 10 Cloverfield Lane (Dan Trachtenberg)

10) Arrival (Denis Villeneuve)
11) Silence (Martin Scorsese)
12) Hell or High Water (David Mackenzie)
13) Green Room (Jeremy Saulnier)
14) Elle (Paul Verhoeven)
15) Right Now, Wrong Then (Sang-Soo Hong)
16) Weiner (J. Kriegman and Steinberg)
17) Certain Women (Kelly Reichardt)
18) Gleason (Clay Tweel)


19) Miss Sloane (John Madden)

21) Aquarius (Kleber Mendonza Filho)
22) Edge of Seventeen (Kelly Fremon Craig)
23) The Wailing (Hong-Jin Na)
24) Newtown (Kim A. Snyder)
25) Hush (Mike Flanagan)
26) Lo and Behold (Werner Herzog)
27) Loving (Jeff Nichols)
28) Don't Breathe (Fede Alvarez)
29) Equity (Meera Menon)


30) American Honey (Andrea Arnold)

31) Hacksaw Ridge (Mel Gibson)
32) In a Valley of Violence (Ti West)
33) Sing Street (John Carney)
34) Everybody Wants Some (Richard Linklater)
35) Lights Out (David Sandberg, Jose Ramos)
36) Don't Think Twice (Mike Birbiglia)
37) 20th Century Women (Mike Mills)
38) The Nice Guys (Shane Black)
39) The Eyes of My Mother (Nicolas Pesce)
40) From Afar (Lorenzo Vigas)

41) The Eyes of My Mother (Nicolas Pesce)
42) Rogue One: A Star Wars Story (Gareth Edwards)
43) The Neon Demon (Nicolas Winding Refn)
44) Mountains May Depart (Jia Zhangke)
45) Patriots Day (Peter Berg)

46) Nocturnal Animals (Tom Ford)
47) Blood Father (Jean-Francois Richet)
48) The Accountant (Gavin O'Connor)
49) Deadpool (Tim Miller)
50) Born to Be Blue (Rober Budreau)

Toni Erdmann (Maren Ade)
The Handmaiden
Jackie

2017 SCHEDULE



This is theatrical release schedule for the upcoming films that will be released in theaters in the United States and/or Canada in the next year. We don't go past 2017 until the fall. The list is continuously updated throughout the year.  If you find any errors or missing films, please email us. 

Geostorm - Friday, October 20
Only The Brave - Friday, October 20
Same Kind of Different as Me - Friday, October 20
The Snowman - Friday, October 20
Tyler Perry's Boo 2 - Friday, October 20
Wonderstruck - Friday, October 20
All I See Is You - Friday, October 27
Jigsaw - Friday, October 27
Suburbicon - Friday, October 27
Thank You For Your Service - Friday, October 27
The Killing of the Sacred Deer - Friday, October 27
The Square - Friday, October 27
A Bad Moms Christmas - Wednesday, November 1
LBJ - Friday, November 3
Roman J. Israel - Friday, November 3 
Daddy's Home 2 - Friday, November 10
Lady Bird - Friday, November 10
Murder on the Orient Express - Friday, November 10
Three Billboards Outside Ebbing, Missouri - Friday, November 10
Justice League - Friday, November 17
The Star - Friday, November 17
Wonder - Friday, November 17
Coco - Wednesday, November 22
Darkest Hour - Wednesday, November 22
Call Me By Your Name - Friday, November 24
The Current War - Friday, November 24

The Disaster Artist - Friday, December 1
Polaroid - Friday, December 1
All the Money in the World - Friday, December 8
The Shape of Water - Friday, December 8
Villa Capri - Friday, December 8
Star Wars: Episode VIII The Last Jedi - Friday, December 15
Ferdinand - Friday, December 15
Jumanji - Wednesday, December 22
Bastards - Friday, December 22
Downsizing - Friday, December 22
Pitch Perfect 3 - Friday, December 22
The Post - Friday, December 22
The Six Billion Dollar Man - Friday, December 22
Molly's Game - Monday, December 25