The summer is now in full swing but where are the summer blockbusters? It seems that the year’s biggest titles have pretty much come and gone but that doesn’t mean all the summer fun is gone – it just means that summer fun looks a little different; a little more mature and more of a mix of arthouse and blockbuster. Colleen, Dale (Letterboxd) and I (Letterboxd) are dig into the July bag of movies and emerge with a few notables.
The love for Denis Villeneuve’s upcoming Sicario continues, and we’ve not even seen the film yet. LA Design have just released a series of five ‘commemorative stamp’ styled posters in Spanish for the film, and they are marvellous.
The rest are tucked under the seat.
Nothing. Well, damn near nothing. Dope is pretty good. The year is pretty weak at the halfway mark. What else is there to say? Whatever it is, we say it on this show. So have a listen.
As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!
This morning, the trailer for Danny Boyle’s sequel to the 2013 instant classic Jobs (starring Ashton Kutcher) hit the web. Apparently, Boyle couldn’t convince Kutcher to reprise his role for the sequel–which adds Steve to the title–so he settled for Michael Fassbender.
And yeah, it looks cool, I suppose. It’s tough to portray such a recognizable public figure, because the Fass doesn’t really look like Jobs, even if he has the speech and mannerisms down. Still, that’s not necessarily important in crafting a good film, if everything else comes together.
The trailer is solid and certainly takes plenty of creative liberties with Jobs’s life, as expected with Aaron Sorkin and Danny Boyle involved. Steve Jobs drops into theaters on October 9, 2015.
What do you think of the trailer? Chime in below!
The Secret in Their EyesThe Secret in their Eyes…
Celebrate Canada today by watching one of the best Canadian films ever made, Don McKellar’s 1998 apocalyptic black dramedy, Last Night which happens to star most of the working actors of English-Canadian cinema at the time, including David Cronenberg and Sarah Polley. It’s attitude about the end of the world is about as Canadian as one can get. Wrap up your affairs, pay your gas bill, be calm, and look for sex.
(or, if you prefer the stereotypes, there is always Strange Brew and Fubar…)
What space would be possible for avant-garde French director, Gaspar Noe to go after Enter The Void? Well, clearly, a 3D sex film that could play Cannes was the direction he took, and indeed, it played (somewhat muted in response however) at the festival in May. Love in 3D now has a teaser trailer that gives new definition to ‘fade to white.’ Need I say that this one is not for watching in casual mixed company?
The trailer is tucked under the seat.
Check out these links:
US Army getting hover bikes (and a video of a working hoverboard!)
– – Apparently Lexus is making one too
Academy should recognize stunts!
10 Beautiful Conceptual Bicycle Designs
More BTS shots (some (very) new, some (very) old
Google maps change depending on where you’re viewing them from
16 of the most magnificent trees in the world
Owen Wilson says “Wow!”
To celebrate what would have been Orson Welles’ 100th birthday, Mr Bongo Films are releasing a collection of much sought after and rare films from the acclaimed director, including a brand new restored 50th Anniversary Edition of Falstaff: Chimes at Midnight. I was lucky enough to get my hands on screeners for three of the films in their lineup. I must admit I’d only actually seen three of Welles’ films prior to this week; Citizen Kane (of course), The Lady From Shanghai and Touch of Evil. I love all three (Shanghai to a lesser extent), so I was keen to dig further into his filmography. Below are my thoughts on the films I was sent.
Too Much Johnson
Director: Orson Welles
Screenplay: Orson Welles
Based on a Play by: William Gillette
Starring: Joseph Cotten, Virginia Nicolson, Edgar Barrier
Running Time: 66 min
BBFC Certification: U
I was always under the impression that Citizen Kane was Orson Welles’ debut feature, but three years earlier back in 1938 he’d directed Too Much Johnson. This was meant to be integrated with Welles’ stage production of the play of the same name, by William Gillette. The venue didn’t have any projection facilities though, so the film was never screened. It was believed to be lost for decades after a fire in Welles’ home in 1971, but a work print was rediscovered back in 2008 and has now reached British homes through this DVD release.
Too Much Johnson is a silent comedy in which Augustus Billings (Joseph Cotten) is caught in bed with another man’s wife. He escapes out the window before the husband Leon Dathis (Edgar Barrier) gets his hands on him, but this sets the scene for an epic chase across the city and eventually all the way to Cuba.