Move over, Jeremy Renner.
Bourne is back!
Move over, Jeremy Renner.
Bourne is back!
It is trailer day here at Rowthree, and here we have Don Cheadle’s biopic of Jazz (er, social music) legend Miles Davis, which is seems to be retold as a heightened story of cool, crime and a wee bit of heist excitement. Not your run of the mill biopic, for sure, and Cheadle is on double duty as both the star and the director (his debut film after his adaption of Elmore Leonard’s Tishomingo Blues fell through a decade ago).
Miles Ahead apparently did not set the New York Film festival on fire when it debuted there last October, but it certainly looks like a fun time at the movies. Any movie where Ewan MacGregor is sucker-punched in the face can’t be all that bad. It gets a release via Sony Pictures in a couple months on April Fool’s Day.
Here is the trailer for a black & white, nifty satire of the potential of google glass cum virtual reality. It is five minutes into the future of Brooklyn hipster-ism, and the first world’s worship of technology. Note how director Benjamin Dickinson shoots the unboxing of the Augmented Reality glasses at one point. One of the executives of the East Coast tech start-up conduct an affair with his best friend’s girlfriend…sort of. Creative Control was funded by Amazon Prime shinola, and it feels as if Noah Baumbach directed Her with Jim Jarmusch exec-producing. That is how it plays afterwards in my head, after watching this trailer, which, by the way, features a game Reggie Watts, doing his thing.
I only post this as a depressing indicator as to how low Dark City director Alex Proyas has fallen. (Creatively speaking, I’m sure the paycheck was wunderbar.) This is the logical boring & lazy end-point to CGI spectacle; a point I thought was hit with either I, Frankenstein or the Clash of the Titans reboots. But here we are, the most boring fucking spectacle that $100M can buy. Ladies and Gentlemen, Gods of Egypt.
It’s a trick. Get an axe.
Isabelle Huppert does exactly that in the french language trailer for Paul Verhoeven’s latest film, Elle. While the lack of subtitles makes one without very good french do some of the work, the essential story is a very libertarian woman decides to take things into her own hands after a masked man starts terrorizing him. Because this is a Verhoeven film, she very likely has sex with her interloper.
It’s good to see the crazy Dutch satirist back in full Hollywood style form, like many classic directors who were run out of Tinseltown for myriad reasons, he has located himself in France (albeit after a decade dalliance back in his homeland that produced at least one good film).
This just shot up to one of my most anticipated films of 2016. The film should be opening around the time of the Toronto International Film Festival in September.
When Michelle, the CEO of a gaming software company, is attacked in her home by an unknown assailant, she refuses to let it alter her precisely ordered life. She manages crises involving her 75-year-old sex kitten mother, her imprisoned mass murderer father, her spoiled and immature son, her ex-husband and her lover, all with the same icy equanimity. This is the approach she brings to the situation when it appears that her assailant is not finished with her. As the mysterious stalker hovers in the shadows of her life, taunting her, Michelle cooly stalks him back. What emerges between Michelle and her stalker is a kind of game, a game that soon spirals out of control.
“Let’s never do this again.”
Star Trek keeps J.J. Abrams as a producer, and brings on the Furious franchise’s Justin Lin as director. Lots of people fall from and/or hang onto cliffs. The U.S.S. Enterprise is destroyed (again, *yawn*) and the Beastie Boys are still getting radio play with Sabatoge, in the 23rd century. Karl Urban still has ace comic timing, and is increasingly only damn reason to bother with a franchise that once inspired millions, and is now reduced to forgettable pop-corn munching distractions. A trailer tells one a lot about these things.
I will keep re-iterating, “Why do Star Trek reboots need to be action films?”
Yea, let’s never do this again. Humbug.
Instantly recognizable as a Terrence Malick film, Knight of Cups has the same low-and-wide photography, the philosophical voice-overs, the general human malaise peppered with joy, that has been his signature directorial style since his coming out of hiatus with 1999s The Thin Red Line. Christian Bale plays a rich asshole in California who is reflecting on whether rich asshole was a good of life-goal. Cate Blanchett and Natalie Portman co-star, and he extended cast is across the board exceptional: Imogen Poots, Kevin Corrigan, Brian Dennehy, Jason Clarke, Armin Mueller-Stahl, Shea Whigham, Ryan O’Neal, Ben Kingsley, Michael Wincott, Nick Offerman, Wes Bentley, (and Antonio Banderas is apparently on hand in the trailer to reflect women as fruit flavours.)
Whether or not the subject matter is appealing to you, the West coast vistas, and insides of mansions and nightclubs make this one of the top visual looking films of the year.
Here is faster paced, more plot and character heavy UK trailer for the increasingly awesome looking new John Hillcoat picture, Triple 9. A collection of corrupt cops attempt a massive heist, and to distract the rest of the cities branches of law enforcement, they plan to murder one of their fellow officers to create a ‘999’ call which would have most of the police in the city converge in a location as far away the robbery as possible. Featuring the very well stocked cast of Woody Harrelson, Chiwetel Ejiofor, Norman Reedus, Casey Affleck, Aaron Paul, Anthony Mackey, Gal Gadot, Clifton Collins Jr., and Kate Winslet.
Triple 9 hits US theatres in February 2016, and apparently the European market will get a chance to see it as well, albeit no release date is indicated in the trailer.
In all the James Bond and Star Wars kerfuffle this weekend, we missed the second, more spoiler-heavy trailer for Quentin Tarantino’s forthcoming 70mm Western. It is nothing you do not already know if you have been following the films production (or perhaps have read the screenplay online?) So, here it is in all its cabin-fever glory.
“When you get to hell, tell ’em Daisy sent you.”