After much acclaim for The Secret of Kells and Song of the Sea, Cartoon Saloon, Ireland’s increasingly high profile animation house founded by Paul Young and Tomm Moore, are working on their fourth feature film, Wolfwalkers. (The third one, The Breadwinner, will be released this year.)
With a signature 2D animation style, and a quite mature, epic sensibility, Cartoon Saloon, is aiming to be the next Laika (which in turn is aiming to be the next Pixar…)
Below is a proof-of-concept teaser which is, in a word, stunning.
In a time of superstition and magic, when wolves are seen as demonic and nature an evil to be tamed, a young apprentice hunter, Robyn, comes to Ireland with her father to wipe out the last pack. But when Robyn saves a wild native girl, Mebh, their friendship leads her to discover the world of the Wolfwalkers and transforms her into the very thing her father is tasked to destroy.
One of the great pieces of excess fantasy non-sense was 2015’s Telugu Fantasy Epic Baahubali. From S.S. Rajamouli, who made the zonkers reincarnation comedy Eega, which sees a man take vengeance on his murderer in the form of a common housefly. (It’s on Netflix as Makkhi, and it’s magnificent.)
Like an Indian Lord of the Rings, we only got part of a movie and had to wait a long time, 2 years in fact, for the conclusion to the film. The trailer, as bombastic as one might imagine, has popped up online, and while you may not have heard of it, over 10 Million people have already watched it in less than 24 hours. Baahubali: THe Beginning briefly cracked the top 10 at the box office in a minuscule number of theatres, and this for a movie sporting a near 3 hour runtime, based on an the Indian, Pakistani, Tamil and Sri Lankan’s in the USA and Canada that are hungry for blockbusters that stem from their own colourful culture.
I managed to catch part one in a packed and rowdy cinema on the outskirts of Toronto and it was one of my favourite blockbusters of 2015 for its nutbar gender politics alone.
When Sanga and her husband, part of a tribe living around the province of Mahismathi, save a drowning infant, little do they know the background of the infant or what the future holds for him. The kid grows up to as Shivudu, a free-spirit wanting to explore the mountains and in the process learns of his roots and then realizes the whole purpose of his life and ends up confronting the mighty Bhallala Deva!
When two opposite ends unite the rod breaks in between. When Shiva, the son of Bahubali realizes his past from Kattappa, he seeks to find consensus to his question : Why did Kattapa kill his father? This, Bahubali- the Conclusion showcases the answer and its consequences on the Mahishmati Kingdom when its roots are stirred.
Whoa! Perhaps Pixar is getting back on track. An original story with some magnificent visual appeal. With Gael Garcia Bernal and Benji Bratt, this could be great. Coco releases wide on November 22. See you there!
Not really big news, but you gotta see this. We’ve been saying for years how chameleon-like Gary Oldman is. He’s played so many varying characters with such truth and/or flamboyance that it’s almost unbelievable. But this one takes the cake! Here is Gary Oldman playing former British Prime Minister, Winston Churchill for the upcoming film, Darkest Hour, directed by my man Joe Wright. The film also stars the talents of Lily James, Ben Mendelsohn, John Hurt and Kristin Scott Thomas. See you in the theater seats.
As if you need further proof that the rebooted Star Trek universe is flash-in-the-pan pop cultural action-blockbuster-mush instead of boldly attempting any kind of science fiction or social ideas — something more or less ended with Star Trek VI: The Undiscovered Country — here is Rihanna fiddling while Rome burns.
While the nerd collective throws an over-the-top hissy fit about the all-Female Ghostbusters, I continue to quietly lament the Star-Wars-Too-Fast-Too-Furious-ification of this third go-around on Trek in the multiplex.
(Also, on a serious, perhaps inappropriate note, at least a more morbid one, this is twice now that Justin Lin inherits a big budget franchise, one of the leads dies tragically via car. Two data points doesn’t make a trend, but I wonder if Star Trek Beyond will have a Yelchin-bump in terms of audience interest in the same way the Furious Franchise did with Paul Walker.)
I wish more trailers were cut this good. Somehow we missed Sony’s colour-saturated, tiny shark survival movie starring Blake Lively, when it first popped up online. But with its soundtrack, voice-over and smooth edit, this is one of the best trailers I’ve seen this year, and too damn good not to post; hence, we offer it now. The film, at least in Canada, opens this weekend, even if the trailer says June 29th.
The Shallows is directed by Jaume Collet-Serra, who was responsible for two underrated Liam Neeson action flicks (I know, I know, there is a glut of these), Non-Stop and Run All Night
Nate Parker’s ‘taking back the title’ historical drama, The Birth of A Nation is an important corrective measure in American cinema, coming to cinemas 100 years after all the damage that D.W. Griffith’s epic blockbuster of the same name enabled back in 1915 — not the least of which is resurrecting a near-extinguished KKK. Griffith’s film also is considered the first mega-sized film produced, and kicked off the ‘bigger is better’ mentality that has been the rhythm of Hollywood almost ever since.
If 2016’s The Birth of A Nation looks like Oscar-bait, that is because it is. But not the cynical, play the game Hollywood boutique kind, that of an earnest, passionate voice looking to come to the table on his own terms. This is what Oscar-bait should look like if we are to take the derogatory connotation away from the phrase. The challenge of this picture is to come out from the long shadow of Steve McQueen’s extraordinarily shot and acted, 12 Years A Slave.
The Birth of a Nation won the Grand Jury Prize and Audience Award at this year’s Sundance Film Festival before being picked up by Fox Searchlight. The film hits theaters stateside on October 7, 2016. And the second trailer is below.
I like the word “Youthquake” that critic Owen Gleiberman applied to the film when he caught it at Cannes this year. American Honey gives the vibe of what you would get if Spring Breakers was directed by a Brit instead of an American. That’s my two cents, but don’t let me oversimplify, there is some incredible energy, cinematography, intimacy and overall film-making going on at work here. I can’t wait to see the latest film from the director of Fish Tank and Red Road. In fact, I’m due for a full Andrea Arnold marathon pretty soon.
Less Kate McKinnon (sad-face), more ghosts (happy face). The new trailer continues the aspect of the marketers addressing the online imbroglio about gender (and concert stage diving in the 21st century). If you have not had the pleasure, it seems that conversation on the internet about this forthcoming Ghostbusters reboot quickly veers into mass hysteria; please keep it civil in the comments section, folks.