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[dropcap style="font-size: 60px; color: #a9a883;"] I [/dropcap]f you managed to catch last years festival smash, Why Don’t You Play In Hell, or really, anything that director Sion Sono has done in the past decade or two, you will realize how appropriate collage is to his film-making style. Japanese posters are routinely this cluttered and crazy, it is often true of the past couple decades that the most enjoyable films to come out of that country are also made in this fashion. But this poster for Sono’s latest, Tokyo Tribe with its gold suits, light sabers, vintage cars, huge sound systems and ladies in cocktail dresses, feels satisfying and with purpose and suggests a bit of a taste of Walter Hill’s The Warriors
It sure as hell does the job of making me want to see this fine when it comes out, which apparently the poster needs to specify that it will be happening on a Saturday. For the curious, the teaser trailer can be found over a Twitchfilm.
[dropcap style="font-size: 60px; color: #a9a883;"] T [/dropcap]here are a few people out there who say it might actually be all a ginormous opium dream. And without Matt Gamble around to complain about this tactic, who can really dispute it? This is of course Sergio Leone’s masterpiece(?) featuring Robert DeNiro and James Woods as delinquent Jews in Brooklyn, Once Upon a Time in America which is talked about at length for this week’s 1984 Project.
Before that, however, Kurt and Andrew are at odds on the legitimacy of David Michôd’s post apocalyptic art-yarn The Rover. Hint: It’s all about the last 2 minutes, kids. The Watch List this week includes J.J. Abrams, Sam Fuller, Rosario Dawson and some seriously generic bullshit that wastes Jeff Goldblum. Being the end of June, we add an extra chapter this week to talk about our favorite films of 2014. Also, some of the years disappointments and surprises so far and the arbitrariness/difficulty of making these kinds of list.
This is what we call classic-style Cinecast episode: Where Kurt & Andrew just flying casual, occasionally taking a moment to pull up the IMDb, and shooting the breeze about movies.
As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!
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Here is a little slice of domestic invasion thriller from the writer-director team responsible for You’re Next. Adam Wingard and Simon Barrett’s follow up film, The Guest, looks stylish and colourful undeniably cinematic. I love this Vanity Fair quote, presumably from the films Sundance debut. “THE GUEST is big, it’s bold, it’s badass, full of flavor Hollywood wishes it could pour over its vanilla blockbusters.” Sold. See you in September.
Still struggling over the loss of their oldest son, Caleb, to the war in Afghanistan, the Peterson family finds some solace when an unexpected visitor knocks on their door. David, a steely eyed and charismatic soldier who was recently discharged, is welcomed into their home when he comes to fulfill a promise he made to his fallen comrade. Siblings Anna and Luke are at first reluctant to accept David’s presence, but he soon wins them over by scoring kegs for Anna’s friends and roughing up some bullies from Luke’s school. Though he appears to be the perfect houseguest, a mysterious and sinister chain of events causes Anna to question whether David is actually whom he claims to be.
[dropcap style="font-size: 60px; color: #a9a883;"] L [/dropcap]ast Friday we published the “Life” magazine-like marketing posters for the final chapter of The Hunger Games.
I’m not too interested in these films anymore, but I sure do enjoy their marketing campaign so far. At the very least it’s something different. Now there’s this, kind of creepy, Orwellian, propaganda message for the residents of Panem.
What say you? Anyone still really excited about The Hunger Games and what do you think about this “trailer”?
[dropcap style="font-size: 60px; color: #a9a883;"] O [/dropcap]ut side of some kids’ films, the great George Miller hasn’t been behind a camera for nearly 20 years. What he has done has been slightly better than mediocre but I don’t think I’m alone in saying I’m ecstatic that he’s going back to his post-apocalyptic roots with more Mad Max in Mad Max: Fury Road ! Tom Hardy will be in the titular role and along for the sure-to-be high-octane ride is Charlize Theron (apparently with some sort of robotic, prosthetic arm), Rosie Huntington-Whiteley, Nicholas Hoult and Zoë Kravitz.
The closest we have come to visiting the Mad Max world on any kind of a budget was in 2007s (awesome) Doomsday from Neil Marshall. And if these pictures released in the July 4th issue of “Entertainment Weekly” are any indication, this going to be awesome; plain, simple and pure.
Take a look and tell me you’re not excited (so that I can ban you from the third row )
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[dropcap style="font-size: 60px; color: #a9a883;"] B [/dropcap]rad Pitt has headed back to WWII combat duty, this time with with director David Ayer and co-stars Shia LaBeouf, Michael Pena and Jason Isaacs. Fury offers a straight up story with handsome production values, but if the trailer is any indication, not much else. Ayer is most known for his morally ambiguous big-city cop dramas such as Harsh Times and End of Watch (he also wrote Training Day and Dark Blue) all of which I have found easy to skip, I don’t think I ever seen an Ayer film directed by Ayer; maybe it will be this one.
As the Allies make their final push in the European Theatre, a battle-hardened army sergeant commands a Sherman tank and her five-man crew on a deadly mission behind enemy lines. Outnumbered and outgunned, and with a rookie soldier thrust into their platoon, the men face overwhelming odds in their heroic attempts to strike at the heart of Nazi Germany.
[dropcap style="font-size: 60px; color: #a9a883;"] I [/dropcap]n which the gentlemen of Mamo arrive at the corpse of the straw-broken camel that is TIFF’s most recent pricing upgrade, and wonder if enough is finally enough.
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Director: David Michôd (Animal Kingdom)
Writers: David Michôd, Joel Edgerton
Producers: David Linde, David Michôd, Liz Watts
Starring: Guy Pearce, Chan Kien, Robert Pattinson, Tek Kong Lim, Scoot McNairy
MPAA Rating: R
Running time: 103 min.
Like a short story Cormac McCarthy threw in the shredder because it had too much of a happy ending.
Really bizarre, but in a fascinating way. Have stewed over it for a little more than 24 hours, and I’m still not entirely sure where I land. Like Animal Kingdom, it has a myriad of stylistic reference points: McCarthy to Steinbeck, John Hillcoat to Paul Thomas Anderson. The Rover truly does feel like a novella as opposed to its Moby Dick-size comparison, There Will Be Blood. Writer-director David Michôd’s sophomore outing has all the trappings of a masterpiece, even if it isn’t one: painfully long static and tracking shots, a drier-than-bone Australian outback that looks like the face of death if it were out in the sun for a hundred years (as the title card tells us, The Rover takes place a decade after an undisclosed economic collapse), and a Jonny Greenwood-esque score which sounds as much like a cleverly controlled orchestration as it does said apparatus being fucked-with and constantly torn apart.
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[dropcap style="font-size: 60px; color: #a9a883;"] T [/dropcap]he great character actor Eli Wallach, best known for his role as Tuco in Sergio Leone’s The Good, The Bad, and The Ugly. Wallach had over 150 film and TV credits, and was working right up into his mid 90s, having appeared in brief roles in Roman Polanski’s The Ghost Writer, and Oliver Stone’s Wall Street sequel.
The New York Times has more.