Attraction is something that I can’t tell for certain what the vibe of this one is going for. I like another Russian Blockbuster director’s stuff in Timur Bekmambetov (Night Watch, Black Lightning), but something about this has a more Neil Blomkamp vibe (e.g. District 9); part of that feel might be because of the marketing poster and the synopsis given below. Yet some of the visuals and sound effects feel more like Michael Bay’s toy robot movies or the lesser seen Skyline from the brothers Strause.
All of that is a round-a-bout way of saying this looks pretty cool. Not sure what kind of theatrical release this will see in North America in January of next year but at this point I can safely say they’ve got my money even if at this point I’m not really sure what to expect.
Attraction is directed by Fyodor Bondarchuk and is the highest-grossing non-U.S. foreign film in China.
An unidentified falling object from outer space changes our view of humanity and life beyond Earth. As local residents of a Moscow residential district gather to see the fallen object, it forces mankind to question existing civilization and the potential for learning more.
Have a look at the trailer below and see if this your thing or not.
Can you believe it? Another episode already? There was just so much to talk about and we managed to find the time to record so why hold on to the gloriousness when you can enjoy it in a more timely manner? I mean, you want to fangirl with us right? And there is fangirling this week!
This week Sarah (@iBrockely) and I (@themarina) talk Hollywood news including announcement of the upcoming Flash movie director, the DCU “Rebrith” and our feelings on Netflix tracking our viewing habbits before we get into some movie talk.
SPOILER WARNING! We get spoilery with the Me Before You discussion for both the book and the movie and though we say that it’s the last thing we’re going to talk about but we lied! We couldn’t help ourselves and added a few things at the end so… the spoiler filled conversation starts at 00:52:00 and ends at 01:04:32.
I like the simplicity of this poster for Tim Godsall’s Len And Company: part street bill, part vintage broadsheet, and all vintage three colour offset. The poster has really only one major element, the films star, Rhys Ifans, who, by the way, is absolutely superb here as aging rocker turned producer, turned hermit. My review of the film can be found here.
No katana-wielding turtles and no angry birds knocking down buildings under construction. Sorry, that’s our own integrity as serious journalists simply taking a stand. Across this line, YOU DO NOT… also dude, the indie scene was not looking much better according to the outside reviews. So in preparation for the upcoming documentary, De Palma, we’ve decided this week to take a look back at the very early career of the man, with Hi, Mom!, from 1970. Perhaps more interesting, this is pre-Mean Streets Robert De Niro; and man there is a lot going on in this film. Also as promised, we’ve got an all new top five list celebrating the shorter films of greatness. A small Watch List about robots and the cinematic state of A.I. rounds out this lovely little show.
As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!
Prolific video essayist, The Nerd Writer, tackles the subject of not just Intertextuality, but emotional responses in the age of sequels, reboots, remakes, and shared universe mega-franchises. Or as he puts it, “Weaponized Intertextuality.”
Director: Stuart Cooper Screenplay: Stuart Cooper, Christopher Hudson Starring: Brian Stirner, Davyd Harries, Nicholas Ball Country: UK Running Time: 83 min Year: 1975 BBFC Certificate: 15
I must admit I’d never heard of Overlord before receiving a press release about its Blu-Ray release as part of the Criterion Collection in the UK. Generally only the crème de la crème gets selected for the collection (other than the odd exception – Armageddon?!) and the fact that it was shot by regular Kubrick DOP John Alcott piqued my interest, so I decided to give it a whirl and review a copy.
Overlord follows a young man, Tom (Brian Stirner), as he’s drafted into the British army during World War II. We follow him through basic training and the agonising wait to be deployed into battle. He’s convinced he’s going to be killed during this time, so a sense of impending doom builds up to him being sent to the beaches of Normandy on D-Day. During the wait he befriends some of his fellow comrades and falls in love with a young woman, Janie (Julie Neesam) at a local dance.
It may sound like your typical war movie, but Overlord is refreshingly different from your usual flag waving or ‘horrors of war’ affairs. One major aspect of its production and presentation that marks it out from the rest is the fact that a large proportion of the film is made up of archive footage, shot during the war. The film isn’t a documentary though, it’s a fictional account of a soldier’s life during the war, but through the footage supplied by the Imperial War Museum (culled from a phenomenal amount of material) and by basing Tom’s experiences on those described in letters written by real front line soldiers, the film is infused with a powerful naturalism.
It’s been an interesting few weeks in the world of pop culture and inside the latest episode of Girls on Pop, Sarah (@iBrockely) and I (@themarina) talk about some of the big news of the last few weeks – from the restructuring at Warner Bros. which had the online movie world all up in arms to the TV upfronts which recently wrapped up (we recorded the show splat in the middle of up fronts week).
Todd Solondz has been rather quiet in the past few years. Cinephiles in the 1990s immediately warmed to the tone of his awkward-by-design black comedy, Welcome To The Dollhouse, which featured a shy tween girl, Dawn Wiener (aka Wiener-Dog), getting into unpleasant situations. Now, 20 Years later, Solondz has made this sort-of sequel cum anthology film. Dawn Weiner (now played by Greta Gerwig, not Heather Matarazzo) is in one of the parts, but the film is not named after her. The wiener dog is quite literally present here, not just a nasty nick-name, and is the one element that binds the four stories together. The eponymous canine, or at least its hind quarters, are featured on the rather minimalist poster for the film,
The quite funny, and talent loaded trailer is also tucked under the seat, for the curious.