Posts Tagged ‘George Clooney’

  • Cinecast Episode 236 – Ocular Coitus

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    While our friend Matt Gamble is still on the mend (not from a boating accident), Kurt and Andrew grew a bit tired of executing these shows together all alone and reached towards the heavens above for this episodes guest host: Aaron Hartung (aka the dude who lives upstairs). Aaron also happens to work for the best cinema chain in town, Landmark Theaters; not only does he seem to know his movie stuff, he’s got a voice for radio to boot.

    We missed last week’s episode due to other obligations and illness, there is a LOT to get to this week. From Lars von Trier’s visually rich disaster/depression epic to the long awaited new Alexander Payne film (it has indeed been six years) we cover your auteur cinema-making-guys. But wait, there’s more: Fifties sex icons, furry-little-singing-nostalgia-engines(tm) and a whole lot of early cinema history enshrined in a Martin Scorsese ‘kids film.’ Enjoy this double-digest episode of the show: It’s time to start the music, it’s time to light the lights, it’s time to talk death, depression and the urgent need for knowing our history on the Cinecast tonight.

    As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!


     
     

     

    To download the show directly, paste the following URL into your favorite downloader:
    http://rowthree.com/audio/cinecast_11/episode_236.mp3

     
     
    Full show notes are under the seats…
    » Read the rest of the entry..

  • Cinecast Episode 234 – High-Five, Movie. I’m outta here!

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    A high energy show, especially so considering the lack of Matt Gamble. Kurt and Andrew talk a little Tower Heist and the public whipping of Brett Ratner – due to more than one recent public faux pas and his penchant for being a douchebag in public. They then move into the meatier movie meal that is Martha Marcy May Marlene **SPOILER WARNING**. But wait, there is more: A new Top 5! Plus, the Watch List keeps the fires burning, all toasty-like, as Kurt gets really, really enthusiastic about big screen viewings of Kubrick and Gilliam films. There is a fair bit of disagreement about the pleasures of David Twohy’s Pitch Black. Also We Live in Public, Streets of Fire, From Dusk ‘Till Dawn (the proto-Grindhouse vampire flick), Super and Sexy Beast keep things lively and lengthy right to the very end. Have at ‘er, folks, she’s a good ‘un.

    As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!


     
     

     

    To download the show directly, paste the following URL into your favorite downloader:
    http://rowthree.com/audio/cinecast_11/episode_234.mp3

     
     
    Full show notes are under the seats…
    » Read the rest of the entry..

  • Kurt Video Reviews The Ides of March

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    Tsecond film of 2011 to under use Philip Seymour Hoffman, the Ides of March isn’t half as good as Moneyball, but might boast the best cast since, well, Contagion. Here is a quick 2-minute reaction after leaving the cinema last night.

  • Trailer: The Ides of March

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    Cannot get enough of the ubiquitous Ryan Gosling? Here comes The Ides of March, an election campaign drama/thriller directed by George Clooney with about as many talented actors as you can squeeze into a movie: The aforementioned Gosling joins Philip Seymour Hoffman, Paul Giamatti, Marissa Tomei, Jeffrey Wright and George Clooney himself in the role of the spotlighted political candidate. The film was penned by Good Night and Good Luck writer, Grant Heslov, who co-incidentally directed Clooney in the much sillier Men Who Stare at Goats.

    After seeing this trailer, I’d vote for Clooney (he always delivers a good speech on screen), even if a very charismatic Gosling is going to backstab him on the campaign trail. This is one of the many films in the initial volley of TIFF titles, so those in Toronto will have a chance to catch this in early September, meanwhile the film will get its official release on October 7th. Sony is wise to release this sooner rather than later as America is going to be quite exhausted with the rhetoric of the 2012 presidential elections by mid next year, and may not want to see a more idealized reflection of the national climate up on screen.

    The full trailer is tucked under the seat.

    » Read the rest of the entry..

  • TIFF 2011: First Wave of Titles Announced

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    A number of the Row Three Staff make it an annual ritual to see between 30 and 50 films during the month of September when Toronto is taken over by its largest celebration of cinema from around the world, The Toronto International Film Festival, aka TIFF. So the first announcement of titles is interesting because it often goes back to what the festival was many moons ago: a Festival of Festivals, where best films from Cannes, Berlin and Sundance (amongst others) are offered to local audiences. Of course the festival has gotten bigger over the years (and much more expensive) and World Premieres are also par for the course, but this first announcement allows to see many of the ‘big titles’ (aka Special Presentations and Masters programmes) with guaranteed distribution will make their World, North American or Canadian debuts.

    A quick survey by director offers new films from David Cronenberg (A Dangerous Method), Lars Von Trier (Melancholia), Pedro Almodovar (The Skin I Live In), Francis Ford Coppola (Twixt), Fernando Meirelles (360), Alexander Payne (The Descendents), Nicholas Winding Refn (Drive), Steve McQueen (Shame), Sarah Polley (Take This Waltz), George Clooney (The Ides of March), Roland Emmerich (Anonymous), Todd Solondz (Dark Horse), Terence Davies (The Deep Blue Sea), and Luc Besson (The Lady).

    Other titles of interest is the former Soderbergh project starring Brad Pitt, Moneyball, as well as a lot of stuff from popular music, including Cameron Crowe’s Pearl Jam documentary, David Guggenheim’s U2 documentary and a feature film from Madonna simply titled W.E.

    Some interesting genre films, including the James Ellroy adaptation, Rampart, which has a loaded cast: Woody Harrelson, Sigourney Weaver, Robin Wright, Ned Beatty, Ben Foster and Anne Heche. South Korean thriller The Countdown exposes uses the underbelly of Seoul as a backdrop for a thirller. The Hugh Jackman and Olivia Wilde comedy, Butter, which also features Kristen Schaal. Noirish Killer Joe features Matthew McConaughey, Emile Hirsch, Thomas Haden Church, Juno Temple and Gina Gershon. And the B&W silent comedy favourite at Cannes, Michel Hazanavicius’s The Artist will be screening, as will Joseph Gordon-Levitt cancer comedy, 50/50 which also features Seth Rogen, Anna Kendrick, Bryce Dallas Howard, Phillip Baker Hall and Anjelica Huston

    In the more dramatic side of things, I’ve been quite anticipating Paddy Considine’s Tyrannosaur which features Peter Mullan as an angry, cynical alcoholic who has reached rock-bottom is surprisingly brought back into life by a complete stranger: a middle-class woman with a strong belief in Christ. Eddie Marsan is also in it. Also Tilda Swinton and John C. Reilley star in Lynne Ramsay’s We Need To Talk About Kevin. Ewan McGregor, Emily Blunt, Kristin Scott Thomas star in Lasse Halstrom’s Salmon Fishing in the Yemen. And from the directors of Persepolis comes another enchanting film adaptation of a graphic novel by Marjane Satrapi: Chicken with Plums follows the last days of a talented musician’s (Mathieu Amalric) life as he desperately seeks to replace his beloved instrumental, the violin.

    There are many titles, 50 in all so far, for those who wish to peruse over at the TIFF website.

  • Friday One Sheet: The Descendants

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    New Alexander Payne! New Alexander Payne! And this basic-photo-with-warming-filter design is pretty swell.

    Bonus – Trailer is tucked under the Seat.
    » Read the rest of the entry..

  • Friday One Sheet: Adjusting Michael Clayton

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    An amusing poster considering the Ocean’s 11, 12, 13 actors club, as well as director Tony Gilroy of the Bourne Franchise. The pushed-back Matt Damon science fiction film (based on a Philip K. Dick novel) is now officially associated with the Tony Gilroy directed, George Clooney starring existential legal thriller, Michael Clayton. At least by way of advertising key-art. In this case, however, they left Damon’s face in focus, even though his future is being re-written.

  • Cinecast Episode 184 – Death Lottery

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    The 4 hour barrier is broken as The Documentary Blog’s Jay Cheel joins Kurt and Andrew on the longest Cinecast ever – you know it is even longer than the previous epic length TIFF show. What do we talk about? For starters, Kurt & Jay examine the Let The Right One In remake, Let Me In (*SPOILERS*), in painstaking detail, and how not to process American remakes of foreign language films. Next we move along for a solid hour on Never Let Me Go (*SPOILERS*) which keeps going on the vibe of comparing source material to eventual film adaptation and why you probably should not do that. More Carey Mulligan talk as Andrew skims and sums up Wall Street 2 with out spoilers. Then, a spoiler-free discussion on Catfish follows, although only Jay caught it, so it is more of a discussion on fake/faux-Documentaries, and ‘narrative-ethics’ which leads to more more talk on I’m Still Here, with a little Last Exorcism and The Blair Witch Project to round things out. Next we move along to the avant garde and barely-narrative Cannes Palme D’Or winner, Uncle Boonmee Who Can Recall His Past Lives, and a lot of other films we watched: An overview of the “Middletown” documentary series, a bit of Daybreakers-Redux, a bit of Season 6 of “LOST” (you guessed it, with *SPOILERS*), and more avant garde cinema with Last Year At Marienbad. We also debate the finer points of Steve Buscemi and the cast and crew of HBO’s “Boardwalk Empire.” Finally (finally!) at around the 4 hour mark, our DVD picks round out a show that carried us well into the wee hours of the night recording. We hope you enjoy listening as much as we enjoyed chatting. It may be long, but it is a solid and whip-smart show this time around, although we are biased on that front.

    As always, please join the conversation by leaving your own thoughts in the comment section below and again, thanks for listening!

     
     

    To download the show directly, paste the following URL into your favorite downloader:
    http://rowthree.com/audio/cinecast_10/episode_184.mp3

    ALTERNATIVE (no music track):
    http://rowthree.com/audio/cinecast_10/episode_184-alt.mp3


     
    Full show notes are under the seats…
    » Read the rest of the entry..

  • Review: The American

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    Of all the visual metaphors for sexual tension, I am surprised that this one has not been done before (feel free to correct me if I am wrong): A woman slowly, but efficiently assembles a heavily caliber weapon, lingering on every pin and component, literally screwing them in. It is a moment of visual wit adrift in a sea of self-serious and meticulous construction. From the initial ultra-slow dissolve you can safely guess that a world-class photographer is at the helm of this film. The director is Anton Corbijn, the dutch photographer who defined much of the style of a diverse group of rock and roll acts (From U2 to Bjork) in Album art, magazine stills and music videos before moving into feature film territory with a biopic on Joy Division’s Ian Curtis. There is no denying that his new film, The American, is stunning to look at. From its icy space in Sweden to its cobble-stoned Italian village (Castel del Monte will surely get a boost in tourism after this) nestled in the mountains as well as the framing of some of the more beautiful human specimens on the planet there is a diligent respect for space and geography but it seems to eat away at everything else in the film. Compare The American to other art-genre pictures such as Le Samourai or Point Blank or The Limey – films that feature anti-heroes who have little in their lives but their professional details – and there is something distinctly lacking. Maybe I am missing something, but those former films seem to have something else on their plate beyond pure craftsmanship, whereas The American is all craft and no soul. It plays well enough while its on, but evacuates your brain the moment the end credits roll.
    » Read the rest of the entry..

  • Trailer for Anton Corbijn’s THE AMERICAN

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    I am posting this perhaps a tad late, because this new trailer for Anton Corbijn’s The American popped up on the internet a few days ago. But it is just as much of an excuse to show off this handsome one-sheet for the film. This new trailer may be trying to fool the viewer that this is an action packed revenge thriller, but the initial teaser and the marketing materials clearly indicate that this is going to be the closest film to John Boorman’s Point Blank since either Jim Jarmusch’s The Limits of Control, or Steven Soderbergh’s The Limey. This is in fact, great!

    The American stars Clooney as Jack, and is based on Martin Booth’s novel, A Very Private Gentleman about an assassin who hides out in an idyllic Italian town before carrying out one final assignment. His cold, distant approach is snarled up by a number of emotional complications. Focus Features is opening the film wide on September 1st.

    Trailer tucked under the seat.

    » Read the rest of the entry..

  • Teaser for Anton Corbijn’s THE AMERICAN staring George Clooney

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    The American Movie StillGeorge Clooney would be enough of an attraction for any film but for me, the real appeal of the upcoming drama The American isn’t Clooney but rather the man behind the camera. Director Anton Corbijn came to my attention a few years ago with the gorgeous Ian Curtis biopic Control and for his follow up, he seems to be turning up the ante.

    The American stars Clooney as Jack, an assassin hiding out in Italy for one last assignment. That plot doesn’t really speak to me but Corbijn’s visuals do and tracking the director’s film blog, I’ve been given nothing but clues as to how great this project could be. Now the first teaser comes around and what does it suggest? More of the same greatness.

    What I love most about this teaser is that it feels like this film is from another decade. The 70s to be exact. There’s something about the visuals and the feel of the story that breathes like something much older and I can’t wait to see it.

    The American opens on September 1st.

    Trailer tucked under the seat.

    » Read the rest of the entry..

  • Rewatched and Reconsidered: Ocean’s Twelve

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    Director: Steven Soderbergh (The Girlfriend Experience, Traffic, Che, Bubble, Full Frontal, Sex Lies and Videotape, The Informant!)
    Writer: George Nolfi (Timeline, The Sentinel)
    Producer: Jerry Weintraub
    Starring: Clooney, Pitt, Cheadle, J. Roberts, Mac, Gould, Garcia, Damon, S. Caan, C. Affleck, Zeta-Jones
    MPAA Rating: PG-13
    Running time: 125 min.

    First viewing (2004):
    (2.5/5)

    Rewatch (2010):
    (1.5/5)

    Steven Soderbergh has been my absolute favorite living director for some time now. It seems that in my eyes, everything he touches shines like the contents of Marsellus Wallace’ briefcase. So it’s always been with some trepidation that I bring up the only title in his filmography that I’ve always regretted watching: the second in his “Ocean’s” franchise: Ocean’s 12. The last time I had seen the picture was when it was released theatrically back in 2004. I remember being quite upset as I left the theater; not really understanding what I’d just seen and being a little miffed at why it wasn’t nearly as good as the previous film. I’ve been bad mouthing the film ever since without ever giving it a second look. Having matured in my cinematic tastes and now better able to understand where and why the visceral reactions come from me the way they do from a film, I decided it was only fair to give the only dark spot in my Soderbergh repertoire of knowledge a second chance and see if my memory serves or if this was just a film I didn’t get at the time.

    This sequel starts off just about where the previous left off. Terry Benedict (Andy Garcia) has located the Ocean gang and has given them two weeks to return all of the money they stole from him or they will die horrible, slow deaths by his hand. Since much of the money has been spent already and the crew is too hot to work in the States, to save their necks they head off to Europe to start a series of heists designed to make back the money they had already squandered. Upon arriving in Europe, they find that another thief, The Night Fox (Vincent Cassel), is always one step ahead of them; stealing what they want before they do. And to make matters even more intolerable and desperate, an American investigator (Zeta-Jones) is hot on their tale and unknowingly closer to them than she realizes as she is involved in a romance with the Brad Pitt character. The tale twists as The Night Fox proposes a challenge to the Ocean’s: snag an “impossible to steal” jeweled egg before he does and he’ll win their freedom from Benedict. And so the caper begins… sort of.

    **SPOILERS TO FOLLOW**
    » Read the rest of the entry..

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