Old Timers In Action Return in Red 2 Trailer


I guess it was only a matter of time before Frank Moses was drawn into yet another assignment. This time with the help of Galaxy Quest and Fun With Dick and Jane director Dean Parisot, a man well suited to the job of mixing action and comedy.

The crew, including Bruce Willis, Helen Mirren, John Malkovich and Mary-Louise Parker are back, this time to recover a missing portable nuclear device from, I’m guessing, the hands of Anthony Hopkins who makes an appearance. As for what Catherine Zeta-Jones’ role is in all of this… who knows?

The original was a hit, likely thanks in part to the cast and the mix of ridiculous action and comedy and the follow-up seems to be following in the same footsteps. Not sure it will be any better than the first which I found amusing but rather forgettable but at least, like its predecessor, the trailer is pretty kick-ass and features some great one liners. “Is that a stick of dynamite in your pocket?” Gold.

RED 2 opens August 2nd.

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Trailer: Hitchcock

One of two Alfred Hitchcock themed pictures coming down the pike. This one stars Anthony Hopkins as Hitch while the director was making Psycho (the other, in a situation reminiscent the Capote thing a few years ago, stars Tobey Jones as the auteur while he was making The Birds.)

Focusing on the relationship between the director and his partner, Alma Reville, played by Helen Mirren here easily stealing the show from Sir Anthony, the film appears to be a bit of witty and charming Oscar Bait-y kind of entertainment from the director of Anvil! The Story of Anvil, Sacha Gervasi.

It should also be noted that the casting on this Studio picture goes pretty deep with Scarlett Johansson playing Janet Leigh, as well as supporting roles from Michael Stuhlbarg, Jessica Biel, Toni Collette, Danny Huston, Ralph Macchio, and two characters who should be working more: Michael Wincott & Kurtwood Smith.

Are you ready for dueling Hitchcock movies? (For comparison sake, the trailer for the Toby Jones HBO picture is tucked under the seat)

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Everything about this should not be funny. But it is. There’s an Oscars promo video out there too that tries to capitalize on the return of Billy Crystal as the Oscar host, but that just doesn’t do it for me. This one on the other hand works partly because of the cast involved and to be honest, if you’re a fan of Crystal’s particular brand of humor, he seems to still have it going on. Enjoy the trailer for When Harry Met Sally II. Mazel tov!


Movies We Watched

Sometimes we watch stuff that we want to talk just a little bit about, not a full review worth. These are those films. Also check out our From Our Netflix Queue series, highlighting worthwhile films and TV series that are available on Netflix Instant Watch.

Brighton Rock

2010 Britain. Director: Rowan Joffe. Starring: Sam Riley, Andrea Risenborough, Helen Mirren, John Hurt, Andy Serkis, Philip Davis.

The latest adaptation of Graham Greene’s 1938 novel of the same name, director Rowan Joffe sets his version of Brighton Rock against the 1964 England youth riots and casts Sam Riley as Pinkie Brown, a vicious small time mobster looking to movie up in the Brighton criminal underworld. This suspenseful and gut-twisting film noir is masterfully made; the setting, cold and eerily beautiful, is combined with superb cinematography, shot composition, lighting and editing, all of which contribute to the films inescapable atmosphere of imminent doom. Helen Mirren, John Hurt and Andy Serkis all give expectedly strong supporting performances, while Andrea Risenborough is excellent as Rose, a timid young waitress who ends up in an abusive relationship with Pinkie. That particular plot point does cause some consternation; perhaps it is because the film never quite establishes a consistent time-line, but it is somewhat difficult to believe Rose’s undying devotion to so hideous a man, no matter how much of a wet blanket she is. That said, Sam Riley is absolutely magnetic in the central role. Rarely will you see a film with a more despicable protagonist than Pinkie Brown, but Brighton Rock will hold you captivated in spite of your revulsion.

Japanese Girls At The Harbor

1933 Japan. Director: Hiroshi Shimizu. Starring: Michiko Oikawa, Yukiko Inoue.

Sunako and Dora are two school age friends who promise that they will always be together. Until, of course, a boy enters the picture. Hiroshi Shimizu’s 1933 silent film Japanese Girls At The Harbor may begin with this shopworn initial premise, but uses it to build a lovely story of the relationship between trust and love. The change in moral values within Japanese society and the lure of Western culture is certainly present within the film given the time frame (after all the main male character’s name is the very Western “Henry”), but its focus is on how the girls approach their relationships and their expectations about what love is. Shimizu’s gentle touch to the pace of the story along with some outstanding (and very innovative for the time) camerawork and editing make this a wonderful treasure. Though the DVD (part of the “Travels with Hiroshi Shimizu” 4 disc set from Eclipse) comes with an optional musical score, I found the film worked best in complete silence. That’s not a criticism of the music itself, but just a statement that the film doesn’t need the additional backing of music to shape its tone or emotions. It’s all expressed via the visuals. Shimizu’s camera stays with the characters via several long strolling tracking shots to allow us time with them, links them between scenes and frames them in different relationships to each other. In the aesthetics of the film, there’s a strong resemblance in look and feel to the “poetic realism” approach to filmmaking from France (which began a bit more in earnest a year or so after this film). Whether it was the lovely use of shadows during key moments (presaging film noir), dreamlike transitions or simply the softer, quieter acting style, I found numerous linkages between the two styles even though there are also some quite definite departures in other aspects. The entire film feels so modern in many ways via its acting, the camerawork and the crispness of so many of the scenes thàt it’s hard to believe at times this is from 1933. Regardless of when it was made and the context of its innovations, it’s a simple, beautifully told and emotionally resonating story. “Love must be generous or it’s nothing at all”.

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Cinecast Episode 205 – See Thomas Howell

Welcome one, welcome all! The latest episode of The Cinecast sees the destruction of four things: Los Angeles (or a back-lot set) from invading aliens, in Battle: LA; Dartmouth Nova Scotia gets bloody and graffitied up, exploitation style, from gangs going to war with a Hobo With A Shotgun; Catherine Hardwicke’s career with the flirts-with-camp-total failure of Red Riding Hood (Gamble took one for the team on this); and finally the end of Robert Zemekis’s Mo-Cap technology with the Disney mega-bomb Mars Needs Moms. Furthermore, while it was more of a mild pummeling by release circumstances than the complete destruction of what is a very solid film, the unfair treatment of I Love You Phillip Morris is discussed. Then we dig deep into what we have been watching. On the menu are political British Gangster dramas, Nazi propaganda films, Art-Giallo hommages, silent comedies, a knuckle-biter suspense spectacular, the Bard with music ‘n guns, more 80s nostalgia and TVs Party Down. We are back to our usual tangents, in particular on a certain actor that has Matt losing it, in tears, mid-show, and an angry ranting-slash-bit-o’-tomfoolery regarding Robert Redford’s baseball movie to close things out. We cram a lot into this show. I hope you enjoy it in all of its shaggy glory.

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:

Full show notes are under the seats…
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Review: The Tempest


I supposed my reaction to Julie Taymor’s photographically bold, yet cinematicly flat rendition of William Shakespeare’s play could be summed up by comparing the performance of Alan Cumming from her previous film Titus to the one he yields here. In Titus, he is a campy-over-the-top force of nature, a pure delight of showmanship. In The Tempest, he is yawning his way through the inevitable march across the Hawaiian voclanic badlands with an equally subdued Chris Cooper and David Strathairn. Maybe the gory Grand Guignol of Titus was a more suitable fit than the more introspective, meta-ish nature of The Tempest for her particular sort-of-a-stage-production-sort-of-a-film style. Outside of the farcical comedic elements, Alfred Molina is at his bawdy best here, with Russell Brand providing somewhat consistent support, which seem to capture the best elements of Shakespeare’s ability to play to the back of the room, The Tempest merely makes me want to go back and revisit Peter Greenaway’s take on the Bard with Prospero’s Books, or for that matter, just re-watch Tarsem’s The Fall.
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Clips and Images for Taymor’s “The Tempest”

Which is really all I need to know I’m seeing this asap. Kind of a lover her or hate her director it seems, I personally love the visual flair and flavor of Taymor’s style. The only other director that is comparable in the original and fantastical look of their films is probably Tarsem.

I personally can’t wait for this adaptation. Taymor seems to like her Shakespeare and with Mirren, Whishaw, Cumming, Molina, Cooper and Strathairn, how can anyone not? Definitely in my most anticipated list of movies for December.

Collider was kind enough to let me steal all of their images and mash all of the clips into one long streaming experience of rad.

clip and more stills below the seats…
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Cinecast Episode 189 – Just a Symptom of 1986

It is again that wonky time of year where studios favour the platform release, getting in the way of folks from Toronto and Minneapolis having a friendly movie chat about the same darn movies. Instead, we must be content with Multiplex Matt Gamble and the mainstream mega-release. Here he gives some thoughts on Todd Phillips’ newest, Due Date and tries to break down some pre-conceived notions. There is also some talk of the Asian Film Festival. Kurt gives a snippet of reaction to Danny Boyle’s follow-up to his Oscar win, 127 Hours. It is likely that the boys will revisit this one at some point for a consensus discussion, but as a nice double bill with the other ‘trapped between a rock and a hard place’ movie Buried there is a fair bit of stuff to chew on. Meanwhile Andrew finds solace in the comfort of his Blu-ray player… sometimes twice a day. Peter Weir is revisited in a lengthy discussion on The Mosquito Coast and also some Picnic at Hanging Rock, Master & Commander, The Truman Show and of course, the upcoming The Way Back. DVD picks and Japanese pornography are also on the bill.

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




Full show notes are under the seats…
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Cinecast Episode 187 – Stop Putting Wings on Paul Bettany!

Are we silly enough to talk about the use of 3D in Jackass 3D whilst watching it in 2D? Yes we are. Indulge us, as we do not spend that much time on it, but hey, this franchise gets crapped on more than it deserves and the boys are creative and energetically subversive enough in their stunt-ery to be worthy of some consideration. And despite what the haters think, it is still funny. We rehash some of the finer details of Knoxville and company over the past decade before switching gears to a second opinion on the seniors-on-a-mission mayhem from Helen Mirren, Bruce Willis and John Malkovich in Red. This leads to a bit of a tangent on all the ‘on-a-mission’ movies released this summer. Meanwhile, Andrew has been managing to keep up with his one-a-day DVD viewings and this week plugs another hole in the Polanski oeuvre with a quite violent take on a Shakespearean classic. Furthermore, the question of why are there not more caveman movies is uttered aloud after we look back at 1981’s Quest for Fire and also the pretty darn swell filmography of Frenchman Jean-Jacques Annaud. Another round of Nolan’s Batman pictures vs. Ang Lee’s Hulk, and the joy of surround sound screenings are all tossed into the conversational mixer. It is a good week for classic and contemporary DVDs and Blurays too. They are considered. If the title (or the truncated runtime of this episode makes little sense to you, that is because some seasonal gremlins ate a discussion on some of the remaining films to be released. Suffice it to say that the segment was out-of-this-world awesome now that it has been sacrificed to the binary demons and no one can hear it, but we are both surprisingly anticipating the Angelina Jolie / Johnny Depp ‘Charade-esque‘ thriller The Tourist amongst other things. Enjoy this exceedingly rare ‘short version’ of the RowThree cinecast!

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



To download the ALTERNATIVE (no music track) version of this episode,
paste the following URL into your favorite downloader:


Full show notes are under the seats…
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Cinecast Episode 186 – Happy Yummy Super Audience

Kurt makes a triumphantly verbose return to Western civilization after a week on the Spanish Mediterranean coast. With the 43rd Annual Sitges Film Festival coinciding with the trip there is much filmery to be discussed including the new Woody Allen, Zhang Yimou’s Blood Simple remake, Max Von Sydow’s seemingly advanced age in The Exorcist, dark social media experiments (no not Catfish or The Social Network, these are apocalyptic European takes on Web 2.0) and a Mads Mikkelsen time traveling thriller with The Door. Andrew sat down with some highly praised foreign fare from 2009 (including more Mads and the Oscar winning Argentinian entry, The Secret in Her Eyes) while Gamble also hits us with a sneak review of Helen Mirren shooting up cars in Red and reports on the everything-but-the-kitchen-sink camera work in a tiny box for 90 minutes with Ryan Reynolds in Buried. Playing off the Jackass 3D hype, quite the energetic discussion ensues on theater crowds and whether films are better with or without others around you. A few tangents here and there with loads of good stuff on DVD. All this and more in episode 186!

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:

ALTERNATIVE (no music track):


Full show notes are under the seats…
Would you like to know more…?