Trailer: Total Recall (is indeed Total Recall)

OK, so there is no getting of asses to Mars, and the chances of a three boob-ed lady or Kuato showing up are slim, but this new (full) trailer for Len “Underworld” Wiseman certainly delights in recycling images from the Paul Verhoeven film – only glossier and 21st century CGI-ier.

I sure hope that Kate Beckinsale gets her arms severed in this one, because the trailer seems to indicate that her character is a composite of both the Sharon Stone and the Michael Ironside characters in the 1990 version (but “See you at the party, Lori!” just doesn’t have the same ring to it.)

Colour me biased to Verhoeven’s excessively trashy ways and unimpressed by Wiseman’s previous record as a slick – if totally bland – action director.

I remain unimpressed. The trailer is below.

Cinecast Episode 243 – Jump on that Curve and Ride it to Infinity


Soderbegh claims he’s retiring. Yeah right. Every time I turn around my IMDb smart phone app is alerting me to something new he’s working on. Haywire was something we heard about what seems like ages ago now and it’s finally here. Does it live up to the wait and the expectations? Matt Gamble takes another one in the nuts for the team with Red Tails and the latest Underworld picture; in 3D this time. Kurt’s children chime in for a couple of minutes on their thoughts on the 80’s animated series “Dungeons and Dragons.” After that technical snafu, we’ve got a helluva watch list this week rounds out the show with 80s, underrated goofery, catching up with some underseen gems from 2011, a love fest for Ti West’s latest, some Man for Earth discrepancies and a whole lot more.

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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Whiteout Trailer

Whiteout Movie StillNote to Warner Brothers: you may want to consider giving a little marketing love to the men in Whiteout. I realize that Kate Beckinsale is your big name and the central character but what would it hurt to give Alex O’Loughlin a little love? I can’t find one single image anywhere on the interweb that features the mancandy – I mean actor.

I don’t have much more to say about Dominic Sena’s upcoming film aside from the fact that I love the Antarctic setting, I like Beckinsale and the concept of a mystery that needs solving before the sun sets for six months is intriguing. The trailer starts off well and then collapses into all action and special effects which is fine, except they don’t really sell the movie. They don’t sell much of anything. But Will I still see it? Definitely; I’ll take any opportunity I can to see O’Loughlin back in action, but this isn’t looking all that promising.


Wanna see the new Whiteout trailer starring the always fetching Ms. Beckinsale? Watch it now as it is being taken down all over the web so I doubt it will be here long. The narration at first is a little eye rolling, but it’s quick to find its place and feels a little bit more like a harsh nature documentary than a horror movie trailer. In short, this looks pretty good. Yes, I realize this is the same director that did Swordfish, but it’s also the same director that did Kalifornia; so there’s hope. Love that quick ten frame shot of the guy’s fingers freezing almost instantly.


A Martin Scorsese Marathon

Basically, you make another movie, and another, and hopefully you feel good about every picture you make. And you say, ‘My name is on that. I did that. It’s OK’. But don’t get me wrong, I still get excited by it all. That, I hope, will never disappear.” – Martin Scorsese

For the better part of the last three decades, I have been a fan of Martin Scorsese. My admiration first took bloom in the summer of 1985, and happened to coincide with what I consider to be the discovery of my young adult life; set off the main drag of the town I grew up in, I found a small video store. Now, this in itself was no great revelation; in the years before Blockbuster came barreling into my area, forcing all the smaller video chains out of business, there were at least half a dozen such stores within a 3-mile radius. But the moment I walked into this particular video palace, I knew it was special. Where most were lining their shelves with numerous copies of the ‘hot new releases’, this one had titles like Midnight Cowboy, 2001: A Space Odyssey, One Flew Over the Cuckoo’s Nest, Straw Dogs, A Clockwork Orange, films that the others simply didn’t offer. For me, this store was a treasure trove, and I returned there often, sometimes 3-4 times a week, uncovering classic after classic, films that, to this day, I consider some of the finest ever made.

And it was here that I first found Mean Streets.

Tough and unflinching, Mean Streets was like a punch to the head for a 15-year-old from the suburbs; a marriage of images and rock music, violence and pain the likes of which I had never seen before, offering a glimpse into a lifestyle that I found all too real, and a little bit frightening. I must have rented it at least six times that summer, and as a result, Mean Streets fast became my favorite movie. More than this, it was my jumping-off point into the career of Martin Scorsese. After Mean Streets, I moved on to Taxi Driver and Raging Bull, two more shots to the head. Through these three films, I realized just how deep, just how down-and-dirty, and just how moving the cinema could be. They marked a turning point in my development as a film fan. Movies were no longer limited to the land of make believe; they would also be a window overlooking the real world.

Now, almost 24 years after I first walked into that video store, I’ve decided to take my admiration to the next, perhaps the ultimate, level. Over the course of the last several weeks, I sat down with everything that home video has to offer of Martin Scorsese’s work behind the camera, 26 films in all, and what I uncovered on this love-fest of mine proved to be just as enlightening as that first viewing of Mean Streets all those years ago.

As I sat watching one Scorsese movie after the other, I found myself asking, “What exactly is it that constitutes a Martin Scorsese film”? It was a question I had to pose, because I quickly realized that most of my initial beliefs, the pre-conceptions I had built up about the man and his career, only told part of the story.

For one, there was my presumption that the recurring trait in every Scorsese film was a down-to-earth quality, where the genuine, the realistic, would be favored above all else. Well, this is certainly true in some of Scorsese’s finest films, especially those where actual events served as a foundation (Raging Bull, Goodfellas, Casino, The Aviator). However, it was wrong of me to discount the role that fantasy played in Scorsese’s work. The opening scene of Alice Doesn’t Live Here Anymore looks as if it was lifted right out of Gone With the Wind, and the musical numbers of New York, New York were obvious nods to the Hollywood big-budget spectaculars of the 40’s and 50’s. There is the dreamy romance of The Age of Innocence, and the hilarious bad luck of Paul Hackett in After Hours; in short, films that have little or no basis in reality whatsoever, proving that the fantastic plays just as important a role in the great director’s work as reality does.
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