On cars and scars and stunts and kids ...
Star-crossed lovers with big hearts on their sleeves and heavy feet on the gas pedal, Paul Walker and Jordana Brewster have been mainstays of the 'Fast and Furious" films. Walker is FBI-agent-turned-criminal Brian O'Conner, while Brewster is Mia Toretto, the little sister to Vin Diesel's bigger, badder Dom. We spoke with the two in London about real driving, real stunts and moving on without franchise director Justin Lin ...
MSN Movies: A lot of the time these well-received series, they can have a revolving door in the director's chair, but you guys have been working with Justin Lin for so long. Is that great in terms of being able to just really work on the characters and the ongoing relationships with him?
Paul Walker: Yeah, for me obviously ... I think what he's done , people realize. He's a champion. But what people don't see that we see is that he matches that with heart. He just comes from the right place, he's a team player, he wants everyone to feel valued, and he wants everyone to feel like they're important. And I respect him for that. I just think he's a really good team captain. Moving forward, we're talking about "Seven" without him...
It's going to be difficult, right?
Walker: I mean we've been there before.
Walker: We've seen this transition before, and I've had a conversation with James Wan already, and there's my read on people is pretty on point. And I think we've got a winner in him, too. So I'm excited. After that conversation it made it a little bit easier. But yeah, Justin's always going to be missed and appreciated. He's a champ.
And Ms. Brewster, in "Fast Five" it was revealed that your character's pregnant, and in this film you actually have the child. What's it like playing a mom in the classic North American action film? Is that a different set of challenges?
Jordana Brewster: I didn’t view it as a challenge. I thought it was sort of a very organic, natural progression in Mia and Brian's life. So when I saw (the baby scenes) I thought they were very sweet, and it's kind of like the moment where the film gets a little more grounded after, and it's all this crazy action. So it's really easy.
Is it nice being in an action film where the laws of physics get bent but not broken, in that there's nothing superhuman or science fiction-y about it? It's all extraordinary, but still relatively real.
Walker: Yeah, I want it completely real. That's just my personality. And I think a lot of people, for a lot of people it's just not enough.
Two box sets, one classic and one contemporary, of gangster movie landmarks on Blu-ray
Back in the thirties, as sound remade the movie industry, Warner Bros. blasted into the new decade as the studio of scrappy, snappy, street-smart movies, full of wise-cracking reporters, blue-collar hustlers, and hard-luck guys and dolls struggling to get by in the hard times of the depression. They were also the godfathers of the gangster movie, launching the genre and its two most famous icons with early sound movie landmarks "Little Caesar" (1931) with Edward G. Robinson and "The Public Enemy" (1931) with James Cagney.
Both of those films debut on Blu-ray this week in "Ultimate Gangsters Collection: Classics" (Warner), which arrives with its companion set "Ultimate Gangsters Collection: Contemporary" (Warner). Together they present nine films on Blu-ray, from 1931 to 2006, and a bonus documentary on DVD.
"Classics" is the more exciting of the two releases, as the four landmark gangster movies from Warner Bros. all make their respective Blu-ray debuts this week (they also debut in individual volumes on Blu-ray). Along with "Little Caesar" (1931), which established the classic rise-and-fall arc of the gangster thriller, and "The Public Enemy" (1931), which unleashed dynamo Cagney in a star-making turn, is "The Petrified Forest" (1936), which gave supporting player Humphrey Bogart his breakthrough role as a mad dog of a fugitive killer, and "White Heat" (1949), with Cagney in an explosive performance as the most psychotic gangster in classic cinema: “Made it, ma. Top of the world!”
It's blood-free, but certainly not scare-free
Remakes of 'Endless Love' and 'About Last Night' set for same day release
Two gals, a road trip, and some bad dudes (and, yes, belly dancing)
Emma Thomson and Emmy Rossum talk about the two worlds in the fantasy drama
This supernatural love story set in the South, “Beautiful Creatures” is a tale of two star-crossed lovers as they uncover dark secrets about their families, their history and their town.
To celebrate the release on Blu-ray and DVD we’re giving away copies of “Beautiful Creatures.” Watch this exclusive as Emma Thompson and Emmy Rossum takes you behind the scenes and enter to win a copy of the movie!
"Beautiful Creatures" is now available on Blu-ray and DVD.
Here’s how you enter the giveaway!
3. Email email@example.com with the following message: I want to win the @MSNmovies #BEAUTIFULCREATURES
4. Stay in touch with MSN Movies Facebook to see if you've been selected as the winner.
Entries are accepted until Tuesday, May 28. Good luck, MSN Movies fans!
Superman must surrender or Earth pays, blah blah blah
Soderbergh's intelligent take on a familiar genre reminds us how much we'll miss his touch
Steven Soderbergh says that "Side Effects" (Universal) is his last theatrical feature before retirement (he doesn't count his upcoming made-for-HBO film "Behind the Candelabra"). The modestly scaled but satisfying thriller reminds us just how much we'll miss his take presence on the big screen.
What begins as a medical drama of wonder drugs and pharmaceutical conspiracy turns into a sly psychological thriller, with Jude Law as a committed psychiatrist and Rooney Mara as a troubled patient with a coldly calculating soul. Law prescribes a new, experimental drug to combat her depression and anxiety attacks (recommended by fellow therapist Catherine Zeta-Jones, all very controlled and steely), Mara ends up killing her husband (Channing Tatum) in a sleepwalking nightmare, and the more he looks into the suppressed side effects of the drug, the more suspicions are raised about the whole situation. Meanwhile the film's observation on how cozy the medical profession is with the pharmaceutical industry, and how her murder trial is intertwined with big business and medical malpractice, puts a whole new angle on the stakes of the murder trial.
"Side Effects" is less twisty in retrospect than it appears as the drama unfolds moment to moment. Like so many of Soderbergh's films, it turns on human nature, perception, and expectations, which Soderbergh and screenwriter Scott Z. Burns play with to great effect. As Law's ambitious, seemingly sincere, and possibly paranoid psychiatrist says, the best predictor of future behavior is past behavior. Fittingly the entire last act rests on that simple observation.