With Deluxe versions and a Blu-ray 3D Edition to follow closer to Christmas
Says Michael Bay (as quoted in the press release): "As you know, we put a lot of effort into the 3D experience for the theatrical release and I want to make sure we get it right for home viewing—and that process takes time. So stay tuned for an even more incredible release that will include the film on Blu-ray 3D and loads of bonus features."
In other words, they're saving the bells and whistles and extra dimension for the holiday season. Because nothing says "Merry Christmas" like giant robots decimating Chicago.
What remains an open question is if this release will boost the 3D home theater market -- which requires a 3D compatible monitor and Blu-ray player and a special set of technologically advanced glasses (a lot more elaborate -- and expensive -- than the polarized glasses for theatrical 3D) -- the way it boosted theatrical 3D. I'm sure the upcoming "The Lion King 3D Blu-ray" would appreciate any help in that department.
Anyone out there investing in home theater 3D? If so, how do you like it?
Kate Winslet and Josh Brolin star -- paging Danny Miller!
Documentary covers what happened after 'Once' ended
The story of the magical “Once” did not end when the credits rolled. The 2006 indie gem starred two very different musicians, The Frames’ Glen Hansard and the then-unknown Markéta Irglová, in a fictional tale about, well, two musicians. And while the love story at the heart of “Once” was indeed fiction, the love story between Hansard and Irglová was not – at least for awhile.
After the huge success of “Once,” Hansard and Irglová found themselves joined both by their newfound love and their instantly popular tunes. The couple recorded an album and set out on a world tour as the duo The Swell Season. But monumental success and affection could not keep the two together and the film “The Swell Season” chronicles the crumbling of their relationship, both personal and professional. The film, by Nick August-Perna, Chris Dapkins, and Carlo Mirabella-Davis, is made up of both concert footage and backstage bust-ups, capturing what Hansard and Irglová mean to each other and perhaps even more importantly, what their music means to each other.
The film will open in limited release in October, first in Los Angeles on October 7, then in New York on October 21, with a larger national release to follow.
The story of Hansard and Irglová has become a bigger phenomenon than anyone could have predicted – beyond “The Swell Season,” the two are touring separately this fall, and a play based on “Once” (with music by Hansard and Irglová) is opening this fall in New York City. Check out a short trailer for "The Swell Season" after the break.
Quite possibly the action film of the year
There is, to be sure, a certain shared delusion that can pervade any midnight screening - the throng of people who clearly want to be there, the mingled scents of adrenaline, excitement, stale coffee and the slightest hint of weed wafting second-hand from the crowd. At the same time, when a film works that late -- as so many films in Toronto's Midnight Madness selection do -- you know that it works superbly. So it is with Gareth Evans' "The Raid," a cross-cultural action film that turns the "Die Hard" model on its head by putting a group of cops in an apartment complex that's become almost a nation-state unto itself as a wretched hive of scum and villainy.
Good young cop Rama (Iko Uwais) is part of the team attacking the block under the leadership of the scared-but-stalwart Seargeant Jaka (Joe Taslim); inside, master criminal Tama (a chilling Ray Sahetapy)is protected by an army of goons and his two enforcers, the brainy-smooth Andi (Doni Alamsyah) and the nickname-says-it-all Mad Dog (Yayan Ruhian). There are, of course, complications -- secret corruption, hidden family ties, a decent man with a sick wife on the 7th floor -- and there are, of course, plenty of people to kick in the head.
...or is it?
Girls' night counterprogramming? That's exactly how the Weinstein Co. does it
Math-letics drama goes far outside the baseball diamond
Based on Michael Lewis' non-fiction book, Bennett Miller's "Moneyball" ostensibly tells the story of Oakland A's manager Billy Beane and his attempt to reframe the way that we think about baseball -- an attempt made not as an abstract intellectual exercise but, rather, because Beane was the general manager of a team whose limited payroll limited their chances. As Beane (played by Brad Pitt in a performance that forgoes shallow charm in the name of deeper, stranger currents of performance and persona) notes to his staff, "There's rich teams … there's poor teams … there's 50 feet of crap … and then there's us."
Beane meets Peter Brand (a fictionalized/composite character, played by Jonah Hill), a nervy and nerdy Yale-trained statistician with a very different perspective on the value and worth of pro ball players. Like any market, the buying and selling of pro baseball players is subject to forces that have nothing to do with value; Brand's work finds undervalued players and has them play not as personalities or individual stars but more as a gestalt, a machine designed to turn as little money as possible into the maximum amount of runs on the scoreboard. After a furtive meeting in a parking garage (a great "All the President's Men" nod), Beane hires Brand.
'Maybe I don't go to therapists enough…'
In part one of our interview, director Gavin O'Connor talked about training actors to fight and the challenges of getting a studio to back a 28 million-dollar movie; in part two, he discusses the brutal excitement and crushing elegance of Mixed Martial Arts, the one scene he regrets cutting and when dramatic structure requires getting Nick Nolte on a plane.
What scenes were shot that we don't see on screen, that you had cut?
O'Connor: There's not a lot, but one of my favorite scenes in the film is the first diner scene. When Tommy comes home, the next morning, there was a scene where the old man Paddy and Tommy have breakfast. Tommy doesn't say a word the whole scene; he just listens. Paddy's trying to reach out and connect with his child, and Tommy doesn't answer questions. He says, 'Were you in Afghanistan or Iraq? You can bang your spoon once for Afghanistan and twice for Iraq, Tommy.' And Tommy still doesn't. Then the old man tells his story about him being in 'Nam, and it's a beautiful story about when he got there and all the beautiful girls and the beer he drank and the girls were shooting off rockets. He tells the most beautiful story about being on beaches. It's beautiful. We were going for the story you don't hear about Vietnam, and then after he finishes this great story, Tommy says one thing in the whole scene. He goes, 'What happened?' The old man goes, 'It didn't last.' Nick is f##king brilliant. I cut the scene because it slowed up the first scene of the movie. I felt like a lot of the stuff Nick was talking about, even though it's beautiful specifics, the story's about the two brothers more, and it weighted it a little the other way and slowed up the movie. We get a lot of those aspects of his character without hearing the story.
Why was there no scene with the three characters together, the father and the two sons?
O'Connor: That was never earned. This is a story about a displaced family, so it felt false to me to put them together. The old man is fortunate enough to have one son come home. The guy comes home to get f##ked up with his dad, so that plan gets turned upside down when he finds out his old man is 1000 days sober. The other man wants no part of him, so to get them all together would be like putting gasoline and TNT together, or it would turn into a scene that was unnecessary. What I was driving toward was the idea that for the family to ever heal and for any reuniting to happen, it had to start with the two boys, which is why I purposely keep the father an observer to witness the war that's happening inside there. If you remember in the film, there's a moment after the fourth round where Brendan's coming back to the corner and he looks, and there's his dad back there. That moment -- which, by the way, was never in the script; Nick had left, we wrapped him out, and Joel's walking back in the corner like, 'S##t, you have to be looking at your dad here. There's a moment that you're missing: It's the moment you have to be telling your dad, "I forgive you."' He says, 'I forgive you,' but he didn't really forgive him. If he forgave him, he would have let him into the house for a cup of coffee. I called up Nick and I said, 'Nick, I've got to get you back here for one shot.' That guy, because he was so committed, got on a plane, flew back to Pittsburgh for one shot, and turned around and came home.