Actor reportedly interested in role in 'The Creed of Violence'
Or is the film just an excuse for a gimmicky title?
The film critic for MSN Movies is NOT a fan of the new Steve Carell film
I have great respect for the critics on this site, James Rocchi (who also contributes to this blog) as well as Glenn Kenny. Their expertise about the movies is awe-inspiring and I enjoy reading their incisive reviews.
Not that I always agree with their opinions. Among the big films that opened this week, Rocchi was particularly hard on the ensemble comedy, “Crazy, Stupid, Love.” He gave it only one star. Glenn Kenny, on the other hand, gave “The Smurfs” two stars. Kenny’s review was hardly positive, but in a weird way, you could say that according to MSN Movies, “The Smurfs” is TWICE AS GOOD as “Crazy, Stupid, Love.” In related news, Speaker of the House John Boehner admitted today that President Obama is right about everything and he called for the immediate dismantling of the Republican Party. What? You mean we’re not living in a topsy-turvy parallel universe?
Is Carrie Bradshaw returning to the screen a little sooner than expected?
After the debacle of last year's “Sex and the City 2,” there were many who said the popular franchise was dead and buried. But guess what? Sarah Jessica Parker is back in a new installment! And she looks fabulous, as always. She and Big now have two adorable kids. But wait…why is Mr. Big being played by Greg Kinnear—did Chris Noth have a scheduling conflict? Hey, where are Samantha, Charlotte, and Miranda? And hold it—why the HELL is Carrie living in Boston?!
Woops…the trailer below is not for a new “Sex and the City” adventure, it’s promoting Parker’s upcoming film, “I Don’t Know How She Does It,” based on the popular novel by Allison Pearson.
Too many degrees of separation from Kevin Bacon
I was at the movies last night and saw the trailer for the remake of “Footloose” which will hit theatres on October 14. I just have one question. WHY?
I could now go on a familiar rant decrying the ever-increasing spate of film remakes and the lack of originality or risk-taking in Hollywood, blah, blah, blah. But I won’t. Those things may be true, but I do think there are times when remakes make sense—a new take on a great story for a new generation. Why not? There are a number of remakes that I prefer to the originals: the Jimmy Stewart/Doris Day version of “The Man Who Knew Too Much,” “Little Women” with June Allyson and Elizabeth Taylor, Al Pacino’s take on “Scarface,” and the retreads of “Little Shop of Horrors,” “Cape Fear,” “A Star Is Born,” and “Dangerous Liaisons,” to name a few. Does it help that the originals of these films were made many years before I was born? Is that why I accept the newer versions of the films so easily?
Brad Furman ('The Lincoln Lawyer') has signed on to direct
Depression-era photographer took some of the period's most iconic photographs
David Fincher is reportedly set to executive produce a film about one of America’s most talented female photographers, Dorothea Lange, a truly talented woman who unintentionally provided one of the most iconic photographs of the Depression. The film’s script will come from Angela Workman, who previously wrote the adaptation of “The Zookeeper’s Wife” for the 2013 film, along with the screenplay for recent release “Snow Flower and the Secret Fan.” Workman is also responsible for the script for “Brontë,” an original film based on the lives of the Brontë sisters. It’s clear that Workman’s wheelhouse is very much historical films with a feminine bent, so this seems like a crack assignment for her.
Lange is best known for her iconic photograph, “Migrant Mother” (shown at left), which the photographer captured in 1936 when she was working for the Resettlement Administration. Lange worked as a photographer for the RA from 1935 and 1939, and she was tasked with capturing the myriad migrant workers who had moved to California in search of a better life. While Lange’s work was meant to show the promise of life in California, she ended up using her lens to document the immense poverty and horrible conditions of the migrant workers. It is often Lange’s photos that spring to mind when images of the Depression and the Dust Bowl come to mind.
But the photographer contributed much more to the world than just her Depression-era images. Lange also documented the post-Pearl Harbor internment of Japanese-Americans to similarly haunting and upsetting effect, as well as being a member of the faculty for the first fine art photography department at CSFA and one of the founders of photographic magazine “Aperture.” And while Lange’s professional accomplishments are already impressive on their own, she did them all as a survivor of polio. Variety reports that film will “chronicle the life of Lange,” so here’s hoping it covers all of the major elements of her amazing life.
Dorothea Lange is truly an American icon and it’s wonderful that her life is finally going to come to the big screen. While there’s no word on who will direct the project, with a tremendous filmmaker like Fincher backing it, we should expect a great team to form for this production.
UPDATE: Writer Workman herself chimed in below (awesome) with the news that producer Leslie Dektor is directing.
Includes rare footage from Ken Kesey’s psychedelic cross-country trek
I was a little kid during the heyday of the hippies and so wished I could don my beads and Nehru jacket and head to Haight-Ashbury for the Summer of Love. Instead, I was forced to hang out with a bunch of pre-pubescent squares. What a bummer!
But now, thanks to “The Magic Trip,” a documentary by Oscar-winning filmmaker Alex Gibney (“Taxi to the Dark Side”) and co-director Alison Ellwood, we can all feel as if we were there at the dawn of the movement.
In 1964, counter-culture icon Ken Kesey, author of “One Flew Over the Cuckoo’s Nest,” set off on a legendary, LSD-fuelled cross-country road trip on an old school bus painted in bright psychedelic colors. He was joined by “The Merry Band of Pranksters,” a group of renegade truth-seekers that included Neil Cassady, a major figure from the Beat Generation who was immortalized in Jack Kerouac’s classic, “On the Road.” Cassady became the driver of the bus and participated with the rest of the Pranksters in a series of wild adventures. Tom Wolfe wrote about the trip in “The Electric Kool-Aid Acid Test” and Kesey himself shot a bunch of 16mm footage for a documentary about the group’s mind-expanding pursuits. But the film was never finished and very little of the footage was ever seen by the public.
Gibney and Ellwood were given unprecedented access to the amazing raw footage by the Kesey family and have produced one of the most entertaining, visually stunning, and accurate depictions of this tumultuous time in American history. The documentary, which also features Kerouac, Allen Ginsburg, and the Grateful Dead, opens in theaters on August 5.
Take a look after the break.