Man of Steel

Zack Snyder's reinvention of the Superman story under the production guidance of Christopher Nolan is still a few months away but already looks set to bask in Summer glory.

The more mature and serious interpretation has been carefully planned with the trailers revealing a little at a time and a viral marketing campaign which has Kryptonian transmissions being decoded under the Deep Space Radio Wave Project.

Watch this space for more updates in 2013, but meanwhile here's the latest official trailer.

Die Hard 25th Anniversary Box Set

One of the most popular Christmas action films of all time is nearly 25 years old. 

Yes, it’s been that long since John McClane came home for Christmas and saved Nakatomi Plaza from a bunch of terrorists who were just high-tech robbers. Twenty five years since “Yippee-kai-yay” entered our vocabulary and Hans Gruber was immortalized by Alan Rickman creating a definitive villain that has yet to be rivaled. And of course it’s been twenty five years of Bruce Willis having jumped with machine gun firing from Moonlighting to the big screen entertaining us in a franchise which sees its fifth film explode onto the screen on Valentine’s Day 2013. 

Twentieth Century Fox is celebrating by bringing the Die Hard 25th Anniversary Collection to bluray in a special 5-disc set with new features that look back at the franchise, the fights, the explosions, the bad guys and of course the creation and legacy of everyone’s favourite anti-hero.

The fifth disc called Decoding Die Hard, contains 7 new features as follows:


• “Modern-Day Hero” — Casting, evolution and legacy of John McClane
• “Along For The Ride” — Sidekicks who have teamed up with McClane
• “Bad To The Bone” — McClane’s foes
• “Punishing Blows” — Action sequences, fistfights and stunts
• “Explosive Effects” — Role of visual and special effects
• “Reinventing The Action Genre” — Development of the franchise
• “The Right Hero For The Right Time” — The Influence of Die Hard


Released two weeks before A Good Day to Die Hard hits the big screen, this box set is a great way to relive high-octane-McClane’s adventures so far in saving a whole bunch of hostages and beating the odds to do it every time. 

The Die Hard 25th Anniversary Collection is available from January 28, 2013.

Continuing Our Countdown to A Good Day to Die Hard

Close to nine weeks left until A Good Day to Die Hard when John McClane returns with his son in tow in an impossible situation that'll have him fighting to the end with guns blazing, tanks roaring and dealing very closely with broken glass (again).

Australian actor Jai Courtney joins the franchise as Jack McClane who is more than a chip off the old block and revels in the thrill of bad luck McClane Senior has found himself in previously. Continuing our countdown to February 14th and the release of A Good Day to Die Hard, here's a glimpse behind the scenes and an introduction to the new action man on the scene fighting hard with Bruce Willis: Jai Courtney.

Bad 25

Spike Lee’s reflection on one of Michael Jackson’s most iconic and celebrated albums opens and ends with the singer speaking at an interview in Brooklyn. Those who know Spike realise he’s probably taken great pride in having excerpts from an interview that took place in the filmmaker’s adopted hometown, and one that just happens to be one of the more insightful interviews Michael did during the release of Bad.

Twenty-five years later, the documentary film aptly titled Bad 25 is a true celebration not just of the album but of Michael Jackson, the artiste whose visionary work has inspired and entertained millions above and beyond the majority of his short-lived life. Without delving too deeply into Jackson’s background, the documentary begins stating the burden of success that Thriller brought with it to Jackson and the industry. He had little left to prove yet worked day and night to create an album that would be a worthy successor to 1984’s Thriller, hoping to sell 100,000,000 copies.

Having grown from child star to teen idol, Michael Jackson tasted fame as a young black singer who achieved significant crossover success as a solo artiste paving the way for others through air-and-video play that was not based on marketing dollars but public demand. Thriller became a behemoth that could not be topped and kickstarted an era which saw the rise of two prominent artistes of colour who would transcend genres and boundaries and be discussed in one of Spike Lee’s own cult films – Michael Jackson and Prince.

As Lee’s film delves deep into the genesis of the Bad album, the playful nature in which a duet between Prince and Michael Jackson was suggested is touched on with much humour. The two stalwarts were destined for different paths of success yet their lives and careers constantly intertwined from the time of the heights of their fame to Michael’s final years. No collaboration resulted despite many attempts and the early story of how Bad was taken to Prince for a duet which would be a showdown between the two was dead in the water from the offset.

Journeying through each track on the album, Spike’s film intercuts never before seen footage with revelations of the detail Michael put into his work, painstakingly crafting songs that shine even to this day. From the way he harnessed and controlled his talent to handpicking directors he wanted to help translate his music onto celluloid, Michael was determined to perfect the experience of those consuming his output.

Bad 25 delights Jackson fans with information that has never been uncovered before and provides a unique insight into the creative mind of a visionary genius. It also provides anyone with a passing interest in the intricate process of artistic creation with an extremely enjoyable and informative view into the journey that begins with conception, nurturing and shaping an idea, leading it through to a fully formed song and music video.

The striking imagery, narrative and editing that impressed in Michael’s short films are given the respect and dissection that only another filmmaker could provide. Spike Lee treats each song on the Bad album and accompanying video with an inquisitive pursuit that traces through interviews with directors, cinematographers and choreographers discussing the vision that Michael Jackson had when wanting to present his concept to the world.

The genius of Leave Me Alone includes that it reflected a highly personal response to his media crucifixion with an avant-garde video complete with barking dogs in suits nailing him down to restrain his freedom of expression, while also keeping the viewers' foot tapping and voice humming with a hypnotic and thumping drum. The result is infectious and mesmerizing, which is one of the reasons it’s cited as many a fan’s favourite song and video, and thanks to Bad 25 we understand more why it is it has this effect on us. The same treatment is given to the album’s title track with Martin Scorsese watching footage from the original shoot and reminiscing about incidents on set. The Way You Make Me Feel and Smooth Criminal also deserve noteworthy mention due to the interesting stories associated with the background of these songs and short films (we even finally discover the identity of Annie and whether or not she’ll ever really be ok). The filming of the Liberian Girl video including Michael Jackson’s one take on-screen appearance as well as video footage that Michael himself took of a demo of Man in the Mirror are among other highlights of the documentary. Spike Lee is on the ball when presenting the Bad album 25 years later in a way that generates the same excitement that accompanied its arrival.

Michael’s tributes to dancers he grew up watching and passion for entertainment and performing as well as creating and crafting his own musical legacy is all presented with a respectful and thorough investigation.

The highlight of the documentary film is not a single moment but an array of complete experiences united by a man who refused to deliver anything less than his best. Many of the subjects interviewed will not have met each other, yet all contributed to an era that is celebrated today and united for one project.

Lee ensures that Bad 25 is more than an experience that enhances the vision Michael Jackson delivered to the world, it also celebrates his creativity and talent and provides a complete ‘making of’ that is unrivalled by any similar claim of music channels today. He also shows with sensitivity and wise judgment how Michael’s passing has affected each of the interviewees through capturing their responses to where they were when they heard the news that changed the entertainment world forever.

A fascinating watch from start to finish, Bad 25 celebrates the music industry’s most visionary icon and presents the genesis, revelation and exodus of an album that took the world by storm with a trans-media approach ahead of its time. Adding to his already accomplished narrative film work and documentary filmmaking which moved with ‘If God is Willing and Da Creek Don’t Rise’ and ‘When the Leeves Broke’, Spike Lee excels in capturing an era in a 123 minute film which leaves you smiling and remembering one of the entertainment industry’s greatest artistes and feeling that he really has gone too soon.

Spike Lee’s BAD 25 will be released on DVD and Bluray in February 2013. A heavily edited version screened on ABC on Thanksgiving and the full version on BBC 2 in the UK on December 1^st.

Star Wars: A Legacy

Much has been said, speculated and hoped for when the announcement of Disney purchasing Lucasfilm and particularly the Star Wars franchise hit the airwaves. Writers, directors and cast have all been proposed via various websites for the new trilogy which will bring Star Wars to a whole new legion of fans and ensure the franchise becomes even bigger than it already is.

With Rick McCallum retiring from Lucasfilm and the very capable and talented Kathleen Kennedy at the helm of where this starship ventures to next, we thought we'd share a short celebration of George Lucas' legendary space legacy that has enthralled fans for decades, changed the Hollywood equation and brought about a new type of independent film that inspires to this day.

The Evil Dead

The Evil Dead remake arrives in Spring 2013, but it's certainly not too early to give fans and viewers a gore-filled teaser of what's to come and put the concerns of those who loved the original at bay.

With a rosta of crew behind the original returning for this update and director Fede Alvarez hand-picked by Sam Raimi himself, the cult film will be back on the big screen with more gore, laughs and horror than ever before. With many horror franchises dying a premature death at the box office in recent times and none living up to the promise of a fresh new franchise since Saw, it's time for a golden oldie to show the rest how it's done.

This trailer is rated suitable for Mature audiences only.

Countdown to A Good Day to Die Hard

The countdown to Christmas has begun and with the festive season comes films which belong to this particular time period. There’s the schmaltzy feelgood film where the main protagonist realizes the error of his ways and makes amends by the end, where he’s learned a valuable life lesson about himself and humanity. These films follow the Dickens’ model oft repeated and based on A Christmas Carol, a story which in itself is remade in many ways year after year.

The theme is seen in many popular films that have become unconventional Christmas hits, repeated on television year after year and featured on top ten lists of Christmas movies despite not being obvious choices and having little to do with Christmas or just being set at that time of the year.

Edward Scissorhands, Trading Places, Gremlins and Home Alone are regularly branded this kind of film for having pivotal moments occur at Christmas and depicting a canvas of snow that transcends the screen and overflows into the hearts of filmgoers. All the main characters in these films learn something by the end of the film that they didn’t know at the start – knowledge about themselves or something (e.g. Gremlins!) that makes their life better.

But the most unlikely and popular Christmas movie features a gun-toting, foul mouthed action hero who gatecrashed an office party and left realizing that his job may be to save innocent citizens but it’s also about his family too and he’s got to tow the line. Yes, John McClane in Die Hard is an unsurprising favourite for Christmas and with the promise of new film entry in the franchise arriving round the corner on Valentines Day 2013, it’s the perfect time to revisit Nakatomi Plaza and see where it all began.

Bruce Willis returns in A Good Day to Die Hard and family is still very much a part of the equation and the force that pulls him into the action. John McClane had a bad reunion with his wife, Holly in the original film that turned into an action packed hostage film where our hero beat the odds to walk away with the girl. In Die Hard 2: Die Harder they said lightning couldn’t strike the same place twice but little did they know John McClane was back beating terrorists in a darker take on the series adapted from the novel 58 minutes. Featuring a terrifying scene where an entire plane of innocents is brought down as McClane can only watch, he finally saves his wife in a touching moment where he guides a plane to the ground exclaiming “Here’s your landing light, Holly!” Heartwarming stuff in an action film. Again.

In Die Hard with a Vengeance his wife calls in to check up on McClane while he’s engaged in a deadly game of cat and mouse with a villain avenging the death of his brother in the first Die Hard. Formulaic but with Samuel L Jackson and Jeremy Irons muscling in providing support, the third outing is enjoyable most of the time.

Live Free or Die Hard (also known as Die Hard 4.0 outside the US) took a clever cyberterrorist plot loosely inspired by a Wired article called ‘A Farewell to Arms’ and introduced us to McClane’s estranged daughter. Controversy about the rating aside, the film made money and had some spectacular action sequences proving many wrong that maybe it was time for John McClane to hang up his vest.

A Good Day to Die Hard finds John McClane travelling to Russia to help out his estranged son John “Jack” McClane Jr (Jai Courtney) whose career choice puts him in situations his father has had to deal with on account of the worst bad luck ever. Thinking he’s helping Jack, McClane soon realizes his son’s life is a career choice and messes things up for everyone creating a situation with more international terrorists that he need to fix while bonding with his son and making amends. Bigger in scale from previous outings and taking the action from New York to Moscow, the film has some insane car chases, tanks galore and the biggest helicopter in the world makes its presence felt. Oh and the climax takes place in Chernobyl.

With upped action featuring a double barrel of explosive punches, dialogue and guns in McClane and son, and with an appearance from Lucy, John’s daughter who was introduced in the previous outing, A Good Day to Die Hard is all set to be a family film of a very different kind. Talks of the franchise being prepped for Courtney’s shoulders are premature and the focus is very much on making this entry one with explosions so big you’ll feel the aftershock for weeks after seeing the film.

So Christmas is coming and it’s the perfect time to watch a Die Hard movie, because the McClanes are coming to make hearts bleed on Valentines Day and bleed they shall with bullet-holes, badass action and everyone’s favourite cowboy catchphrase. Forget the 12 days of Christmas, it's now 12 weeks until the new Die Hard movie.

Yippee Ki-yay guys. Peace on Earth until February, then bring on A Good Day to Die Hard.

Removing the 3D Choice Has a Box Office Impact

We recently posted with disappointment at the figures for Dredd 3D, but this article seems to have highlighted one of the reasons people who intended to see it, didn't.

Films which are released in 3D and have an option for 2D statistically add more to their box office through offering choice. Some people can't handle the 3D due to visual impairments, others steer clear due to the rising expense and some just prefer to watch 2D films. Dredd being available only in 3D with the visual experience of Slo-Mo and Mega City One may be enticing, but not enough to harvest an audience of mostly 18-34 year old males who would want to go and see this film together but have to weigh up the expense of a 3D film compared to other options.

Here's hoping the home video release makes an impact and this isn't the last we've seen of Dredd.

World War Z Trailer

Skyfall

'Skyfall' arrives in a year which celebrates 50 years of a cinematic icon that has flown the British flag and inspired countless on-screen replicas to date. With the enviable position of probably recovering its complete $150million budget before it even opens in the US, there is no doubt that Bond is back and that too, with a bang.

Everything fans loved about Casino Royale and its introduction to Daniel Craig’s Bond is stamped into the feel of 'Skyfall'. Providing an even deeper glimpse into James Bond’s past and origin, 'Skyfall' succeeds in maintaining the level of entertainment expected from a Bond film and exceeding its recent predecssors in terms of story, presentation and an impeccably brilliant Bond villain divinely assayed by Javier Bardem.

The opening sequence is (as expected from any Bond movie) fast paced, full of action and one that launches you into the world within which MI6 operatives that lay their life on the line for their job. Possibly bettering Casino Royale’s opening sequence while echoing its rooftop antics, 'Skyfall' is beautifully picturised from start to finish by Roger Deakins. His eye illuminates Bond’s dark world sketching out parallels of dimly lit tunnels with bright neon lights where shadows dance in battle fluidly choreographed and narrating the stark contrast of good versus evil. Exotic locations are captured creatively and you’ll forgive the barrage of brand tie-in adverts before the film when you see what that funding has helped make possible. From Istanbul to Shangai, even London is elevated in character by Deakins’ lens adding to a cinematic experience that makes 'Skyfall' a bigger Bond.

Daniel Craig is older, tired and more rugged as the double-O-agent who is now battle-damaged and deemed unfit for duty yet finds his feet through returning to a place from his past that crafted his persona. When sparring verbally with Naomie Harris or tongue tied with the heavenly and enigmatic (as well as underused) Berenice Marlohe, Craig succeeds at delivering a performance that helps the character rise above his environment and is comfortable in his own skin. The aging Bond is perfectly mirrored in a seemingly redundant M (Dame Judi Dench) whose last hurrah as the character is her best yet. Javier Bardem’s delectable portrayal of Raoul Silva jumps from the screen as layers of his character are unravelled with both delight and terror. Bardem has gifted us with a Bond villain truly deserving of the title, which has been missing in recent times. His walk, dialogue delivery and haunting eyes engage in subtle shootouts with Craig’s that ooze the presence of two stalwarts in their field fighting on different sides of a thinly drawn line. Ralph Fiennes is given a good introduction to the franchise and settles into his chair with ease, dropping throwbacks to the M of old that will leave Bond fans with a sense of familiarity.

With nods to the history of the franchise, while setting a bold new direction for James Bond, 'Skyfall' succeeds in upping the game and providing a thrilling episode of the world’s favourite secret agent that Ian Fleming would be proud of. Brilliance flashes through in Sam Mendes directing as he provides a serving of Bond that is well paced, gripping and lives up to the expectations of those hoping for a resurrection for the franchise and character. 'Skyfall' is a noteworthy entry in the Bond franchise that will ensure the world remembers the name James Bond for at least another 50 years.

'Skyfall' is on general release in the UK and releases in the US on November 9.

Harvey Weinstein at the London Film Festival

Fresh from announcing The World Dance Awards at MIPCOM, Harvey Weinstein attended the 56^th London Film Festival to deliver a much-anticipated and packed keynote speech last night.

Aside from some political jibes about Mitt Romney and mentioning the lack of historical knowledge of film in Hollywood, Weinstein’s main comments were about piracy on the internet which he said was killing the industry. With sites such as YouTube hosting pirated clips from films “doing the industry a massive disservice”, he went onto say companies like Google and Apple were “getting paid and not the actors”.

He criticized the consolidation of media companies stating it would create a “central bureau” allowing “six companies to end up owning a 500-channel universe” making it more difficult for smaller and independent films to reach an audience without the support of members of this consortium, who may demand franchises and remakes.

“These companies make movies to make money," he said. "We too want to be profitable, but also to do something worthwhile and innovative."

A few days ago. when speaking about his joint venture with Michael Flatley at MIPCOM, he confessed “The movie business to some extent is shrinking, and we have to look for new horizons,” when talking about The Weinstein Company’s foray into television. He also responded to a question about digital services like YouTube and Netflix by stating:

"I think it all matters, but at the end of the day it's good stories that rule everything. I think more of a premium should be placed on content and a lot of the work that independent producers do."

Comment:

Whereas piracy is a growing problem in the film and television industry, market research has repeatedly shown that viewers will happily pay for content – they just don’t want to have to wait for staggered releases or deal with region censorship (such as in the recent Avengers case).

Joss Whedon’s Avengers film was downloaded and widely circulating pre-release on home video but still managed staggering figures in home media sales, including download. In the UK, many were importing discs from the US showing frustration at the lack of extras on the UK release and censorship mistake.

Weinstein’s comments also discard the success and following some independent films are able to reach through avoiding the box office and studio system. Through crowdfunding, private investment and a boom in low-to-no budget filmmaking (thanks in part to actors’ willingness to do these films), it has been seen that some filmmakers have raised the entire funding for their film privately and then sold it at a profit to the same audience that is consuming digital downloads and systems like Netflix.

Harvey’s speech has certainly inspired a lot of debate among filmmakers some of which have never worked outside the studio system, but his advice that “good stories rule everything” is the ethos of many new and independent filmmakers who have a shoestring budget and focus more on storytelling than anything else, compensating for what they lack in production values.

We may not completely agree on the future and where things are heading, but Harvey, it’s always great to talk about it with you. 

Buzkashi Boys

Sticking to the tradition of discovering new talent, the 20th Raindance Film Festival gave the award of "Short Film of the Festival" (which automatically qualifies for the Academy Award shortlist) to Buzkashi Boys.

Congratulations guys and good luck. Here's some news coverage of the film.

London Film Festival opening night: Frankenweenie

Mutts, Mayhem and the Macabre: Frankenweenie hits the sweet spots in a dark and innocent way.

Tim Burton has made a career out of the dark and twisted. His fairytale, which became The Nightmare Before Christmas has spawned an excess of merchandise, release, re-release, 3D release and 3D re-release to great success. The man who brought us Beetlejuice and paved the way for a Batman with an edge is back with a bang. He made it acceptable for Batman to unleash his violent frustration on Gotham’s underworld because he had his innocence stolen from him witnessing the grisly death of his parents. The same innocence that young Bruce Wayne had as a young boy returns in Victor Frankenstein.

Following his father’s advice directly leads to death of the only one who understands him and shared his world, his beloved dog Sparky. The scene when Sparky dies and the connection between him and his owner is lost reflects Victor’s despair and emptiness perfectly.

The young boy uses science to resurrect his dog and when man messes with nature, you know the rest.

Presented in black and white 3D, Frankenweenie has a surreal feel about it which complements the subject matter adding to the dark tone of the film. The comedic moments light up the screen and the touching story of innocence, childhood and the loss of innocence is presented in a way only Tim Burton could have delivered.

Adults and children alike will enjoy Tim Burton’s Frankenweenie and with half term holidays round the corner, Hallowe’en and Christmas coming up as well as an onslaught of merchandise related to the film available, it’s clear Tim Burton and Disney will hit the mark with this one which is destined to have a long shelf life at the box office and on home video/on demand.

Homages to Burton’s other works as well as the horror genre are done with gleeful delight and the film resurrects a feelgood factor missing from recent children’s films which have seen style take precedence over story and emotion. Wonderfully weaving the events of the story together with empathy and a reminder of innocence, Tim Burton brings a modern day stop motion classic that easily outdoes any CGI rivals in every stake.

Frankenweenie is a film that will undoubtedly be revisited again and again due to its ability to captivate the inner-child in all of us and dazzle with a different kind of spectacle that’s a visual delight. With mutts, mayhem and the macabre, Frankenweenie hits the sweet spot in a dark and innocent way.

Frankenweenie opens in UK theatres from October 17^th. A travelling exhibition on the making of the film is currently at the British Film Institute.