After Alien, Covenant. Be prepared for Scott’s next massive feast of destruction, BLADERUNNER 2049. It will be a pathetic caricature of the original. Totally bereft of any soul or meaning as Scott rewrites the significance of yet another historical film with his mindless hysterical swerving on the road to oblivion.
If Covenant’s poor Box Office is any indication. Bladerunner will bring in far less money than the poor monies of the original and hopefully studios will stop banking on self indulgent directors to lead their greatest franchises and find some new blood to inspire the culture of film instead of sabotaging it.
The casting of the Goose, Ryan Gosling. Locks the sequel into self imploding mode and foretells the destruction of a possible franchise. Gosling simply isn’t capable of the gravitas that Harrison Ford brought to the original.
And when you stick the Joker in it just for laughs, you’re begging for a short walk to the gallows. Jered Leto is going to just gush all over this movie with even less dignity than his Joker rendition in Suicide Squad. Get ready for over the top, fake cool.
Just what we needed in Bladerunner. If you think 2016 was a colossal stick in the eye, wait till 2017 gets a head of steam going.
Now I think I can see what all the noise that Shia LaBeouf has been making is about. He wants to push the constraints of cinema. He wants to chew through all the bubble talk and bullshit and make something real. Something that’s going to Brando his life and burn the screen. He’s pushing himself because he can and if he doesn’t I don’t see anyone else trying that right now.
The realm of cinema often looks like a corpse eating itself, like a zombie walking in circles. Does it take anger to run out of the same old groove? You have to find people willing to take risks with you.
This trailer looks promising.
Thank you, to the gods above. Captain America is returning but this time it’s not going to be a joke the first installment was. First, Robert Redford brings his authenticity and style to the proceedings raising the bar of reality for Captain America, which is sorely needed to drag it into the realm of realism, out of comic book land as much as possible. How they convinced Redford to come onboard is beyond me, but brilliant casting. Continue reading
George Miller is at it again in his much publicized return to his original post apocalyptic trilogy MAD MAX. Nearly a year after the film’s shooting was completed, good just isn’t good enough for Miller and he has wrangled the principle cast back together for another 3 weeks of trying to grab the elusive footage Miller loves to hunt for.
Dear god, the trailer looks obscenely fantastic despite the endless explosions. Drool, watch repeat and drool. The original was a near mesmerizing event. This looks like the bar has been raised in emotional impact and the pain and pleasure, angst and horror realities of life.
Get ready for another gear grinding, shifted out of neutral and onto the Autobahn mishap of Micheal Bay’s mind numbing TRANSFORMERS, set for a June 27th, 2014 release in the US.
Despite being the most silly of concepts created from Hasbro car toys. Transformers: Dark of the Moon, the last installment grossed out at over a billion dollars worldwide running it into the 6th biggest film of all time slot.
So you know that with such a paycheck in the waiting studios cannot wait to get Bay back in the drivers seat once more. And who is going to be sitting in the passengers seat strapped in and crying the entire way to the bank, none other than Marky mark, Mark Wahlberg and Executive Produced by Steven Spielberg.
After Wahlberg’s impressive outing with Bay in PAIN AND GAIN, I can only surmise the bromance has begun and over flowed into the TRANSFORMERS franchise with Bay promising Wahlberg that he would make the toy car series uhm relevant to the real world?
And not reduce Wahlberg to a sidekid of CGI metal gnashing overgrown toys?
Let’s hope the title is true and Extinction of this kiddie show of talking cars called Autobots and evil Decepticons finally reaches its apex and impales itself.
Jonathan Glazer’s follow-up to his brilliant debut Sexy Beast. The British director has adapted Dutch-Scots writer Michel Faber’s 2000 novel Under the Skin. Continue reading