Here’s the first one-sheet for the closing chapter of the wizarding boy-wonder’s saga. When we last left Harry and company, they were on the search for the horcruxes: a series of non-descript items that each contain part of Voldemort’s soul.
What we’ve learned is that Harry can’t kill Voldemort with magic and vice versa, since a part of each is in the other. Or something like that. Anyway, what I don’t understand is what makes Harry so special. I realize that he withstood a direct hit from the noseless one back when he was an infant, but what is unclear is why he remains such a thorn in the side of evil. From what we’ve seen, Voldemort is having no trouble wrecking havoc on the mystical and boring regular world; one would think that he would be smart enough to simply stab the bespectacled one in the heart, or shoot him with a non-magical gun. Problem solved, bad guys win.
Still not much is known about Terrence Malick’s long-gestating film, other than it’s a family tale about Brad Pitt being a mean dad, whose son grows up to be Sean Penn, despondant and angry (not a stretch whatsoever). The poster, along with the first trailer, capture some very beautiful and moving images, and with Malick’s track record (The Thin Red Line), Tree will be something to watch out for.
The Tree of Life will be seen in North America on May 27, 2011.
Photographing models, albeit hugely important, can’t be that hard right? They take their clothes off and you point and click. Why are we paying these people!? The worst part is, a lot of times they end up getting with the focus of their camera’s attention.
Watch below to see Keira Knightley ride a motorcycle and seduce a guy just to seemingly get her hands on a sample sized bottle of Chanel perfume that you can get at any department store in America. This spot is directed by Joe Wright, the same man behind the lens of Pride and Prejudice and Atonement–both Knightley films. This is a pretty tantalizing commercial, that is, if you can tune out Joss Stone’s rendition of “It’s a Man’s Man’s Man’s World.”
I’ve had a Roomba (which is the greatest thing on Earth) for a few weeks now. If you’re unfamiliar, Roomba is a vaccum cleaner with a robotic brain, that when summoned will scurry around your home and clean every inch of the floor a few times over. Then when it’s finished the job, it finds its way back to the dock and recharges. The somewhat eerie thing is that the company that creates Roomba (and its bretheren Scuba, Verro, and Looj) is called iRobot–also a film about killer servent androids and a forlorn Will Smith. We’re just a few steps away from Skynet and a time-traveling nude Arnold Schwartzenegger.
So on cue, here’s a short film by director Ruairi Robinson. The special effects are good, especially the cityscapes. The automaton design is kind of hokey, but the real calamity is Max Records, the boy from Where the Wild Things Are. Once again he plays a kid that you wish bad things would happen to over and over.
This is a story of boy meets girl, and then how fate tries to tear them apart. This is not the first word we’ve heard on fate, or kismet, and it certainly won’t be the last. It’s a bit outrageous (but nonetheless riveting) to think that our lives have already been plotted. How our existence has one path and when we deviate from said route, fate steps in to right the course. Fate, in this instance, are tangible beings. And meticulously dressed ones at that. They are the Adjustment Bureau: a would-be all-male group of super heroes. Except their job isn’t to save the world, rather mess it up, one spilled coffee at a time.
The film succeeds through the appreciable talents of Matt Damon. He may be People magazine’s Sexiest Man Alive, but he’s also no slouch in the acting department. His greatest strength is in the audience forgetting they’re watching Matt Damon. In School Ties, he was an anti-Semitic school boy; Courage Under Fire, a drug-riddled military man. In back-to-back years he was an amnestic C.I.A agent (The Bourne Identity) and one half of a siamese twin with relationship issues (Stuck on You).
In Bureau, Damon is David Norris, a politician on the fast track. At twenty-four years of age, he was the youngest congressman in history; now, he has his sights on the Senate seat for the “great state of New York.” Alas, you can take the politico out of the frat house, but you can’t take the frat house out of the politico. As he enjoys a ten point lead in the election, an incriminating photo surfaces which retroactively removes David from the race. While prepping his concession speech in his ofice (see: men’s restroom), Norris is interrupted by Elise Sellas (Emily Blunt): a wedding crasher hiding from security. Their initial encounter is fleeting–a few measly minutes; the effect is everlasting. The concept of love at first sight is somewhat preposterous, or at the very least, high contestable. That being said, the moment David and Elise meet, there is “something” there; an obvious physical attraction no doubt, but also something deeper, something uniquely profound.
After another chance meeting–this time on a city bus, the Bureau steps in. The job has been passed to Mitchell (Anthony Mackie) to separate the would be lovers. It is implied that Mitchell has a history with the Norris family. It is because of this that he takes David aside and briefly explicates the far-fetched circumstances. Agent Richardson (John Slattery, doing his best Roger Sterling impression) tells David that he cannot be with Elise, because “it’s not in the plan.” He does so by nodding not so discreetly to the heavens above. This is one of many religious implications littered throughout. It’s never explained who the Bureau is–be it supernatural spirits or time-traveling prophets. The subject of chance versus predestination is argued by David and his oppressors.
Thompson (Terrence Stamp) joins the party and explains that if David stays with Elise, both will forgo their dreams: he of White House glory, she a world class dancer. (He also explains how the Bureau can be thanked for giving humans the Renaissance period, but after stepping back a few paces, to see how humans would react, WWII and the Holocaust happened, among other horrific events. Why they never thought to “accidentally” push Hitler in front of a train is a whole other can of worms.) Thompson seems resigned to David’s decision…until he and his team do everything in their power to avert another rendezvous. Confusion arises when the Bureau tells David he has a choice, only to punish him and those around him for said choices. Free will is told to be readily available, and these god-like figures seem to have a purpose, but their actions lean heavily towards the petty, like a child ripping off the wings of an insect.
Director George Nolfi does an admirable job here in his voyage effort. The trailers insinuate a sci-fi mind bender, but in reality there is a romance at its core. I even laughed a few times, at the clever writing and sometimes sheer absurdity of the goings-on. There are some silly necessities. Part of the Bureau’s uniform is a classy fedora–not only a cutting fashion choice, but they also act as pass keys that turn regular doorways into transporters. (Also, if you’re going to hold a covert meeting, do so in a rainstorm, or the bathtub.)
Bureau is loosely based on Philip K. Dick’s short story “Adjustment Team,” which is to say they share the word Adjustment in their respective titles. The story drifts in the second act as David can’t seem to make up his mind of whether to choose professionally or emotionally (an easy decision in my mind); the fantastic chemistry between Damon and Blunt, along with the stimulating narrative more than make up for it. My only regret is that the conclusion had dared to be braver.
We are faced with choices every day–some more consequential than others. Whether to the take the subway or walk to work; stopping in to your favourite restaurant; even hitting the snooze button one more time in the morning. All of these create ripple effects, that although we can’t see, often times modify important periods in our lives. David has his own designs on what he deems crucial. His hopes lay with the old adage that love conquers all–even well-dressed corporate angels.
Joseph Gordon-Levitt (Angels in the Outfield) has long been rumoured to be a part of Christopher Nolan’s closing Batman chapter, but now Variety has confirmed that JGL will be playing Alberto Falcone, son of Carmine Falcone (Tom Wilkinson), last seen scared shitless by Scarecrow’s fear toxin in Batman Begins. The younger Falcone also becomes serial killer Holiday, who if you couldn’t tell by the name, murders his victims on national days of rest.
Also relevant in the article is the mention of Juno Temple who was recently seen in the flaming turd, Greenberg. Temple will play a street-smart Gotham girl–possibly Holly Robinson: an ally and frequent sidekick of Catwoman.
Nolan has made it a habit of recasting his actors in numerous films. Christian Bale, Morgan Freeman, Michael Caine, Marion Cotillard, and Tom Hardy have already been featured in previous Nolan works, and will return once more for Rises.
Brought to you by my neverending love of b-movies (see: Mosquito, Death Race 2000), this week’s highlighted release is Sharktopus. I haven’t seen it yet, and I’m sure none of you have either, but after I tell you that it’s about how the U.S. Navy commissions a group to genetically engineer a half-shark, half-octopus for combat (The creature then escapes and heads to Puerta Vallarta.), just try to stay away.
Bikinis, Eric Roberts, a guy carrying an RPG on his boat. Must. Own. Now.
This is getting a lot of great buzz from the ongoing SXSW festival in Austin, TX. To my great chagrin, I’ve never been to SXSW; something I hope to remedy in the upcoming years. Produced by Judd Apatow and written by the creator of Freaks and Geeks, Paul Weig; Bridesmaids‘ trailer looks pretty fantastic. I’ve heard it gets pretty vulgar, so I’m hoping a red-band trailer shows up after this initial one.
“I’m not even confident of which end that came out.”