The Wrap has compiled a great list of upcoming movies to watch this year. Among them are new works by Darren Aronofsky, Lars Von Trier, Wes Anderson, and George Clooney. It left me with lots of thoughts! Here are several of them.
Michael B. Jordan from The Wire is in one of them! I really liked Wallace, and I'm glad to see Jordan getting more roles.
Clooney's The Monuments Men: I could take it or leave it. Why? Too many big-name stars who will play caricatures of themselves. They comprise the cast less for their acting talents and synergy than for the profit they will bring at the box office. Also, it's a historical drama, and that's what Clooney likes to do. History is indeed important to remember, but I'm just not in the mood.
Most piquing my interest is the new Veronica Mars movie, directed by series creator Rob Thomas, which reunites the old cast in a feature-length product that continues where the (exceptional) series left off. I think Thomas is really going to bring fans together on this one. Veronica Mars was a great show. The pop-rocking theme music for the first season was so much better than the Massive Attack-themed remix that annoyed the piss out of me during the later episodes. It had Ken Marino! And a really cool film noir feel, full of suspense, intrigue, romance, and the occasional murder. Great show, psyched for the movie.
Previewing Lars Von Trier's upcoming two-part Shia Lebeouf-starring vehicle Nymphomaniac, The Wrap linked to left-wing-outrage-machine Huffington Post's story on Von Trier's little monologue about Nazis and Jews. His full statement is included in the article.
Von Trier's words do not offend me, specifically because his reputation precedes him. You could see Dalí saying something like that. He was apparently not taking the reporters' questions (or power of response) seriously, was going for shock value as he is want to do, and trying to make a grand statement that he didn't fully articulate. The impression I get is that he was sort of grasping at straws, going for an epic statement that deals with what we can and can't talk about in society, but not putting enough preparation into it. You can't just improvise something like that.
Though I don't feel outrage at him, I do feel a sickness in my stomach when I think of the subjects he touched on. He only mentions these things and people freak out, blaming him, as if he's at fault for the rise of Hitler. He's being branded a witch, thanks to HuffPost's artistic license with his direct quotes in the headline, and the flippant, OMG-tone they take in the writing. People should be able to say whatever they want. Without too much effort of thought, one may come readily to the conclusion that Von Trier's films ought to be his output that gets him in trouble, not some weird improvisation he utters at a film festival. Is it any different that he did it in front of cameras, and not just to a few people? Should it be?
His apocalyptic Melancholia looks really interesting. I think a LVT kick is in order, right after I finish all the Hellraiser movies.
Robocop's coming back in 2014, in the form of a reboot. The movie could be cool, but I'd put money on it not being great. I've been hurt too many times by superhero films, and have never been quite reciprocated. One exception: Dredd. That. Movie. Rules. If the Robocop reboot could keep the brutal intensity, not-infuriating-dialogue, and stark futurereality of Dredd in mind, it'll be a great movie.
Robocop is a film close to my heart. It's set in futuristic Detroit, for one thing. I first watched it when my dad took my brother and I to Ann Arbor to visit one of his college friends. It was in a weird living room. He told me I should look away when Murphy gets shot up by thugs. That scene had a big impact on me as a kid. And the guy getting burned by acid.
It has Samuel L. Jackson. ...... Thud. Buuuuh. He shouldn't have been cast as a Jedi, either. Big name actors = big money = dishonest portrayal of characters. I take a hard line on this.
Wes Anderson: The Grand Budapest Hotel. Watch the trailer, get a few belly laughs in, and be full of (that feeling when you want something really bad but it's not out yet...) anticipation and wonder.
This Anderson guy just can't go wrong. Now, I gotta admit, he casts a lot of the same actors in his films, but I feel that he always groups and pairs them according to their artistic synergy together, and that they'll get what he's trying to do. Like with Lynch. Or Almodovar. Or Kurosawa. And Ralph Fiennes looks like he had himself fully invested in his character. I'm looking forward to this one.
Oh, Darren Aronofsky is doing the Biblical story of Noah? Of course he is.
Captain America, Chris Evans, take me seriously, please. I have blonde hair and a serious, though unphased expression.
And so, we take oft this yon merry leave in jest, merry pranksters mine, although in summary, comma, it is indeed liken I always say, have fun out there, and being safe.
Michael B. Jordan from The Wire is in one of them! I really liked Wallace, and I'm glad to see Jordan getting more roles.
Clooney's The Monuments Men: I could take it or leave it. Why? Too many big-name stars who will play caricatures of themselves. They comprise the cast less for their acting talents and synergy than for the profit they will bring at the box office. Also, it's a historical drama, and that's what Clooney likes to do. History is indeed important to remember, but I'm just not in the mood.
Most piquing my interest is the new Veronica Mars movie, directed by series creator Rob Thomas, which reunites the old cast in a feature-length product that continues where the (exceptional) series left off. I think Thomas is really going to bring fans together on this one. Veronica Mars was a great show. The pop-rocking theme music for the first season was so much better than the Massive Attack-themed remix that annoyed the piss out of me during the later episodes. It had Ken Marino! And a really cool film noir feel, full of suspense, intrigue, romance, and the occasional murder. Great show, psyched for the movie.
Previewing Lars Von Trier's upcoming two-part Shia Lebeouf-starring vehicle Nymphomaniac, The Wrap linked to left-wing-outrage-machine Huffington Post's story on Von Trier's little monologue about Nazis and Jews. His full statement is included in the article.
Von Trier's words do not offend me, specifically because his reputation precedes him. You could see Dalí saying something like that. He was apparently not taking the reporters' questions (or power of response) seriously, was going for shock value as he is want to do, and trying to make a grand statement that he didn't fully articulate. The impression I get is that he was sort of grasping at straws, going for an epic statement that deals with what we can and can't talk about in society, but not putting enough preparation into it. You can't just improvise something like that.
Though I don't feel outrage at him, I do feel a sickness in my stomach when I think of the subjects he touched on. He only mentions these things and people freak out, blaming him, as if he's at fault for the rise of Hitler. He's being branded a witch, thanks to HuffPost's artistic license with his direct quotes in the headline, and the flippant, OMG-tone they take in the writing. People should be able to say whatever they want. Without too much effort of thought, one may come readily to the conclusion that Von Trier's films ought to be his output that gets him in trouble, not some weird improvisation he utters at a film festival. Is it any different that he did it in front of cameras, and not just to a few people? Should it be?
His apocalyptic Melancholia looks really interesting. I think a LVT kick is in order, right after I finish all the Hellraiser movies.
Robocop's coming back in 2014, in the form of a reboot. The movie could be cool, but I'd put money on it not being great. I've been hurt too many times by superhero films, and have never been quite reciprocated. One exception: Dredd. That. Movie. Rules. If the Robocop reboot could keep the brutal intensity, not-infuriating-dialogue, and stark futurereality of Dredd in mind, it'll be a great movie.
Robocop is a film close to my heart. It's set in futuristic Detroit, for one thing. I first watched it when my dad took my brother and I to Ann Arbor to visit one of his college friends. It was in a weird living room. He told me I should look away when Murphy gets shot up by thugs. That scene had a big impact on me as a kid. And the guy getting burned by acid.
It has Samuel L. Jackson. ...... Thud. Buuuuh. He shouldn't have been cast as a Jedi, either. Big name actors = big money = dishonest portrayal of characters. I take a hard line on this.
Wes Anderson: The Grand Budapest Hotel. Watch the trailer, get a few belly laughs in, and be full of (that feeling when you want something really bad but it's not out yet...) anticipation and wonder.
This Anderson guy just can't go wrong. Now, I gotta admit, he casts a lot of the same actors in his films, but I feel that he always groups and pairs them according to their artistic synergy together, and that they'll get what he's trying to do. Like with Lynch. Or Almodovar. Or Kurosawa. And Ralph Fiennes looks like he had himself fully invested in his character. I'm looking forward to this one.
Oh, Darren Aronofsky is doing the Biblical story of Noah? Of course he is.
Captain America, Chris Evans, take me seriously, please. I have blonde hair and a serious, though unphased expression.
And so, we take oft this yon merry leave in jest, merry pranksters mine, although in summary, comma, it is indeed liken I always say, have fun out there, and being safe.
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