Captain America: The Winter Soldier (4 Minute Extended Clip & Trailer)


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It’s just less than a month away from one of 2014’s most-anticipated films. It’s the sequel to Captain America: The First Avenger and Marvel Studios has been kind enough to treat it’s fans to a 4-minute clip/trailer of the film.

This clip from Captain America: The Winter Soldier comes early in the film and helps in setting the tone of the film. This is not the gung-ho and patriotic first film. This follow-up shows the after-effects of the events from The Avengers and how it’s created a sense of paranoia and conspiracy surrounding the very group Captain America has now become a part of.

Where the first film had the nostalgic feel similar to Joe Johnston’s The Rocketeer, this sequel looks to tap the 70’s conspiracy and 80’s technothriller genres. It’s anyone’s guess whether the Russo Brothers succeeded, but just going by this extended scene and the previous teasers and trailers they may have just done that.

Captain America: The Winter Soldier arrives in North America on April 4, 2014.

The March Edition Of Lisa’s Way Too Early Oscar Predictions


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Is it ever too early to start trying to predict what films will be nominated for Oscars next year?

In a word … yes.

After all, it’s only March.  Grand Budapest Hotel has just now been released in New York and Los Angeles.  Whiplash and Boyhood were acclaimed at Sundance.  But otherwise, this is the time of year when the studios release films like The Legend of Hercules and Jack Ryan: Shadow Recruit. 

Yes, it’s way too early and, quite frankly, a bit silly to try to predict anything right now.

But, a lot of us are still going to try.

Below you can find my way too early predictions for the 2015 Oscar nominations.  Needless to say, these are blind guesses and should not be taken too seriously.

Some may notice that three films that are very popular with other award watchers are not listed on my list of best picture predictions.  I have not listed Grand Budapest Hotel because the Academy, in the past, has not exactly been receptive to the films of Wes Anderson.  As for David Fincher’s Gone Girl, I’m predicting it will have more in common with his rehash of The Girl With The Dragon Tattoo than The Social Network.  Finally, I’m looking forward to seeing Paul Thomas Anderson’s Inherent Vice but I think the material will be too quirky for the Academy.

Best Picture

Birdman

Boyhood

Foxcatcher

Get On Up

The Imitation Game

Interstellar

Unbroken

Whiplash

Wild

Best Director

Alejandro Gonzalez Inarritu for Birdman

Angelina Jolie for Unbroken

Richard Linklater for Boyhood

Morten Tyldum for The Imitation Game

Jean-Marc Vallee for Wild

Best Actor

Chadwick Boseman in Get On Up

Steve Carell in Foxcatcher

Benedict Cumberbatch in The Imitation Game

Brendan Gleeson in Calvary

Timothy Spall in Mr. Turner

Best Actress

Amy Adams in Big Eyes

Jessica Chastain in A Most Violent Year

Rosamund Pike in Gone Girl

Emma Stone in Magic in the Moonlight

Reese Whitherspoon in Wild

Best Supporting Actor

Robert Duvall in The Judge

Idris Elba in Beasts of No Nation

Mark Ruffalo in Foxcatcher

J.K. Simmons in Whiplash

Christopher Walken in Jersey Boys

Best Supporting Actress

Viola Davis in Get On Up

Amy Ryan in Birdman

Kristen Scott-Thomas in Suite Francaise

Meryl Streep in Suffragette

Jacki Weaver in Magic in the Moonlight

Those are my predictions for now.  Come April, I’ll sit down and make (and post) another collection of blind guesses.  If nothing else, these way too early predictions will give everyone something to laugh about when, next year, the actual Oscar nominations are announced.

Agree?  Disagree?  Let me know in the comments.

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Film Review: Diary of a Hitman (dir by Roy London)


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I’ve been on a mission to see as many obscure and forgotten films as possible, which is why, last night — via Movieplex OnDemand —  I ended up watching a 1991 film called Diary of a Hitman.

In Diary of a Hitman, Forest Whitaker plays Dekker, a professional killer.  Despite the film’s title, Dekker does not keep a diary.  What he does do is talk.  A lot.  The film is framed by scenes of him telling his story to somebody on the phone.  (I was never quite sure who he was supposed to be talking to.)  Over the course of the film, he talks to a psychiatrist.  He talks to his agent (Seymour Cassel).  He talks to a dominatrix.  He talks to a corrupt police officer (James Belushi).  He talks to a born-again Christian (Lewis Smith) who hires Dekker to kill his wife and a baby that he may or may not be the father of.  Eventually, he ends up talking to Jain (Sherilyn Fenn), the woman that he’s been hired to kill.  He even has a very brief conversation with Jain’s sister, Kiki (who is played, in a shrill cameo appearance, by Sharon Stone).

With all of the constant talking, it’s not surprising to discover that Diary of a Hitman was based on a stage play.  That’s especially obvious during the film’s second act, which almost entirely takes place inside of Jain’s apartment and basically consists of Fenn and Whitaker delivering dramatic monologues about life and death.  Director Roy London was an acting teacher (among his students were Sharon Stone and Sherilyn Fenn) and it’s perhaps not surprising that he never found a way to make such obviously stage-bound material feel cinematic.  Instead, London directed the film as if he was filming an acting exercise.  Just consider the scene where Kiki drops by the apartment unannounced.  While watching this scene, I kept having flashbacks to high school theater.  I could literally hear one of my old teachers saying, “Okay, for this scene, your motivation is to get her to leave the apartment and your motivation is to stay in the apartment no matter what.  And…go!”

That said, Diary of a Hitman is not a total waste of time.  Playing the agoraphobic Jain, Sherilyn Fenn (who can be seen playing a far more villainous character in this year’s Raze) gives a sympathetic performance, even managing to redeem a potentially distasteful scene where she attempts to seduce Decker.  (I’ve included that scene at the bottom of the review, mostly because — along with Sharon Stone’s cameo — it’s the only scene from Diary Of A Hitman that’s currently available on YouTube.)

And then there’s Forest Whitaker.  It’s hard to say whether Whitaker gives a good performance here or not, largely because the character of Decker makes little sense to begin with and he’s required to have a massive change of heart that seems to come out of nowhere.  (Whitaker has made a credible killer in several other films, just not this one.)  However, what Whitaker lacks in credibility, he makes up for in eccentricity.  In the role of Decker, Forest Whitaker gives one of the oddest performances that I’ve ever seen.  Delivering the majority of his dialogue in an occasionally incomprehensible rasp and flashing a wide smile at the most inappropriate of moments, Forest Whitaker is a force of misdirected nature in this film.  Again, it’s hard to say whether Whitaker actually gives a good performance here but he does make Diary of a Hitman worth seeing.

Trailer: Sin City: A Dame to Kill For (Official Teaser)


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Hard to imagine it’s been 9 years since the original Sin City hit the big screen. It was a comic book adaptation that many thought wouldn’t work, especially how Rodriguez envisioned it to be slavishly loyal to not just Miller’s dialogue but also his unique art style.

The original film’s success quickly ramped up rumors that a sequel was already being planned using the second graphic novel in the Sin City series. Rodriguez himself stated he wanted Angelina Jolie for the role of Ava Lord, the titular “Dame to Kill For”, but after years and years of delay the role finally landed on Eva Green‘s lap (not a bad choice and one I fully support).

So, we’re now going back to Basin City for more tales of booze, broads and bullets in this hyper-noir film that should be loved or hated in equal measures by those who have followed Frank Miller’s career. Once again the directing duties have been split between Rodriguez and Miller. Here’s to hoping that Miller has learned how to be a much better directer after his last film, The Spirit, tanked.

Sin City: A Dame to Kill For is set for an August 22, 2014 release date.

6 Ancient Trailers


Hi there!  Last night, Jeff and I saw Pompeii and I enjoyed it so much that today, I told the trailer kitties to go out and find six trailers that would celebrate the grandeur of the ancient world.

Let’s see how they did with this latest edition of Lisa Marie’s Favorite Grindhouse and Exploitation Film Trailers!

1) War of the Zombies (1964)

2) The Arena (1973)

3) The Avenger (1962)

4) The Last Days of Pompeii (1959)

5) Caligula and Messalina (1981)  (Warning: Graphic And NSFW)

6) Caligula (1979)

What do you think, Trailer Kitty?

Trailer: Transformers: Age of Extinction (Official)


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I know, I know, another Transformers extravaganza coming this summer. As if the last two wasn’t enough to swear me off the franchise. Well, guess what this one doesn’t have any of the actors from the first three and drops in a whole bunch of new ones to play war with the aforementioned robots who are more than meets the eye.

Instead of Shia LaBeouf in the lead role screaming like the most unheroic lead ever we get the manly man Mark Walhberg himself playing a Texas dad out to protect his daughter from the men in black while jump starting a rusted Optimus Prime on his spare time.

This fourth film looks to be a new start for the franchise that we all thought ended with a bang and a whimper with Transformers: Dark of the Moon, but there were still more Transformers that never made it to the bigscreen and what better way to do that than make a fourth. So, it looks like fans finally get Grimlock and the Dinobots plus a Decepticon that looks to be Galvatron.

Again, I will be seeing this (it’s like the scifi blockbuster version of Saw) just for the fact that it doesn’t have Shia LaBeouf for people to listen to scream shrilly every two or three minutes. Plus, it has Optimus Prime wrestling and then riding Grimlock.

Transformers: Age of Extinction is ready to make our eyes explode on June 27, 2014.

Review: Bates Motel 2.1 “Gone But Not Forgotten”


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Bates Motel is back!

During its first season, Bates Motel became something of an obsession for me.  I started out skeptical that a television series that also doubled as a prequel Psycho was a good or even doable idea.  As I watched the wildly uneven first few episodes, I was occasionally intrigued and often frustrated.  I always appreciated Vera Farmiga’s wonderful performance as Norma Bates and, as opposed to a lot of critics, I was always aware of the intelligence that lay underneath Freddie Highmore’s blank-faced interpretation of the teenage Norman Bates.  As the series progressed, I was happy to see the wonderful Nestor Carbonell show up as the enigmatic Sheriff Romero.  Even though his character occasionally seemed like he belonged in a different show, I also loved Max Thieriot as Norman’s bitter but sympathetic older brother, Dylan.  I came to realize that Olivia Cooke’s Emma truly deserved a show of her own where she could solve crimes and worry about finding a date for the prom. Even the oddly named Bradley (Nicola Peltz) came to grow on me, even if I never quite bought the idea that she would have been interested in a someone like Norman.

My main complaint during the first season is that Bates Motel often seemed to be struggling to establish an identity.  A countless number of plots and subplots were introduced and abandoned over the course of just ten episodes.  Was Bates Motel attempting to tell the story of how Norman Bates eventually became a cross-dressing motel keeper and voyeur who murdered women while they showered?  Or was it attempting to tell a story about a single mom who, having moved to a strange new town, now had to struggle to keep her family together? How seriously, I wondered, were we supposed to take the show?  Occasionally, the show seemed to take itself very seriously.  Other times, the show instead seemed to be deliberately over the top, inviting us to laugh along with the melodrama as opposed to at it.

As that first season came to an end, I knew that Bates Motel had a lot of potential but, in order to live up to that potential, it needed to figure out just exactly what it wanted to be.

Well, the second season started last night.  It’s hard to say if Bates Motel has truly figured out what it wants to be but, judging from the premiere, it may be on the right track.

When season one ended, Norman was running home in the rain while his teacher, Ms. Watson, lay dead in her bedroom.  The implication was that the blood-covered Norman had killed her but, as smart viewers know, it probably wasn’t a coincidence that we didn’t actually see him do it.

Season two begins with Norma learning that Ms. Watson has been murdered.  When she asks Norman what happened between him and Ms. Watson, he tells her that he can’t remember anything beyond Ms. Watson offering him a ride back to his house.  Norman and Norma attend Watson’s funeral, where Norman sobs hysterically.  Meanwhile, Bradley — who last season discovered that her murdered father had a mysterious lover named “B” (who, we discover, was Ms. Blair Watson) — jumps off a bridge.

Suddenly, we jump forward four months later.  The motel is thriving, Norma has a new haircut, and her only concern — as usual — appears to be her two sons.  Dylan is spending all of his time down at the marijuana farm while Norman is apparently spending all of his free time either in the basement practicing taxidermy or in the cemetery, visiting Ms. Watson’s grave.  When Norman spots another man standing at Watson’s grave, he is so disturbed that he goes to Sheriff Romero.  Romero then tracks down Norma and tells her that Norman is, essentially, weird.  When Norma confronts Norman about this, Norman admits that he’s been lying.  He does remember going to back Ms. Watson’s house.  He even goes so far as to admit that he watched Ms. Watson undress and that he started feeling “strange.”  However, he also denies having killed her.

If that’s not bad enough, Norma also discovers that work has begun on a new highway that will divert business away from her hotel.  When she goes to a city council meeting to complain, the mayor talks down to her.  That’s his mistake because, as any viewer knows, it’s never a good idea to talk down to Norma Bates.  Norma responds by calling out the entire town on their hypocrisy and giving one of those wonderfully over-the-top speeches that have become her specialty.  Vera Farmiga was nominated for an Emmy for the first season of Bates Motel and, as far as I’m concerned, she earned a second nomination last night.  Seriously, the next time some jerk talks down to you, you just do what Norma Bates does and call him a dick to his face.

The episode’s other major plotline followed Bradley, as she was released from the mental asylum that she was sent to after being rescued from the river.  The friendly and somewhat shallow Bradley of last season appears to be gone.  Instead, she’s been replaced by vigilante Bradley. This is the Bradley who, after considering using her father’s gun to commit suicide, instead uses it to execute Gil, the man who ordered her father’s death.  To be honest, I was initially reluctant about buying the idea that Bradley could so easily become a murderer but then it occurred to me that, out of the main characters, Bradley was one of two who didn’t murder someone last season.  (Or did she?  Check out my first random note below.)

The second season premiere of Bates Motel wasn’t perfect.  I would have preferred to have seen a bit more of Dylan and the show’s most interesting character, Emma, was hardly present at all.  But, on the basis of last night’s episode, it does appear that the show’s creators have figured out that Bates Motel is at its best when it follows the lead of a Vera Farmiga’s sincere yet over-the-top lead performance.  Bates Motel is at its best when it shows the self-awareness to cheerfully embrace its melodramatic potential.

That’s what it did last night and hopefully, that’s what it will continue to do for the rest of this season.

Random Thoughts and Observations:

  1. So, who do you think killed Ms. Watson?  The show wants us to think that it was Norman but, personally, I won’t be surprised if it turns out to be Bradley.  Perhaps she killed Ms. Watson and then attempted to kill herself.  When Bradley shot Gil, she certainly didn’t act like someone who committing her very first murder.
  2. Rumor has it that Nicola Peltz will be leaving the show before the end of this season.  That’s another reason to think that Bradley will ultimately be revealed as Ms. Watson’s murderer.
  3. Hopefully, the show won’t forget about Emma.  She’s a great character.
  4. And yes, I will be reviewing each episode of this odd yet intriguing show.  It should be fun!

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Treading Water And Sucking Blood : “Empire Of The Dead” #2


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Looking at things in strictly structural terms, second issues are often a tricky wicket in the comic book racket. In today’s marketplace, especially, it’s a pretty safe bet that you’re going to lose nearly half your readership (at the very least) between the first and second installments of any given book simply because cover prices are so fucking high (the going rate for the series under discussion here today, Empire Of The Dead, or as it’s known to Marvel Comics’ legal department, George Romero’s Empire Of The Dead Act One, is $3.99 per 28-page issue, with only 20 of those pages devoted to actual story and art) that a title has to be seriously flawless right out of the gate in order for everybody to shell out their hard-earned cash for a second serving.  So you’d better give the diminished-yet-loyal cadre who have showed up for the second round good reason to keep coming back for more — a nifty plot twist or two never hurts — and you’ve also gotta put in some serious work on fleshing out the world you showed in only the broadest strokes in the series’ debut installment.

With those two admittedly impromptu standards in mind, it’s safe to say that Empire whiffs on the first — badly, in fact — but connects rather nicely on the second, and therefore the end result is a decidedly mixed bag indeed.

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Nothing much happens here in terms of plot progression, with Romero choosing instead to paint a more complete picture of his zombie-and-vampire-infested future New York City. We learn that the devious Mayor Chandrake, his even more devious nephew Bill, and their ghoulish entourage live, appropriately enough, at the infamous Dakota apartment building, and that Bill is a bit reckless in terms of his procurement methods for new flesh (and blood). We learn that SWAT-officer-turned-zombie Francis Xavier is displaying even greater signs of intelligence (or at least more successfully mimicking learned behaviors, as she proves when she arrests a criminal) than previously thought. We learn that uber-zombie Zanzibar is an even bigger bad-ass in the coliseum than we figured by way of a particularly gruesome fight sequence. And we learn that Dr. Penny Jones can be somewhat ruthless in pursuit of her research goals, even going so far as to enlist her feminine wiles to aid her cause.

But that’s about as far as things go here. There is some impressively Bacchanalian excess going on in the Chandrake suites, with carnal blood-letting taking up most of the issue, and there’s some political “court intrigue” introduced in the New York city council, but there’s no real story advancement taking place in the traditional sense, with Romero apparently being content to take this opportunity to merely expound upon his characters and their various situations a bit more fully (except for poor Paul Barnum, who’s scarcely given anything to do). That might work reasonably well for one issue, I suppose,  but we’re going to need more the next time around — a lot more, in fact, especially given that part three will mark the more-than-halfway-point of this initial five-issue arc. I’m not ready to say this second issue was a failure so much as a missed opportunity, but it all hinges on what happens (or doesn’t) next.

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At least the art doesn’t let the side down, though. Alex Maleev’s rough. sketchy illustrations are rich with atmosphere and convey a genuine sense of both brutality and foreboding, while the variant covers (by Maleev, Arthur Suydam, and Greg Horn,  respectively, as shown) are all pretty goddamn cool in their own way. Now it’s just up to “Mr. Zombie” himself, George A. Romero, to give his artist some more interesting things to draw. I’m down for another issue, but the go-nowhere nature of this one has tempered my initial enthusiasm for this series quite a bit.

The ball’s in your court, George. You haven’t let me down yet (as mentioned in my review of issue one I was even a fan of Diary Of The Dead), but this is a  new format for you with new demands — and new possibilities.  I’ve still got exactly $3.99 worth of faith that you won’t disappoint me now, either.

 

Scenes I Love: 86th Academy Awards Show


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Always known to be the quirky, eccentric personality, during last night’s broadcast of the 86th Academy Awards, Bill Murray provided a fitting, spontaneous tribute to his long-time friends and collaborator Harold Ramis.

Harold Ramis passed away last week at the age of 69 and Murray’s on-stage tribute to his friend must’ve brought not just smiles and applause from the crowd but some tears as well.

Whatever one thinks of last night’s show this was one moment that made it all worth watching.