News which may just strike some genre and geekdom fans blind with excitement it look like Dr. Horrible and The Guild star Felicia Day has been tapped to portray the descendant of Little Red Riding Hood in the SyFy Channel’s re-imagining of the Red Riding Hood tale.
SyFy has already done their re-imagining of the Wizard of Oz with Tin Man a couple years ago and have made it known that they will do similar re-imagining’s of classic fairy tale stories with Red their version of Little Red Riding Hood. Ms. Day will play one of Riding Hood’s werewolf-hunting descendants whose family shares the same proclivity to hunting the shapeshifting beasts. Her character of Red brings home her fiance to meet the family but who remains skeptical of their lineage and their werewolf-hunting sidejobs. That is until he himself gets bitten by one of the beasts and now must try to stay away from Red’s family who know what must be done. Red must try and save her man against his curse and her family.
While Ms. Day has had success starring in two of the web’s most popular and successful online series with Joss Whedon’s Dr. Horrible and her own The Guild, SyFy’s Red marks her first lead role in a production in film and tv. Here’s to hoping this is the sign of better things to come for the internet’s redhead darling.
May 7, 2010 is still two months away but it sure is a long wait after seeing the second official trailer for this summer’s most anticipated blockbuster. I am talking about Marvel’s Iron Man 2. The trailer premiered on the post-Oscar Jimmy Kimmel Show episode and I will say that it was the highlight of the night.
There’s been some concern about Iron Man 2 after the release of the first official trailer. Some said that trailer gave them feelings that the sequel was going to be way over-the-top and almost crossing the line into ridiculous. Others thought there may have been too many bad guys involved. Then there are those who are still bitching about the look of the main villain, Mickey Rourke as Whiplash.
I’d like to say that the second trailer went a long way in dispelling some of the concerns. There were more scenes about Tony Stark and the Iron Man suit (in its many variations). There seemed to be more explained about Whiplash and his role as the main villain. Even Sam Rockwell’s Justin Hammer character comes to the forefront. The clincher was the sequence when the Hammer Iron Men showed up to battle not just Iron Man but the War Machine. This sequel may not be all about the Iron Man story-arc called “Armor Wars” but it sure seems to borrow a lot from that arc and, for that, this self-confessed comic book geek is giddy. GIDDY I SAY!
Oh yeah, one last thing: On-The-Go Mk. V Iron Man suit!
It’s a Friday night, long day at work and now home to relax, unwind and just plain decompress. What better way to do this than to have a glass of 16-year old Lagavulin single-malt scotch whisky (three fingers worth poured), a pint of Guinness, a nice novel and, finally, light up a nice cigar. But to truly round things out listening to The Black Keys’ Attack & Release album just tops it all.
One particular track in their 2008 Delta-blues and Zeppelin psychedelic rock fusion album which really gets my head nodding to the beat and my foot tapping is the second track listed. I speak of “I Got Mine” and does this song ever blow my mind like 10k call-girl with skills. This song right from it’s first heavy chord right down to the last brings to mind some down and dirty southern, Mississippi Delta-blues and classic Hendrix psychedelic rock. While this song like the rest of the album has a more polished sound than the typical lo-fi and “garage band” music The Black Keys have been known for it still retains an in-the-moment and live vibe to the track.
The first 30 or so seconds of the beginning is an aural assault from Dan Auerbach almost channeling Hendrix and Duane Allman. Accompanying Auerbach on the drums is the heavy sticks of Patrick Carney who seem to be attempting to pound every drum beat right straight through onto the floor. Delta-blues segues into a psychedelic late-middle section before the two fuse into one unique sound to finish off the song.
When it comes to two-man rock bands many seem to be fans of The White Stripes with a growing legion of music lovers prefering Flight of the Conchords. They’re both very good groups, but I’ll choose The Black Keys w/ Auerbach and Carney over the two any day of the week plus Sundays twice over. The Black Keys really keep classic southern blues rock alive and well.
Newest hottie of the day is the lovely Ursula Mayes and quite the smokin’ one she is.
Born in 1979 in South Korea to a Native-American/German father and a South Korean mother, Ursula moved around the world as an Army brat. She spent time growing up in South Korea, Puerto Rico and North Carolina before finally setting roots in Washington, D.C. Having grown up in a house with five other brothers Ms. Mayes’ young childhood leaned towards a certain tomboyishness. This could be seen even today as she likes to work and race her custom Nissan 240SX. This alone has made her a fan-favorite at import car tuning shows and events. This has also allowed her to become a famous import car model for the past five years or so. In addition to import car mags she has also modeled for fitness mags and done work in South Korean ad and media.
Ursula Mayes has gradually began branching out into TV and film. She might be remembered as one of the suitcase models for the NBC reality-gameshow, Deal or No Deal. While her roles in film and TV has been small and, at times, uncredited it won’t be long until something larger lands in her path. Until then her fans will continue to adore and worship her at shows and events.
This week we saw news that the potential live-action Battle Angel Alita was one-step closer to becoming reality as script collaborator Laeta Kalogridis was working on a draft for James Cameron. Now comes more news of another manga classic getting closer to getting it’s own live-action adaptation being made with her about to turn in a script in a few weeks. This classic manga is Ghos in the Shell.
Masamune Shirow’s Ghost in the Shell has always been one of those manga/anime works which has continued to gain fans despite all the new anime/manga properties churned out in the dozens every year in Japan. It, like Katsuhiro Otomo’s Akira, has become one of the classics in the medium and plans to create a live-action version has been rumored and talked about for over a decade. With hollywood hungry for new properties and ideas to put on film they’ve suddenly turned to the Japanese manga and anime well for such ideas.
The rights to develop a live-action adaptation of GitS was acquired by Dreamworks a couple years ago with Steven Spielberg being the main engine to get the project up and running. In a couple weeks we’ll find out just how feasible this adaptation will be as the script by Laeta Kalogridis will be delivered to Dreamworks and Spielberg. If they like what they see of Kalogridis’ work then production can quickly begin as a planned 2011 release is still on the table. As a blowback to the success of Cameron’s Avatar, it looks like Dreamworks plans to have the film done in 3D right from the start and not something tacked on after production. If this is the case then Spielberg gets it when it comes to 3D and exactly how Cameron thinks 3D should be used.
I wonder if the oft-rumored and planned Akira live-action will get new traction and finally get made. That’s another anime/manga live-adaptation that will probably look great in 3D.
May 3, 2010 marks the day of Bungie’s Halo Reach multiplayer beta. This game marks the final Halo title from the guys at Bungie for the forseeable future. It looks like they plan to go out with quite the bang. The game reaches back to the time before the first game when Spartans were not down to one.
The multiplayer trailer shows the tried-and-true Halo multiplayer action fans of the series have come to know and love, but it also seem to have had some changes to it. There now seems to be more players allowed to play against each other with vehicles and large-scale fights looking to become a huge aspect of multiplayer. I particularly liked the one labeled INVASION.
With Infinity Ward’s Modern Warfare 2 dominating console multiplayer FPS action this upcoming release from Bungie may just be something to take back the FPS multiplayer crown back to the Halo camp. If the multiplayer comes out in final release relatively bug and glitch-free then I wouldn’t be surprised if it does become the top multiplayer game on Xbox LIVE once again.
With the success of Avatar there’s an ongoing speculation as to what will be James Cameron’s follow-up project. This is a man whose last two films has made a combined 4.2billion dollars (unadjusted) worldwide in theater box-office. There’s already talk of him doing a sequel (or prequel) to Avatar with him as producer and someone else directing. The one project which seems to be popping up again and gaining traction as Cameron’s next directing gig is the film adaptation of the classic manga title, Battle Angel Alita.
Jon Landau, producer of Cameron’s last two film’s, have spoken to MTV Splashpage about the possibility that Cameron will make the film adaptation of Battle Angel Alita as his next 3D-epic with script collaborator Laeta Kalogridis helping flesh out the screenplay. If the film does become the next Cameron gig then the script will concentrate on the early volumes of the nine-volume manga. A part of the series where the character of Alita has lost her memories and no idea of where she came from and who she really is. One aspect of using this part of the series’ as the core part of the script includes Alita’s time as a participant in the Motorball games. Motorball being a combination Rollerball and NASCAR but with cyborg participants. As the Youtube video of an example of how Motorball looks like it would definitely translate into an awesome sequence in Cameron’s hands and in 3D.
Everyone who has read about Avatar and it’s history knows by now that Cameron originally wanted to do this film adaptation of Battle Angel Alita as his follow-up to Titanic but decided against it when he realized the technilogy to properly do it wasn’t ready. Cameron opted for Avatar instead and used that film to develop and test the tech he needed for Alita. Now that his new film techniques and equipment have succeeded with flying colors there should really be no reason why Cameron should delay adapting Battle Angel Alita.
I, for one, think this manga and Cameron are perfect for each other. Strong female character, dynamic action story and one that needs a filmmaker at home in doing a huge film heavy on tech. Sounds like a Cameron film to me.
It appears that Darren Aronofsky and Angelina Jolie are being reported as having plans to work together in the near future. Aronofsky has just completed initial filming on his latest, Black Swan, and is now looking to try and adapt the Ron Rash novel, Serena, with Angelina Jolie in the title role.
The project will be using a script adapted from the novel by Chris Kyle (wrote several of Kathryn Bigelow’s past work). The story is set in Depression-era 1929 and involves husband and wife George and Serena Pemberton heading down to North Carolina from Boston to try and make their fortune in timber. The title character of Serena adapts wells to the backwoods country as well as any of the locals and timbermen and in pursuit of creating their timber empire pushes the husband into further acts of cruelty to realize their dream. It is a the height of their power and growing empire that Serena realizes she cannot bear children. This revelation causes her to set out on a plan to murder the son her husband had outside their marriage. The rest of the film becomes a struggle between Serena and the “son” and of betrayal as Serena begins to suspect her husband trying to portect and save his illegitimate family.
Serena looks to have some similar themes as Paul Anderson’s There Will Be Blood and with what could be a small budget despite the period piece setting, Aronofsky may have another classic in the works to add to his body of work. All of this hinges on Aronofsky and Jolie finding financing for the project. Here’s to hoping that their search is not too long and production begins soon enough that Jolie doesn’t back out to work on another film.
While remakes of older films have a tendency to fail in terms of storytelling and just overall quality, for some reason most remakes of George A. Romero’s films seem to do quite well. The Tom Savini-directed remake of the original Night of the Living Dead wasn’t better than the first but was very entertaining and stood on its own merits. The next Romero film to be remade was another of his horror classics, Dawn of the Dead. Another first time director in Zack Snyder handled this remake (despite howls of protests about the attempt to remake a film many consider one of the greats) and what he ended up making didn’t disappoint and has become of the the last decade’s best horror entries. While the remake of Day of the Dead ended up becoming a huge pile of crap I am happy to say that the remake of Romero’s bio-terror flick, The Crazies, under the directing work of Breck Eisner ended up better than I expected and, in my opinion, surpassed the original.
The film adheres pretty close to the original with just the setting having changed from Evans City, PA to Ogden Marsh, Iowa. Using this Midwest backdrop the film quickly establishes that Ogden Marsh is the prototypical Middle America town with everyone in the town of 1260 knowing everyone. They town even celebrates itself as the friendliest town in America. This all changes when a seemingly random and tragic event at a high school baseball game shatters the thin edifice of the town’s neighborly facade. The town’s sheriff (played by Deadwood’s Timothy Olyphant) knows that something is not right when another inexplicable murder happens the following day. The final clue which reinforces this hunch of his is when a trio of local hunters stumble upon the decomposing body of a pilot who died attempting to parachute and landing in a creek marsh close to town. The plane of the said dead pilot is later found. Not knowing what exactly was being ferried (later discovered to be a bio-weapon code-named “trixie”) on this plane the sheriff and his deputy (played by Joe Anderson) soon find the town’s phone lines, cellphone signal and network connection down.
The middle section of the film happens occur with the arrival of “help” in the form of biohazard-suited soldiers forcibly taking all accounted for townspeople from their homes and herding them in the local high school. It is in this section of the film where the remake deviates somewhat from the original. The story never truly establishes just exactly why the soldiers were using extreme tactics and protocols to contain the town and the surrounding area. The film seem to set the military as a faceless machine doing things by-the-book to the detriment of the town and it’s population. The original had the infected and uninfected civilians trapped between the military apparatus trying to contain the outbreak by any means necessary and the scientists flown in to try and find a cure. Writers Kosar and Wright keeps the film centered on the Sheriff Dutton, his pregnant wife (played by Radha Mitchell), his deputy and the his wife’s assistant.
By keeping the film focused on these four individuals the film loses the epic, grand-scale Romero was trying to do with the original and instead we get a more intimate, personal film about survival in a world that suddenly has gotten apocalyptic overnight for these four. It helped the film and Eisner that his two leads in Olyphant and Mitchell were up to the task of giving their husband and wife characters some gravitas in what could’ve easily been just a paycheck performance for them. Olyphant as Sheriff Dutton was especially good in his performance. He kept his character grounded throughout most of the film. Never did he play his character false in that one-minute we get a confused, desperate husband searching for his wife and then next minute we get a badass action hero who can’t get hurt and always coming up aces. Joe Anderson as Deputy Russell Clank who added just a tad bit of levity to an otherwise very tense film from beginning to end.
The infected townsfolk were not zombies as others might like to say. They have a certain similarity to Danny Boyle’s “Rage-infected” but while those seem to get a boost in strenght and speed in The Crazies those who become infected seem to just go all nutfuck crazy. While physical changes occur the longer a person was infected (veins beame inflamed and show up visibly) the “trixie” bioweapon does to those infected what the title says: crazy. Some behave in a crazy non-violent manner with uncontrollable giggling. Some would start rambling for no apparent reason while others become homicidal. It’s the last example which becomes the film’s second danger to the film’s leads in their attempt to survive the night and find safe haven.
It’s from the viewpoint of these four individuals that the audience experiences the night when Ogden Marsh must survive not just the “crazies” but also the government sent in to “help” contain the situation. As stated earlier this time around we do not know the motivations of those sent in to help. The government and the military force sent in are not just faceless, but mechanical in their handling of the situation. People were gathered en masse from their homes and paraded through a series of checkpoints to be checked, prodded and separated from those infected. We hear random bits and pieces of radio communication amongst the soldiers and the scientists controlling the situation, but not enough to know what their true agendas.
As the film progresses the danger posed by the “crazies” themselves seem to pale in comparison when we finally see the final solution the military and the government has come to in dealing with the outbreak. An outbreak caused by an accident and one which happens to occur near this small Iowa town. Just like in Boyle’s own 28 Days Later the solution which the military has come up with to deal with both infected and uninfected ends up being the craziest and horrific action by any and all in the film. There’s a sense of detached horror in how the government decided to truly contain the trixie outbreak.
The film was by no means a great one, but director Breck Eisner does a good job of keeping the film moving forward at a brisk pace right from the start then turning things up the farther in the film we get. By the time The Crazies hit the midway point the film the pacing has gone from brisk to unrelenting. There’s barely a chance for the audience to take a breather from the tension and terror before another one comes along. The decision by the filmmakers to just show the film from the point of view of the sheriff, his wife, the deputy and the assistant keeps some of the moral questions brought up by Romero in the original. Just like with Snyder’s remake of Dawn of the Dead, Eisner goes for the easier route and concentrates on making a thriller instead of trying to push complex social and moral commentaries. While this might disappoint some fans of the original in the end it makes the film more accessible for the wider audience.
In the hands of a more capable filmmaker and writers would this compromise to simplify the film have been avoided. Sure it could’ve but for what Eisner and company ended up creating was still quite engaging and entertaining. In the end, The Crazies was a remake of a horror master’s earlier film that more than hold it’s own against the original and actually surpasses it despite a storyline which had been simplified. It’s not one of the best films in the early part of 2010, but it definitely wasn’t the trainwreck may think horror remakes always end up being.
Clint Mansell is part of the new group of film composers (Nick Cave, Warren Ellis, Javier Navarrette) who have composed some of the best film scores of the past decade. Their background in music usually doesn’t follow the usual classical training like their older contemporaries like John Williams, James Horner and Hans Zimmer. Most started as members of rock bands and through the years branched out to other musical genres until finally breaking into the film composing side of the art.
Mansell has been linked with film director Darren Aronofsky. He’s scored every Aronofsky film going back to the filmmaker’s very first feature-lenght film, Pi. He finally entered the consciousness of film score fans everywhere when he composed and arranged the eclectic and haunting score for Aronofsky’s second film, Requiem for a Dream. That particular film score has become a cult classic that it’s main theme, Lux Aeterna, has become one of the go-to pieces of music for film trailers.
Aronofsky’s third film, The Fountain, once again has Mansell composing and arranging the musical score. What he came up with for the film has become the favorite of many music lovers everywhere. The score for the film was a progressive and impressionistic marvel as Mansell collaborates with the Kronos Quartet and the post-rock Scottish band Mogwai. Mos of the score uses the progressive influences of Bowie and Mogwai with the classical sound of Kronos, but it was the final song in the film which I found to be my favorite of all of them: Together We Shall Live Forever.
Originally composed to be an electronic piece with vocals, but at the last minute Mansell decided that wasn’t the appropriate way to end the film. Instead he took the same music he had already composed and played it as a haunting piano solo. The song perfectly defines the central theme of the film: love and death. It is really difficult not to listen to this song and not reflec back on one’s own loves gained and lost. While it is not what one might call “Valentine’s Day” music it is one for people whose experiences with love and death have had a profound impact on them.
Through the Shattered Lens 