Okay, here’s the red band trailer for David Fincher’s unneccessary offensiveinsulting upcoming version of The Girl With The Dragon Tattoo.
If you want, feel free to visit YouTube and read all the comments from fanboys having Finchergasms over it. My position will continue to be that David Fincher is a very talented director, Rooney Mara was rather bland in both Nightmare on Elm Street and The Social Network, Daniel Craig is boring and overrated but then again, so is the character he’s playing, and finally, Noomi Rapace will always be the Girl With The Dragon Tattoo.
That doesn’t mean that Fincher won’t make a good movie. The trailer is effective and the material seems well suited for Fincher’s vision. In fact, it could allow Fincher to get back to his Fight Club and Zodiac roots after going all boring and mainstream with The Curious Case of Benjamin Button and The Social Network.
Still, perhaps we should remake The Lord of The Rings trilogy next. After all, those first three films are just sooooo New Zealand. We need an American version.
Hi there and Happy Friday the 13th! Nobody’s quite sure why thirteen became the pariah of numbers though I’ve heard a lot of theories. Judas was the thirteenth disciple, I’ve heard that one a lot. You conspiracy junkies might be interested to know that the Knights Templar were arrested on Friday the 13th. My mom always used to tell me that Tuesday the 13th (Martes y Trece, as she used to put it) was actually more dangerous than Friday the 13th.
Well, even if we’re not sure why, the number 13 just carries a certain power to it, doesn’t it? Perhaps that’s why so many movies have sought to exploit that number. And since I’m all about movies, here’s a few examples to help us all get through Friday the 13th.
So, here I am. It’s May 1st, I’m suffering from a mighty terrible case of insomnia, my asthma is bothering me so much that I’d scream if I had the lung capacity, and let’s just say that whatever it is that I’m watching on LMN right now is not memorable enough to rate a What Lisa Watched Last Night post.
And yet, I’m excited. Why?
Because we have a title!
In this case, we have the title to Quentin Tarantino’s upcoming Spaghetti Western (or “Spaghetti Southern” as Tarantino has suggested it should be called). The title is Django Unchained. When I first heard that title, along with the rumor the Franco Nero would have a cameo in the film, I was hopeful that maybe Tarantino was looking to restart the original Django series. Back during the heyday of the Spaghetti Western, there were a countless number of Italian-made westerns that detailed the adventures of a ruthless bounty hunter named Django. Franco Nero first played Django in a film entitled, not surprisingly, Django. However, after the success of the first Django, Django was played by everyone from Tomas Milian to Ivan Rassimov to Jeff Cameron to George Eastman.
However, it appears that the name of Tarantino’s Django is not evidence of a reboot but just of an homage. Tarantino’s Django is a former slave who, along with an older German bounty hunter (presumably to be played by Christoph Waltz, who could use another good role), returns to the South to rescue his wife from an evil plantation owner.
If you read the story over on Comingsoon.net, you can read a review of the script from someone who claims to have read a copy. I’m not going to quote from that review because, quite frankly, it’s obvious just from the tone of it that the reviewer is busier trying to come across like a film geek badass than actually reviewing the script. (Seriously, there’s nothing I hate more than people who think they’re more interesting than they actually are.)
Still, I will always look forward to anything Tarantino does. Add Franco Nero into the mix and we have got a lot to look forward to.
At the risk of revealing my inner fangirl, there is nothing — NOTHING, I SAY! — that I am more looking forward to than sitting in a dark theater and watching Harry Potter and the Deathly Hallow, Part 2 on July 15th.
Let’s just hope that, after this movie comes and goes — Hollywood doesn’t decide to remake the Harry Potter series with Daniel Craig as Harry and Rooney Mara playing Hermione under the direction of David Fincher.
Today the film and journalist community has lost one of its bravest brothers as news reports have confirmed the death of Tim Hetherington. Mr Hetherington was an acclaimed British conflict photojournalist and co-director of the wartime documentary Restrepo which was nominated by the Academy for a Best Documentary in this past Academy Awards ceremony.
Mr. Hetherington was in the besieged Libyan city of Misrata when he suffered wounds from an RPG attack on April 20, 2011 that he would soon die from. Three other photojournalists working side-by-side with Mr. Hetherington were also wounded with two of the photographers in severe to grave conditions (Chris Hondros and Guy Martin). The third photographer, Michael Christopher Brown, suffered non-life threatening injuries during the attack.
The loss of Mr. Hetherington is a blow to the documentary community and to the community of photojournalists who has taken it upon themselves to report and record the conflicts going around the world. Mr. Hetherington’s work on bringing to light the day-to-day life of American soldiers fighting in one of the most dangerous combat zones in the world with Restrepo has earned him accolades from colleagues and has earned him friends with the very subjects he chose to cover.
It is a sad day indeed this April 20, 2011. Tim Hetherington has been taken too early and his name and legacy will live on through his past work and the lives he helped cover and change through work he loved to do best.
EDIT: News has now come down that fellow photojournalist Chris Hondros has also died from wounds suffered during the same attack which took the life of war correspondent and docu-filmmaker Tim Hetherington.
Sad news came across the news wire this morning as it was confirmed that one of the most esteemed filmmaker in America has passed away at the age of 86. Sidney Lumet was considered by many as one of the best filmmakers of all-time. He definitely is one of the best, if not the best, American filmmaker of all-time.
Lumet was quite prolific as a filmmaker since he began to work behind the camera starting in 1957 with the classic drama 12 Angry Men and ending with his most recent work in 2007 with Before the Devil Knows Your Dead. In between these two films he would direct another 43 films with all of them received positively by critics and audiences everywhere. He was the consummate professional and never waited for the perfect project to come along. He always went into a film project because he either liked the script or, barring being in one which didn’t have a script he liked, it had actors he wanted to work with or he wanted to test his abilities as a filmmaker with new techniques.
Sidney Lumet began his career directing Off-Broadway plays and summer stock productions. He would soon move into directing tv shows in 1950. It would be his time as a tv director where turn-arounds between episodes were so short that a director had to work quite fast that he would earn the reputation as a filmmaker who didn’t spend too much time shooting too many takes of a scene. Lumet became known as a filmmaker who would shoot one to two takes of a scene and move onto the next. Another tool he learned as a tv director that served him well once he moved into film was to rehearse for several weeks with his actors the script before starting up actual production behind the camera.
It was in 1957 when he finally moved into filmmaking with 12 Angry Men (itself previously a teleplay for a TV drama) which would catapult him into prominence in the film community. The film was well-received and still considered by many as one of the most influential films of its kind as it highlighted social injustice in a time when such themes were not considered profitable by studios and the people who ran them. This was the film which would help build the foundation of Lumet’s filmmaking-style as he would continue to use filmmaking as a way to tell the audience about social injustices not just in his preferred film location of New York, but in America and the world, in general. Some of the best films in American history were done by him during the 1970’s when he would take the chaos and public distrust of long-standing public institutions in the US and crafted three of the finest films of the 70’s and America as it was during that decade with Serpico, Dog Day Afternoon and Network.
Sidney Lumet’s legacy as a filmmaker will continue to inspire young filmmakers long after his passing. He was a man who looked at filmmaking as an artform and not just a way to entertain the audience. His films never talked down or pandered to the very general public who watched them unlike some of the filmmakers working in the industry today. His legacy as being the consummate “actor’s director” meant that one didn’t need to be dictatorial with his cast and crew to create a great piece of filmmaking. That there were other ways to make a film and do it in such a way that everyone were still able to give their best without being alienated to do so.
My very first experience when it came to Sidney Lumet had to have been watching his Cold War classic, Fail-Safe, in high school history and it was one of those films which got me looking at film as something more than a form of entertainment. Here was a film that was entertaining but also one so well-made and acted that it’s ideas and themes were not lost. It opened up my eyes to the possibility of film as a medium that could be used to teach, raise issues to debate in society and highlight both the good and the bad of the human experience.
Sidney Lumet has made such an impact not just on those who were fans of films and grow up to become players in the industry, but also those people who would work in other fields of life whether they were lawyers, judges, police officers or politicians (professionals he would use over and over in his films throughout his career). Even Supreme Court Justice SOnia Sotomayor would look at Lumet as an inspiring figure in convincing her that she made the correct choice in choosing law as the path for her professional life.
I find it one of the most fitting tribute for Sidney Lumet that his time as a filmmaker and doing what he enjoyed doing the most became inspirational for people of all color, stripe and creed. This was a man who didn’t just take from the public but gave back just as much in the end. America has truly lost one of its best artists.
Hi! So, guess what today is? *sigh* Yes, smartass, it is Sunday but that’s not what I was looking for. *shaking head*
It’s my anniversary! That’s right — one year ago today, I posted my first review on this site and twelve months and 243 posts later, I have yet to shut up.
So, I was wondering — what should I do to observe this occasion? Well, I guess I could so what most people would do and not make a big deal out of it but — well, I’m incapable of not making a big deal out of stuff. Briefly, I considered posting a nude picture as my way of saying thank you but who wants to see that, right? So, as I woke up this morning from my usual 2 hours of sleep, I asked myself, “Lisa, what are you going to do?”
Well, for the most part, I’ve observed the occasion by being kinda lazy. Seriously, I’ve spent today in my beloved Hello Kitty robe (pictured above, it’s so comfy!), curled up on my couch with my feet tucked underneath me. I’ve been watching Buffy the Vampire Slayer on Chiller.
Of course, to be honest, watching Buffy the Vampire Slayer always makes me want to go out and like start kicking people out of the hope that they’ll turn out to be vampire or a demon or a Riley. And since, I’m just a teensy bit more klutzy than Buffy and Faith, that show has indirectly been responsible for a lot of sprained ankles.
Anyway, I’ve decided to observe my anniversary by doing two things. First off, I’ve read through my 243 previous posts and I’ve selected ten that I think pretty much tell you all you need to know about both who I am and my own taste in film. And here they are:
2) 10 Reasons Why I Hated Avatar (posted on April 21st, 2010) — In which I explain why I’m right and everyone else is wrong.
3) Too Sordid To Ever Be Corrupted (posted on August 1st, 2010) — My manifesto in which I explain why I love the grindhouse.
4) Titanic: In Retrospect (posted on October 6th, 2010) — In which I discover whether or not Titanic is still as good as I thought it was when I was 12.
10) Lisa Marie Takes a Sucker Punch (dir. by Zack Snyder) (posted on March 27th, 2011) — In which I defend the most unfairly maligned movie of 2011.
And secondly, as I think I’ve made clear here, I love trailers. Quite often, I’d rather watch the trailer than the film itself. So, here’s the trailer for a film that, at the suggestion of the Trash Film Guru, I will be watching and reviewing at some point in the near future — Birdemic: Shock and Terror.
Enjoy!
And, on that note, let me just extend my sincere thanks to everyone who has read anything I’ve written over the past year. I’m especially thankful to those of you who have taken the time to comment and let me know your opinion (except for Vermont Fran and Outraged Bob, who were kinda humorless and boring about it). I’ve had a wonderful time this year, sharing and interacting and here’s hoping that this next year will be even better!
I was at work this afternoon when my boss — who had just gotten to the office after spending the day in court — approached my desk and said, “Lisa, you like old movies, don’t you?”
“Kinda sorta,” I replied and I tried to say that with just a hint of a coy little smile to let him know that I absolutely love movies — new and old — but I’m not sure if he noticed.
“Did you know Elizabeth Taylor died today?” he asked. I guess I didn’t answer quickly enough because he then added, “She was a movie star, might have been a little bit before your time.”
Well, just for the record, I do know who Elizabeth Taylor was. And even though she pretty much retired from acting before I was even born, she was hardly before my time because — whether it was by appearing in classic films like A Place in the Sun and Giant or films like Cleopatra and Reflections in a Golden Eye that were so bad that they somehow became good — she became one of those timeless icons.
I think there’s probably a tendency to be dismissive of Elizabeth Taylor as an actress because her private life, in so many ways, seemed to epitomize every cliché of old school Hollywood scandal and glamorous excess. However, you only have to watch her films from the 50s to see that Elizabeth Taylor actually was a very talented actress who, even more importantly, had the type of charisma that could dominate the screen.
I think that’s why it was so strange to hear that Elizabeth Taylor had died. It was a reminder that, as opposed to just being an image stored on DVDs that can be viewed as often or as little as one might choose, she was actually a human being just like the rest of us.
A new horror film called Insidious is due to open on the 1st of April and, as a result, I’ve been inundated with the trailer lately.
This trailer leaves me curious. I have a feeling that the movie’s going to be a big disappointment (for one thing, it’s rated PG-13 which is usually not a good sign when it comes to horror films) but the trailer has its moments. So, unless Insidious is just an elaborate April Fool’s joke, I’ll be there to see it when it opens.
I’m not, by any stretch of the imagination, a comic book reader and there’s really only been four comics that I’ve ever actively made it a point to track down and/or read. One was Strangers in Paradise, which I was introduced to by my first college roommate, who told me that she was my Katchoo. Secondly, there was an old comic book series from the 70s called Tomb of Dracula that Jeff loves. The entire series has been collected in four trade paperbacks and, last Christmas, I ordered all four of them. Of course, since I ordered them all in August (patience and impulse-control not being my strong suit), I had a lot of time to read through them before wrapping them up and giving them away. (And, to my surprise, I enjoyed them in all of their platform shoed glory.) Third, there’s The Walking Dead which Arleigh introduced me to. And finally, there’s Dylan Dog.
I haven’t read a lot of Dylan Dog, largely because it’s an Italian comic and English translations aren’t easy to come across. (And apparently, when an American company did try to reprint the series in English, they ended up getting sued by the estate of Groucho Marx.) So, I can’t claim to be an expert on Dylan Dog because almost all of my information about this series comes second-hand. Honestly, if you asked me to tell you about Dylan Dog, I could probably give you the Wikipedia equivalent of an answer (i.e., that Dylan Dog is a private investigator in London who deals with super natural cases.)
Why does Dylan Dog fascinate me? Well, some of it is because of what I’ve heard about it from sources that I trust. I hate that answer because it sounds so flakey and simple-minded but luckily, that’s not the only reason. There’s also the fact that Dylan Dog’s investigative partner is a guy named Groucho who looks (and apparently acts) just like Groucho Marx. The other is that Dylan Dog was created by the same author — Tiziano Scalvi — who is responsible for inspiring one of the greatest movies ever made, Michele Soavi’s Dellamorte Dellamore. In fact, Dellamorte Dellamore started off as an attempt to make a Dylan Dog film and the film’s main character had appeared — in a supporting role — in Dylan Dog. From what I’ve heard, Dellamorte Dellamore — with its use of the paranormal as a metaphor for alienation and other deeper philosophical concerns — captured the sensibility of Dylan Dog.
Finally, one of my favorite authors — Umberto Ecco — is on record as saying, “I can read the Bible, Homer, or Dylan Dog for several days without being bored.”
So, that’s why I raised an eyebrow when I came across the trailer for Dylan Dog: Dead of Night while looking up grindhouse movie trailers on youtube.
And then I watched the trailer and that eyebrow quickly went down.
Number one, no Groucho. That already indicates that this is a compromised film. Number two, I may not be able to “read” Dylan Dog but I can look at it well enough to know that Dylan Dog is not a firing-two-guns-at-once type of hero. Number three — New Orleans? Bleh. I’m officially bored with movies that try to be “colorful” by filming in New Orleans. Number four, Taye Diggs? I’m sorry but any series that could inspire Dellamorte Dellamore deserves better than New Orleans and Taye Diggs.
Dylan Dog: Dead of Night is scheduled to be released in the U.S. on April 29th, 2011.
