Here’s The Trailer For Papillon!


Here’s the trailer for the upcoming film, Papillon!  As the trailer itself states, this is based on the amazing true story of Henri Charrière and his escape from the Devil’s Island penal colony.

Of course, this isn’t the first film to be made about Charrière, his escape, and his friendship with Louis Dega.  1973’s Papillon starred Steve McQueen as Charrière and Dustin Hoffman as Dega.  I haven’t seen this particular film but many consider it to be a classic.

In this remake, Charrière is played by Charlie Hunnam while Rami Malek takes over the role of Dega.  Will it be good or will it be forgettable?  The trailer, to be honest, is a bit generic.  We’ll find out for sure when the film is released on August 24th!

 

Here’s The Trailer For The Lost City of Z!


I’ve been so busy from the holidays that I forgot to share the trailer for next year’s The Lost City of Z.  Based on a historical novel, The Lost City of Z features Charlies Hunman as explorer Percy Fawcett and follows him as he and his son (Tom Holland) and an assistant (Robert Pattinson) obsessively search for a missing civilization.

The Lost City of Z was directed by James Gray, who is one of those directors who has always been more popular with critics than audiences.  It seems like every year we’re told that Gray’s latest film will be an Oscar contender.  Remember The Immigrant?  How about We Own The Night?   Both of these films were promoted as being surefire Oscar contenders, both of them flopped at the box office, and both of them are now kind of forgotten.  Will that happen with The Lost City of Z?

Well, The Lost City of Z is one of those things that sounds like it should be a surefire Oscar contender (and it got very positive reviews when it premiered at the New York Film Festival) but it’s being released in April.  Traditionally, it’s thought that films released that early in the year will be forgotten by Oscar time.  However, both The Grand Budapest Hotel and Mad Max: Fury Road were released early in the year and both managed to do quite well when the Oscar nominations were announced.

So, we’ll see what happens!

Check out the trailer below!

Horror Film Review: Crimson Peak (dir by Guillermo Del Toro)


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The fact that Crimson Peak, Guillermo Del Toro’s wonderful new film, is only getting mixed or grudgingly positive reviews tells you everything that you need to know about the sorry state of modern film criticism.

Taking place at the turn of the 19th Century, Crimson Peak tells the story of Edith Cushing (Mia Wasikowska).  The daughter of industrialist Carter Cushing (Jim Beaver), Edith is haunted by a childhood memory, in which her mother’s ghost appeared to her and told her to never go to Crimson Peak.  Edith grows up to be an aspiring writer.  She writes stories about ghosts, though she is always quick to point out that the ghosts are just meant to be a “metaphor for the past.”  Her publishers tell her that no one wants to read a ghost story written by a woman and they recommend that she concentrate on writing a nice romance.

Following the violent death of her father, Edith marries the charming inventor Sir Thomas Sharpe (Tom Hiddleston) and moves to his family home in England.  Still in shock over the death of her father, Edith struggles to make things work in England.  Tom is nearly penniless and seems to be more interested in his inventions than with her.  (Not only did they not consummate the marriage during the honeymoon but Tom sleeps in a separate bedroom.)  Meanwhile, Tom’s older sister, Lucille (Jessica Chastain), does little to hide the disdain that she feels towards her new sister-in-law.

As for the house itself, it is on the verge of collapsing.  At one point, Tom mentions that, because of the red clay that sits underneath the mansion, their new home is sometimes called Crimson Peak.  If that wasn’t enough to panic Edith, she keeps seeing mysterious figures wandering through the halls.  Edith swears that she is seeing ghosts and that they are trying to tell her something.  Tom and Lucille tells her that she’s imagining things and continue to insist that she drink a special tea.  Could that tea be the reason why Edith finds herself coughing up blood?

(Actually, there’s a lot of blood spilled over the course of Crimson Peak.  It’s not just the clay that makes the ground red.  If Edith Wharton had written a horror movie, the end result would probably be a lot like Crimson Peak.)

And let’s just get this out of the way right now — Crimson Peak is an absolutely brilliant movie.  Those critics who have complained that Crimson Peak doesn’t have any of the expected “shock” scares are totally missing the point.  Crimson Peak is not about cheap scares.  Del Toro is not looking to make you jump by having a cat jump out of a closet.  Instead, Crimson Peak is all about atmosphere.  Del Toro maintains an atmosphere of consistent unease throughout the entire film.  The scares come less from what is shown and more from what is implied.  In that way, Crimson Peak pays homage to the great gothic horror films of the past.

And remember when I complained about how terrible Jessica Chastain was in The Martian?  Well, she absolutely brilliant in Crimson Peak.  The role of Lucille is not one that demands a lot of subtlety and Chastain appears to be having a great time getting to play such a menacing character.  If anything, this is one of Chastain’s best performances.  (One need only consider how overly mannered Meryl Streep would have been in the role to realize just how great an actress Jessica Chastain truly is.)  Mia Wasikowska is the epitome of fragile loveliness as Edith and Tom Hiddleston is perfectly cast as a handsome, slightly decadent aristocrat with a secret.  In fact, all three of them are perfectly cast.  Taking their roles too seriously would have been a mistake but so would have not taking the movie seriously enough.  The entire cast strikes a perfect balance, embracing the melodrama without going too far over the top.

So, why are so many film critics having such a hard time embracing Crimson Peak?  It’s pretty much for the same reason that a lot of them had a hard time with Pacific Rim.  Guillermo Del Toro’s films are masterpieces of the pulp imagination.  As such, he exposes the condescending attitude that most contemporary critics take towards “genre” films.  When mainstream critics dismiss Crimson Peak as just being “a horror film that isn’t scary enough,” all they’re really doing is revealing how ignorant they are of the horror genre.

So, in other words, don’t listen to those mainstream critics.  They are not worth your trouble.  Crimson Peak is a wonderfully acted and visually gorgeous gothic romance and it needs to be seen on the big screen.

Reportedly, Crimson Peak struggled at the box office this weekend.

Well, you know what?

If you haven’t seen Crimson Peak, you need to go out and see it this week.  It’s a great film and what good are we if we let the great ones go unseen?

Crimson Peak’s Visually Stunning Gothic Horror


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Guillermo Del Toro has become the one filmmaker who seems to excite both the elitist cinephiles and the geek community whenever he comes out with a new film. He’s done both pop-friendly extravaganzas (Pacific Rim, Hellboy) to critically-acllaimed arthouse fares (Pan’s Labyrinth, The Devil’s Backbone). His name has been attached to so many projects of all stripe that one wonders if he ever gets time to rest.

Most of these projects never get past the concept stage, but when one does and he goes all out in directing such projects we get something that excites the fanbase like his upcoming gothic horror film Crimson Peak. It looks to be Del Toro’s love letter to gothic horror of the past with his own visual flair for the morbid and the beautiful in one package.

The film stars a who’s who of powerful performers from Jessica Chastain and Tom Hiddleston to Mia Wasikowska and Charlie Hunnam.

Crimson Peak is set to haunt the public this coming October 16, 2015

Trailer: Crimson Peak


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When will studios finally smarten up and realize that Guillermo Del Toro is one of the preeminent fantasists of our time. Just give him the money and talent to finally make his dream project for the bigscreen: At the Mountains of Madness.

Until that happens we shall have to wait with anticipation for every new project he does see through to completion. This time around he leaves the world of Jaegers and Kaiju and takes us into the world of gothic horror with his upcoming film Crimson Peak.

The most talented cast he has work with to date, Crimson Peak is Del Toro’s take on the classic gothic ghost story but with more than just a tad and smidgen of his own narrative and visual style when it comes to horror. It stars Tom Hiddleston, Jessica Chastain, Mia Wasikowska, Charlie Hunnam and Jim Beaver.

Crimson Peak is set for an October 16, 2015 release date. Just in time for Halloween.

Trash Film Guru Vs. The Summer Blockbusters : “Pacific Rim”


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Let’s start with a life lesson here that’s completely contradictory right on its face and therefore of absolutely no value whatsoever — sometimes the simplest ideas are great, and sometimes they’re really, really dumb.It all depends on the inherent intelligence level of the person who has them.

First case in point : a retrograde, racist, trigger-happy, self-appointed “neighborhood watch captain” decides it would be a good idea to follow around a kid in his gated suburban subdivision who’s minding his own business and eating Skittles. The cops tell him to back the fuck off and stay in his car, but our low-grade Charles Bronson-wannabe thinks he knows better : he pursues the young man on foot, removes his gun from its holster, loads  some rounds in the chamber, unlatches the safety, and proceeds to generally and obviously tail him for three or four blocks. When the target of his harassment finally decides enough is enough and jumps him, a fight ensues. We’ll never definitely know who threw the first punch, but when “Mr. Tough Guy” was on the ground getting his nose bloodied by the kid’s fist, he decided he’d had enough and shot his “assailant” in the heart.

Dumb idea. I don’t care if a jury gave him a free pass for murdering the victim of his stalking or not, it’s still just not smart. Bargain-basement Bronson was reckless with his firearm, needlessly killed a kid who was, let’s face it, provoked into a confrontation, and now he has this bright, promising youngster’s blood on his conscience (assuming he has one, which is debatable) and has to sleep with one eye open for the rest of his life. Clearly, nothing good came from this guy’s very simple, and very stupid, idea.

Case in point number two : Wouldn’t it be seriously fucking cool if the Transformers fought Godzilla?

The answer to this question is as resounding as it is obvious : hell yes (as long as Michael Bay doesn’t direct it)! Thankfully, Guillermo del Toro is the guy who had this idea, and the result is Pacific Rim, easily the funnest thing to hit the silver screen this summer (even if I did just say the same thing about The Lone Ranger — this tops it, and by a wide margin).

Now, you can take exception to my admittedly over-simplified root description of this film all you want — hey, man, this is about a lot more than that : it’s about giant mentally-linked-to-human-host robots called Jaegers who battle inter-dimensional monsters from beneath the ocean floor known as Kaiju, there’s a nice little low-key love story that develops between out hero, Raleigh Beckett (Charlie Hunnam) and his co-pilot, Mako Mori (Rinko Kikuchi), it’s got Idris Elba as a stoic-but-compassionate military commander, and hey, Ron Perlman’s on board playing a mad scientist/black marketeer with the kind of relish that only he can bring to a role.

All these things are true, of course, but at the end of the day this is still a 12-year-old sci-fi geek’s wet dream realized on an enormous Hollywood budget. And that’s the best thing about it (besides maybe the awesome post-credits dedication to Ray Harryahusen and Ishiro Honda). This is del Toro letting loose his inner child for all of us to see, and that’s a pretty insipiring thing indeed, my friends.

Are there plot holes aplenty here? Sure, bigger than the monsters themselves (most notable among them being that if they know one of these nuclear Jaegers can seal up the dimenstional breach for good by blowing it to kingdom come, why did’t they try it years ago?), but never you mind that. Just sit back and allow yourself to be as thoroughly and completely wowed as is humanly possible by a movie. And when you feel a smile forming at the corners of your lips as the week goes on, don’t fight it — you really did have that much fun at the movies. It’s totally okay to feel like a giddy little kid again for awhile.

Review: Pacific Rim (dir. by Guillermo Del Toro)


PacificRimIMAX“2,500 tons of awesome” — Newton Geizler

I’ll just say it outright and get it out of the way and say that Guillermo Del Toro is one of the few filmmakers whose body of work has earned him my admiration. The Mexican-born filmmaker has made some of the most fully-realized and visually-beautiful films of the last twenty years. It doesn’t matter whether its genre staples like Blade II and the two Hellboy films or arthouse fares like The Devil’s Backbone and Pan’s Labyrinth, Del Toro has a unique talent for making one believe in the world his films inhabit. This is probably the reason why Peter Jackson had tapped him to direct the film adaptation of J.R.R. Tolkien’s The Hobbit. The man just has an eye for every detail, no matter how big or small, that he believes will add to the overall experience of watching his films.

When delays and behind-the-scenes studio bickerings kept the production of The Hobbit from moving forward Del Toro was already two years into pre-production of the long-awaited new trilogy, but finally backed out. He would try to make one of his dream projects his next move with the film adaptation of H.P. Lovecraft’s classic At the Mountain of Madness. This was a film that looked to set the horror and genre scene by storm. It was a story that was right in Del Toro’s wheelhouse. The film would require him to create a believable world where cosmic Elder Gods and Old Ones existed and still make it terrifying and awe-inspiring. But once again his ideas would require a huge budget from the studios and his stance on making the film an R-rated one finally shelved it (though hopefully not for good).

With two major productions either cancelled or dropped out of, Guillermo Del Toro was now without a film to direct and it’s been years since his last (Hellboy II: The Golden Army). Maybe it was providence or just plain ol’ dumb luck, but in comes a screenplay from Travis Beacham which included such terms as “Jaegers” and “Kaiju” and Del Toro finally got a film that wasn’t an adaptation of someone elses work, but something he could build from the ground up and make his own. That film was and is Pacific Rim.

Pacific Rim finally arrives in cinemas around the world and it couldn’t come at a better time. The last couple years have seen summer blockbusters get bigger and bigger. Each new blockbuster tried to outdo the next with something more extravagant, louder and, to their detriment, more complex and convoluted in their storytelling. This is not the case for Pacific Rim which comes in with a simple premise that managed to stay together from start to finish: giant robots fighting giant monsters.

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From that idea was born a film that lends itself well into Guillermo Del Toro’s visual and world-building talent. He had to find a way to make this film, that harkens back to the old kaiju films from Japan’s Toho studio and its mecha/giant robot anime genre, a believable world where adventure and spectacle ruled and not post-modern deconstruction and cynical characters and storytelling. It’s an endeavor that succeeds, though not perfectly, to do more than just entertain but also show that sometimes the old ways of telling a story does belong in this new world of hi-tech filmmaking.

The plot to Pacific Rim is simple enough and an extended opening prologue narrated by one of it’s lead character (Charlie Hunnam of Sons of Anarchy fame playing the role of Jaeger pilot Raleigh Becket). Sometime in the very near future an interdimensional rift (called The Breach) in the Pacific Ocean where two tectonic plates meet open up to allow gigantic creatures dubbed by people as “kaiju”. These kaiju wreak destruction and havoc on a massive scale to the world’s Pacific coastline cities like San Francisco, Manila, Cabo and Tokyo. When conventional military means take too long and and only nuclear options remain on the table the world’s governments band their resources and technical know-how to find a new weapon to combat these kaiju. In comes the “Jaeger Program” where two pilots control 25-story tall giant robots through a “dark science” called “The Drift” to finally fight the kaiju on even terms.

We see through this prologue how the “Jaegers” and their pilots have become rock stars in the eyes of the public as their successes stems and stops the tide that’s been destroying cities in the Pacific Rim for years. It’s also in this prologue that we get to the point of the film where this success has led to overconfidence and the beginning of the end of not just the “Jaeger Program” but that gradual slope that leads to humanity’s inevitable extinction.

The bulk of the film deals with the last few days of the war when the world’s government have stopped funding the Jaeger Program and instead have pooled all resources and manpower towards building massive anti-kaiju walls along city coastlines as a measure of defense. The Jaeger Programs leader, Marshal Stacker Pentecost (played by the ever-present Idris Elba who seem to live the role), believes that his Jaegers and the Rangers piloting them still can finish the war once and for all with a final strike on The Breach with the remaining four Jaegers left in his arsenal. When the politicians tell him no he resorts to dealing with the less than legitimate sector to fund this final strike. But for this last mission to succeed he needs one of his best pilots back from the brink of remorse and mourning to pilot an older, refurbished Jaeger by the name of Gipsy Danger.

From then on the film takes on the premise that Del Toro promised when he first took on the project. We finally get to see giant robots fighting giant monsters.

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Pacific Rim lives on it’s simplicity. Whether the simplicity of it’s story, dialogue, characters and themes. The film works within those parameters and does it well. One never feels lost with in the film’s narrative. There’s nothing convoluted with this film’s story. Some have said this need to be simple is an inherent flaw. I would agree with this if someone with less talent took on the job. Del Toro understands that keeping the story simple doesn’t mean dumbing it down, but keeping the promise of what the audience expects from a genre film of giant robots fighting giant monsters needs to deliver. The film’s simplicity allows for the story to flow from it’s hi-octane action sequences to it’s more personal moments without having it seemed forced.

Even the characters themselves come off as the archetypes of past adventure films. Whether it’s the stern father figure leading the pack to the hot-shot hero looking to redeem himself for a past failure to the cocky rival whose hothead personality acts as a counter-balance to the hero’s. Even the mysterious newcomer whose past acts as one of the film’s central emotional anchors harkens back to an earlier era of storytelling that preceded the more realistic and gritty era of film narrative born during the late 60’s and 70’s.

These characters some would call one-dimensional or plain cardboard cutouts, but in the context of the film being seen they work. We get enough of what motivates each character to fully understand why their characters do what they do in the film. The motivations range from honor-bound duty to accomplishing the mission, to revenge, redemption and just plain old-school heroism. Yes, this film brings back heroism minus the recent trend to downplay such an archaic notion. The film treats heroism as something noble born out of the shared sacrifice and the need to do what’s right and to protect not just the person next to them but everyone else who cannot fight the monsters that are at their doors.

The characters of Raleigh Becket, Stacker Pentecost, Mako Mori (played by Oscar-nominatedted actress Rinko Kikuchi who channels her inner anime not just in her attitude but even her appearance) and even the dueling scientists Newton Geizler and Gottlieb (played with manic and eccentric enthusiasm by Charlie Day and Burn Gorman respectively) all come off as heroes who accepts the challenge and nobility inherent in the term. They don’t balk at the duty put on their shoulders, but go full-bore in making sure what they do doesn’t have any moments of self-doubt or cynicism. These are characters who don’t become heroes because they were forced into it. They’ve made their choice and thus have to realize that taking on the mantle of heroism would mean making the ultimate sacrifice.

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Yet, for all the talk of themes and narrative styles the film will ultimately live or die on the film’s promise. Does the giant robot fighting giant monsters hold up?

I can honestly say that it does and goes beyond what the studios have been hyping it up to be.

The action sequences between the Jaegers and the kaiju have to be some of the best action sequences of the past decade if not even farther back. It’s a loving homage to the classic daikaiju and mecha of old from Japan that Westerners grew up watching on Saturday mornings on the local UHF channels. It’s mecha anime like Mazinger Z, Macross, Gundam, Neon Genesis Evangelion, Tetsujin-28, Tengen Toppa Gurren Lagann and many others seamlessly melded with the old-school monsters flicks from the Toho Studios with kaiju bearing the iconic names of Godzilla, Gamera, Rodan, Mothra, King Ghidorah and many more. Pacific Rim is a film aimed at the inner-child of men and women who grew up watching these films and shows, but also one that seeks to fire up the imagination of the current generation of children who have been fed on the latest trend of snarky and self-doubting heroes.

The fights between the the jaegers and kaiju also does one thing that most Hollywood filmmakers who make action films have been unable to pull off. I’m talking about action sequences that remains as kinetic and explosive as any we’ve seen in the past but also aware of it’s space and environment. Pacific Rim’s action sequences never come off as being confusing. There’s no hand-held, cinema verite stylistic choices when it came to filming these sequences. We know exactly which jaeger is doing to fighting and which kaiju is fighting back. Even while set mostly at night and in the rain (or in some cases in the water and underneath in ocean), these fights and the digital effects created by ILM (with some practical ones from Legacy Effects) come off just as clear as if they were done for daytime. In fact, having them set at night with the many differing kinds of light sources available in the scene sometimes gave the fight scenes an almost psychedelic look with Hong Kong’s neon-lit streets and cityscape to the reflected bio-luminescence of the kaiju to the utilitarian lights on the jaegers themselves.

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Yet, it still all comes down on whether the promised throwndown delivers and yes it does. We’ve come to learn that even ILM can make the most awesome looking digital effect visuals but still having them end up being confusing because of the filmmaker involved. Some have called this the Michael Bay Effect. Even some of today’s most visually talented filmmakers have fallen prey to it, but not Del Toro who eschews rapid-fire editing and shaky-cam moves. He instead goes from strady shots both close-up and wide to show the battle progress from one move to the next as we see each counter-move develop into more counter-moves. These jaeger-kaiju fight scenes have an almost balletic grace to them despite the massive amount of destruction heaped not just on each other but their surrounding environment as well. They also have a sense of weight to both jaeger and kaiju. With each step, punch, crash and bodyslam there’s a sense of real actual weight being protrayed on the screen unlike films like the Transformers trilogy and, more recently, Man of Steel during some of it’s major action sequences.

Once again this boils down to the simplicity of the scenes and how this choice makes the fights more exciting and thrilling than anything we’ve seen this summer. Up-and-coming filmmakers looking to find out how to set, block and choreograph action scenes could find no better filmmaker than Guillermo Del Toro to learn from.

So, does this mean that Pacific Rim is a perfect film which has no flaws and can do no wrong. It’s a question that probably splits critics and those who talk endlessly about film, but the simple answer is that Pacific Rim is not a perfect film. It does have it’s faults that’s born out of it’s simple narrative and simple-drawn characters. Yet, these flaws also comes across as strengths depending on who ones asks. But as a piece of action-adventure filmmaking that promised the simple idea of giant robots fighting giant monsters the film was perfect.

Pacific Rim reminds us that Guillermo Del Toro is one of the few filmmakers who definitely earns the label of genius. It’s not hyperbole. It’s just fact. It takes a genius filmmaker to do the sort of varied films as he has done throughout his career both as director and producer and still have each and everyone of them feel original (whether they are or not), thought-provoking and just plain old fun. Pacific Rim may be Del Toro’s love letter to his childhood loves of mecha anime and daikaiju films from Toho and other such studios, but it’s really a rallying cry to audiences both young and old that blockbuster filmmaking doesn’t have to be gritty, journeys through psychological darkness to be successful. He’s brought the fun back in epic, grandiose filmmaking that hopefully becomes a trend and not a one-shot.

P.S.: Also, make sure to stay to watch the end title sequence that was created by Imaginary Forces to make a sequence similar to the awesome end titles for The Avengers last year. Plus, there’s a small scene mid-credits at the end that ends the film on the proper note.