Features

summermovieprediction

They said it couldn’t be done. They called me mad at the university. They doubted my math skills and insisted on hiring an accounting team from Pricewaterhouse Coopers. They debated whether or not there should be a hyphen between “box” and “office.” But here we are, fourteen weeks later, and our inaugural Summer Box Office Challenge has come to a successful end. The last weekend of releases saw some heavyweight newcomers, and after the dust settled an action film led by Scarlett Johansson severely beat down one headlined by Dwayne “The Rock” Johnson. Did I mention she did it on a 60% lower budget too? Luc Besson’s Lucy brought in just under $44 million for the weekend — a great number for Besson and his highest opening since The Fifth Element in ’97 — and the hope is that Hollywood takes the right notes from these results. Last week’s bonus question asking which film would end up in fifth place got an answer in the form of Planes: Fire & Rescue. So after tallying up all the points not twice but once, we have our three winners! Keep reading to see who’ll be getting a Bu-ray bundle of new releases, and to those of you who played along but didn’t win, know that we’re grateful for your participation. This feature wouldn’t have been nearly as fun as it was if you folks weren’t engaged and interested in playing along. So thanks!

read more...

A Truncated Story of Infinity Short Film

Why Watch? Imbued with Eternal Sunshine‘s DNA, this fantastic short film from Paul Trillo makes repetition interesting and vibrant by framing a single, unimportant man on an unimportant day faced with unlimited possibilities Gorgeously dynamic visuals are to be expected from Trillo (see his previous work Salience), but not only do we get abstractions like an Escherian tea pot eternally pouring into a never-spilling cup, we also get to see the banal made fresh. Sometimes that’s through the subtlety of fingernail polish colors shifting, sometimes from a television smashing to the sidewalk. There’s also a hint of Stranger Than Fiction here, as the narrator for A Truncated Story of Infinity discusses his generic subject with dry witticism and flatly offered profundity. It’s the blend of those sweeping, plain as day observations and the beautiful photography of common paradoxes that makes this short film a wondrous delight.

read more...

They Live Wonder Woman at Comic-Con 2014

It’s easy to hate Comic-Con. My view of things is probably a bit different from the average person, since I’m surrounded by people “in the industry” and it’s become cool over the last few years to use a tone of tired disgust when talking about the media explosion that takes place every year. More specifically, and you know this, we’re talking about San Diego Comic-Con, which over the years has become so big  that we just call it “Comic-Con” despite there being literally thousands of other Comic Conventions every year. Attendance at the event first eclipsed 100,000 individuals back in 2005. My first adventure was The Year of Watchmen, in 2008. By then, the crowd had ballooned to more than 125,000 people. This year it’s estimated that more than 130,000 people entered the exhibition floor. During the weekend it owns in July, it’s ubiquitous. You see it on Twitter, Facebook and every other social media sites. You read articles about it, and you sense it just underneath the surface of other articles. Dusted-off essays and tired tweets will make jokes about nerds and body odor, the smell of Thor’s leather underwear, the stank emanating from far too many layers and far too much wool in an unmercifully hot Southern California summer. Just as it’s easy to hate the hellacious line for Hall H or the semi-constant jostling from working your way through a crowd, it’s easy to make fun of Comic-Con, too. I’d never pretend to be anything other than a nerd at heart. Even […]

read more...

Paths of Glory

Exactly one month after the assassination of Austrian Archduke Franz Ferdinand in Bosnia, and after weeks of diplomatic negotiations that went nowhere, Austria-Hungary declared war on July 28, 1914 — a date often regarded as the first day of what would come to be known as The Great War, now better known as World War I. While cinema had been in existence for over two decades by the time the war began, WWII has greatly eclipsed its predecessor in terms of its breadth of cinematic representation. Yet The Great War – with its many intersecting transnational conflicts and its location at the historical precipice between 19th century trenches and 20th century machine warfare – has produced an incredible number of fascinating, haunting, and even touching stories about a world experiencing accelerated change, many of which have made their way to celluloid. So for the 100th anniversary of The Great War, we’ve assembled a list of 8 worthwhile films that give us a glimpse into this complicated conflict that helped shape the 20th century.

read more...

Comic-Con 2014 Photo Gallery

Robert Fure gives you a tour of Comic-Con 2014 in a photo essay of his time spent in San Diego. Click here to check it out.

read more...

Synapse

The Weekend Watch is an open thread where you can share what you’ve recently watched, offer suggestions on movies and TV shows we should check out (or warnings about stuff to avoid) and discover queue-filling goodies from other FSR readers. The comments section awaits. I’ll get the ball rolling with the movies/TV my eyeballs took in this weekend.

read more...

The Bands Visit Movie

The best movie culture writing from around the internet-o-sphere. There will be a quiz later. Just leave a tab open for us, will ya?

read more...

A24

Three years ago writer/director Kevin Smith pushed himself as a filmmaker with Red State. The quasi-horror movie was polarizing for both Smith’s fans and critics. Good or bad, it’s definitely far more ambitious than Smith’s previous movie, Cop Out. He was trying something new. Red State was a 180 turn in the director’s career. With his new picture, Tusk, Smith is continuing down the road he set out on back in 2011. A trailer for the film was released shortly after its Comic-Con debut. From the looks of it, Tusk features the old and the new Kevin Smith. That’s a good thing, because when Red State turned into a shootout, the old Smith was missed. Smith’s finest work generally involves characters talking around a table. Tusk doesn’t seem to stray too far from Smith’s dialogue-heavy past, since the film does feature two characters stuck together in a house, so we should expect a good amount of dialogue from Smith. If you don’t want to know whether Justin Long’s character does actually get turned into a walrus, avoid this discussion with Smith. And, even though I call it a discussion, it’s not really that at all. When you interview Kevin Smith, he’s never at a loss for words. It’s best to just let him say what he has to say.

read more...

Mad Max: Fury Road

After over a decade of trying, director George Miller finally got to make another entry in the Mad Max series…almost two years ago. The film began shooting all the way back in the fall of 2012, but it wasn’t until this year’s Comic-Con that anyone saw a lick of footage from Mad Max: Fury Road. The action-packed trailer impressed those in Hall H, thanks to plenty of practical stunts, muscular action, and a promising glimpse of a return to one of the coolest worlds and character ever put to film. Max is now played by Tom Hardy, who is of course a beast of a man that’s well-suited for the character once played by Mel Gibson. Will Hardy’s performance reflect Gibson’s iconic work as Max or is Hardy and Miller going in a different direction? That’s a question director George Miller answered in the press conference for Mad Max: Fury Road, a story that takes place “45 to 50 years after the opening of the movie.” Miller had plenty more to say, so we made sure to take notes. We also get our first look, which was released online today.

read more...

The best posters of Comic-Con 2014

Much of the press from Comic-Con comes in the form of descriptions of moving images. Everyone wants to hear about the footage being shown in the cavernous Hall H of the San Diego Convention Center. But there’s so much more to the annual geek culture event, including plenty of great memorabilia releases, a slew of awesome comic art and panels (because what would Comic-Con be without actual comics) and some great film art, as well. Galleries such as Mondo, Bottleneck, Gallery Nucleus and even movie studios bring awesome poster releases to the event every year. To celebrate this explosion of art, we’ve rounded up the best and brightest of Comic-Con 2014′s movie poster selection.

read more...

Horns-Daniel-Radcliffe

The filmmakers behind Horns had a wealth of material at their disposal. Author Joe Hill‘s novel easily could’ve been adapted into a miniseries, which is an idea even the film’s director, Alexandre Aja (The Hills Have Eyes), endorses. It’s not a gigantic book, but it tells more than one story, both tonally and structurally. Hill’s novel goes from comedy to horror in a matter of pages. In the movie, those transitions often happen in seconds. Pulling off those tonal shifts is a challenge and they’re certainly not meant for every filmgoer. Joe Hill, on the other hand, wants to see more of those kinds of movies. He also wouldn’t mind less adaptations like The Prince of Tides, a film he highly recommends staying away from. Hill had plenty more to say in our discussion with him at Comic-Con, including why having a sexual fetish beyond high heels is important.

read more...

Popeye

Hercules may be the original superhero but he’s also something of a bore. The problem is that spectacular strength, when you get down to it, isn’t the most charismatic of superpowers. A gigantic, muscled titan without either personality or weaknesses can only wow an audience for so long. This is why Superman has the alien back story, why Achilles has that issue with his foot and why The Hulk suffers from anger-management issues. It is also why a great many Hercules films are hopelessly dull. And here we are, faced with yet another trip back to labored Ancient Greece with Brett Ratner and Dwayne Johnson. But I’m not here to judge the newest Hercules. I’m also not going to try making you watch the old animated television series, The Mighty Hercules. It ran from 1962 to 1966, trying to capitalize off of the wave of Italian-made muscled movies of the era. Aside from some truly amazing theme song lyrics (“Sweetness in his eyes/Iron in his thighs), it was made on the cheap and features some pretty terrible scripts. Part of its problem, actually, is the inherent blandness of the character. He’s a powerhouse of strength with an impenetrable, enormous chest. He’s always going to win. That’s dull. Enter a long-beloved American hero, Popeye the Sailor Man. He’s the sort of guy who wouldn’t even flinch when faced with this boring Greek demigod in the ring. Or, rather, the Olympic Stadium. 1948′s Popeye Meets Hercules is set at the very first Olympic Games, where the gods themselves have […]

read more...

Marjoe DVD Cover

Oh hey, it’s that time of year again where we get another Woody Allen movie. What better way to celebrate than to tell people not to watch it and recommend a documentary to watch instead? Even for one of the director’s latter-day films, Magic in the Moonlight is especially airy and forgettable. It involves many of the philosophical ideas with which Allen is so enamored, such as the search for meaning in a godless universe, but makes none of them stick. Which is a shame, since the film’s story, about a 1920s magician who seeks to debunk a young psychic, had potential. As an alternative, check out Marjoe, another film about exposing religious fraud, albeit in a radically different context. While Moonlight is set amidst the spiritualism craze of the early 20th century, Marjoe deals with revival evangelism, which was the choice avenue for hucksters of that era (and whose spirit continues to a certain extent today). The title character, Marjoe Gortner, was a brief sensation in the late 1940s as a child preacher. At just 4 years old, he was preaching complex sermons to the masses, his parents claiming him to be a divinely-touched prophet. In reality, he was just preternaturally gifted in mimicry, memorization and stage acting. Even as a tot, Gortner didn’t believe a word he spoke. When his voice cracked, his gimmick was gone, and his abusive parents absconded with the millions he’d raised, and he spent his adolescence as a hippie. He returned to the preacher game as an adult, modeling himself after rock stars, to great success. But his conscience weighed on him, and […]

read more...

ChanelPreston.com

Outside of Comic-Con, there isn’t much happening in the movie world. Oh wait, there’s that 50 Shades of Grey trailer that was released this week in an attempt to bring balance to the force of nerd movie goodness. This is a different kind of nerdy, as we’ve found out over the course of tracking the movie’s development. It involves whips, chains and plenty of suppressed emotions from your mom’s neighborhood book club. It’s something that plenty of us around here aren’t really into — at least that anyone in the office is willing to admit — the world of BDSM. With that in mind, we might not be the right people to dissect the mix of pain and pleasure that make E.L. James’ book such a sensation. In order to fully understand the first trailer for Sam Taylor-Johnson’s upcoming film adaptation, we asked fetish porn performer Chanel Preston to answer a few questions about the trailer, the book and even her thoughts on the Beyonce song. We wanted an expert opinion on the tale of Christian Grey and his riding crop, and that’s exactly what we got…

read more...

Michael Giacchino

Coming up with song titles for a score or soundtrack can be a tricky business. The music for a film is usually released before the film itself to get audiences excited, but if the track listing reads like a spoiler list for what happens in the film, the music can end up being more upsetting than enticing. Other times the titles that make up a film score can be boring and forgettable (even if the music is not). However composer Michael Giacchino has taken a different approach by making his track titles stand out by giving them funny (even pun-y) titles.

read more...

The Legend of Billie Jean

There is more to the ‘80s than time travel, fantastical adventures, and teenage angst with a happy ending, but it wouldn’t seem like that with the narrow tack nostalgia has taken. The era has been whittled down to a list of mainstream musts and little else. Sometimes other films get remembered for a fleeting instant, especially if an anniversary is nigh, but generally it’s a momentary vacation before the return to the typical rushes about forgotten scenes, wacky trivia, or new pricey figurines. After years of near-obsolescence, The Legend of Billie Jean finally returned to shelves with a Blu-ray release this week, reminding us that there are other great ‘80s films out there we can be talking about. Some are probably better off forgotten, like Prayer of the Rollerboys, which I was ashamed to revisit when my age got into the double digits. But there are others worth the revisitation.

read more...

Comic-Con Hall H

This year marks my fourth visit to the San Diego Comic-Con. If I’ve made one rule for the convention, it’s this: stay away from Hall H. The line is long, generally smelly, and often unpleasant. Over the years the wait has become worse and worse. People just don’t wait for hours, they wait overnight. There’s an infinite amount of great stuff at Comic-Con and in San Diego, so why spend one’s time waiting in line? Most of these panels, including the teasers and the often awkward Q & As, wind up online anyway. Plus, most people live tweet the juiciest details from these panels. There’s not much to miss. There’s plenty of reasons not to go to Hall H, but there’s an argument to be made that the wait is worth it. However, before you can have your head explode from too much cool, you have to survive that never-ending line. Since nobody from FSR is going this year to do all that waiting, as we’ll be too busy giving you plenty of awesome coverage, we asked some of the Movie blogosphere’s finest on how they get through a night of waiting.

read more...

Superman 4

Often great movies come with great commentary tracks. Few things beat listening to filmmakers of masterpieces deconstruct their own films, offering insight into the genius that went into the process. However, some of the worst movies make spectacular commentaries as well. These commentaries give us a look into the delusional process of how an attempt to make fine art turned into some of the worst films in the history of time. Back in 1987, Christopher Reeve convinced Warner Bros. to help him revitalize the Superman franchise from the disappointing third film. He also wanted to bring a level of social responsibility by addressing the nuclear arms race at the height of the Cold War. The result was Superman IV: The Quest for Peace, a bargain-basement sequel that effectively killed the franchise for almost 20 years. In 2006, co-writer Mark Rosenthal recorded a commentary about the production of the film which is included in the Superman Motion Picture Anthology Blu-ray box set. Now, we get a look into the madness and some reasons why the final product was so terrible.

read more...

Sons of Anarchy

Spin-offs have been a part of television since the very beginning. These include not just those series that branched off from popular shows focusing on a favorite supporting character but also those that continued following the leads. The latter could be thought of as TV show sequels, like Archie Bunker’s Place. Prequels, however, have not been as big a part of television tradition. There were Saturday morning cartoons offering origins of live-action TV characters like Alf and the Muppets, as well as some jumping onto the “__ Babies” concept for classic animated series like Scooby-Doo and The Flintstones. Around the same time, ’80s drama Dallas got a legitimate prequel, but it was in the form of a TV movie. Outside of shows that were prequels to movies — a current trend in and of itself that has its roots in series like Freddy’s Nightmares (some of its episodes, anyway) and Young Indiana Jones Chronicles — the earliest American live-action spin-off of a live-action series to go backward in focus was probably Young Hercules, in which none other than Ryan Gosling portrayed the teenage version of Kevin Sorbo’s legendary hero for 50 episodes between 1998 and 1999. Unsurprisingly,  the Star Trek franchise eventually got into prequel territory with Enterprise. Later, another sci-fi series, Battlestar Galactica, tried it with the unsuccessful Caprica. 

read more...

James Gray and Joaquin Phoenix Making The Immigrant

James Gray seems like an anachronism. Between visually noisy blockbusters and indies that display a greater interest in bending narrative conventions rather than mastering them, his adherence to a more classical form of storytelling feels out-of-touch with contemporary filmmaking practice. His evident influences and forerunners include Robert Bresson, Roberto Rossellini and Francis Ford Coppola, and his cinematic relationship to New York City feels indebted to Sidney Lumet yet remains unmistakably his own. Gray doesn’t use other filmmakers’ work as a Tarantino-esque palette for diversion, despite his shared affinity for crime drama, that signature ’90s indie genre staple (Gray’s first feature was a 1994 gangster film starring Tim Roth – that’d be Little Odessa, not Pulp Fiction). Gray’s narratives are classical and familiar, but they’re never derivative or postmodern. The filmmaker instead uses cinema’s history as a tool to master storytelling, character development, mood and setting as a form of practice, and he realizes his personality as a filmmaker through the life he knows outside of filmmaking, principally as the Brighton Beach-raised grandson of Eastern European Jewish immigrants. If his standalone work feels anachronistic, that’s exactly why his work is essential and urgent – a reminder of what filmmaking can be beyond formal gimmickry and narrative subversion. He is the rare example of a filmmaker whose primary referent is not cinema itself. And with his latest, The Immigrant (now available on Netflix Instant), Gray has quietly released what might turn out to be the best film this year. It’s a small step for a filmmaker whose unassuming […]

read more...
NEXT PAGE  
Some movie websites serve the consumer. Some serve the industry. At Film School Rejects, we serve at the pleasure of the connoisseur. We provide the best reviews, interviews and features to millions of dedicated movie fans who know what they love and love what they know. Because we, like you, simply love the art of the moving picture.
Comic-Con 2014
Summer Box Office Prediction Challenge
Got a Tip? Send it here:
editors@filmschoolrejects.com
Publisher:
Neil Miller
Managing Editor:
Scott Beggs
Associate Editors:
Rob Hunter
Kate Erbland
Christopher Campbell
All Rights Reserved © 2006-2014 Reject Media, LLC | Privacy Policy | Design & Development by Face3