As we entered the month of May this week, we’ve now officially entered the summer movie season. Never mind the attempt by Oblivion to up the frame a bit with its grand sci-fi mash-up. Maybe if it had been better, a surprise knockout hit, we’d be calling it the head start of the blockbuster season, but there’s really just no overshadowing an Avengers movie, especially one from the original franchise sub-franchise, Iron Man. To be frank, it’s also going to be a hard movie to follow, too. Not necessarily in quality but in box office.
Because it’s the start of May, we not only previewed the summer season but also the month itself. And we continued to cover a few film festivals, including Tribeca, Hot Docs, San Francisco and the new Stanley Film Fest, which will be a big part of our content the next few days. As always, the Reject Recap highlights the biggest movie news and features of the week and this time we have one selection not originally posted to FSR. If you see any interesting features we should include, email us.
Start your weekend right after the jump.
“Iron Man to the Rescue: It takes a little time for Iron Man to get moving with the action. We have to wade through Tony Stark’s imprisonment for a bit, see him go through the process of creating Iron Man’s iconic red suit and see him attend a few parties. But when it heats up, it heats up. It all culminates with him taking out a tank and pimping away. Now that’s an Iron Man scene.” – Neil Miller
More on Iron Man and The Avengers:
Review: ‘Iron Man 3′ Is a Lukewarm Mess That’s Occasionally Charming
Interview: Shane Black and Kevin Feige Build a Better Iron Man
Interview: Composer Brian Tyler Ushers in Epic New Sound for ‘Iron Man 3’
Demon in a Screen Print: The Art of the Iron Man Franchise
“When asked why this intergalactic conqueror should be a concern for a team as powerful as the Avengers, [Joss] Whedon replied, ‘Well, Thanos is more powerful. He is so powerful he is not someone you can just try out and punch him. Like he did in the comics, you want him to be threading through the universe and to save the big finale for the big finale. But he is definitely part of what I have going on.’…doesn’t make the second Avengers movie sound like the ‘big finale’ he was talking about…It doesn’t make it sound like Thanos is going to be the villain for that film at all. Instead, Desde Hollywood has taken his comments to mean—probably correctly—that Thanos is going to be sticking to the shadows for quite a bit longer than fans who waited around for the post-credits sequence of The Avengers have been anticipating, and that Marvel’s overarching plan could already be plotted all the way up to The Avengers 3.” – Nathan Adams
“Last summer, Brian explained why Neill Blomkamp‘s District 9 follow-up should be everyone’s most anticipated movie of 2013, and it looks like the bulk of our team still agrees. In Elysium, the Haves and Have Nots are starkly divided. The rich live on a stately space station where all their needs and extravagances are met while the poor live on the husk of a scorched earth. Matt Damon plays a man undertaking a dangerous mission to try to restore equilibrium to the social order even as Sharlto Copely and his weird finger-flick weapon try to stop him. Right there you’ve got a killer concept, a great cast, the threat of gorgeous action, and an original sci-fi sandbox that Blomkamp excelled at playing in. No wonder we’re clawing at the walls of the asylum to let us see this thing.” – Scott Beggs
“Jordan has displayed both a shrewd acting instinct and the ability to be effortlessly charismatic — two traits that would work well for The Human Torch. Not to mention a lot of other roles as well. He’s a stellar young talent, and for those that haven’t seen The Wire, let’s just say that he owns his character Wallace, turning every big beat into a heavy gut punch. And that’s when he was 15. The guy’s got skills. Unfortunately, some are perplexed by the ethnicity problem that crops up if he gets the role, and in some ways it’s understandable; I don’t know how I feel about a non-British actor playing an American superhero either.” – Scott Beggs
More on the Fantastic Four reboot:
‘Girls’ Star Allison Williams Gets Her Own Superhero Movie Rumor
“Why do we go to film festivals? Okay, more specifically, why do we go to film festivals and see films from unknown talents? Sure, it would be easy to hit a large festival like Tribeca and only see films with big stars (Sam Rockwell co-starred in no less than three Tribeca films this year, after all), but that would remove some of the most profound joy of a good festival experience. We go to film festivals to find and champion unknown, new, and emerging talents. This year’s breakout star is unquestionably Hide Your Smiling Faces director and writer Daniel Patrick Carbone. With Faces, Carbone has crafted one of the most stirring and refined coming-of-age tales we’ve seen in years, and one that we’ll (hopefully) be talking about long after Tribeca 2013 is just a memory.” – Kate Erbland
More on the 2013 Tribeca Film Festival:
Does Tribeca Need an Iconic Theater to Solidify Its Identity?
The 10 Best Short Films of the 2013 Tribeca Film Festival
All of FSR’s Tribeca Film Festival Coverage
“Studios and content owners seem to be heading toward more isolated streaming services which seek to play off the popularity of streaming without having to share the profits with anyone else, and that’s a giant mistake. It’s not that companies can’t do it themselves, although they probably can’t do it nearly as well as Netflix. It’s that part of the draw of being on a general service — and part of the appeal of how the internet works writ large now — is that you tap into an audience you wouldn’t have normally gotten. Maybe Warners has numbers that contradict that, but in principle, Netflix should work a lot like a mall: people who would never naturally consider going in your store might check it out simply because it’s by the Orange Julius (aka the only store anyone goes to the mall for). By shifting content to their own service, Warners is effectively leaving the larger environment of movie fans in order to bet big on direct appeal.” – Scott Beggs
More on the Great Netflix Purge of 2013:
The Netflix Streampocalypse Is Here
“Everyone in this film went through hell whist shooting their most iconic and fun-loving scenes. Donald O’Connor was bed-stricken for three days after “Make ‘Em Laugh” because of exhaustion, which makes the actual scene much more terrifying to watch. Poor Debbie Reynolds had bloody feet by the end of “Good Morning” because she was pushed so hard by Kelly to get it right. And of course there’s the co-director/star himself, who had a fever during his iconically wet number…Like watching a clown car explode in fire and confetti, it goes to show just how much suffering can go into making a moment beautiful.” – David Christopher Bell
“Neither Magic Mike nor Spring Breakers nor Pain and Gain ‘just so happen’ to take place in Florida — they are reactions to and attempted representations of particularly Floridian histories and stereotypes about crime and culture. These visions of the American Dream couldn’t possibly come from anywhere else. Florida is an incredibly diverse state. It has a notable plurality of intersecting cultures and ethnicities and no distinct or consistent political ties (it’s been an important swing state in every recent election). The culture and character of its regions are starkly different from one another (South and North Florida are practically two different states), and it’s located geographically in the American South without being rigidly identified as a ‘Southern state.’ Florida, a state with no drought of stories, possesses its own unique identity, and as such there is no ‘one Florida’ to represent in movies. It’s this seemingly contradictory, multifaceted nature of the state that makes Florida an interesting, unique, and sometimes troubling place to explore. Surviving its cinematic counterpart means riding the wave of lawlessness without getting in too deep, having a modestly attainable goal, and probably steering clear of Dexter Morgan.” – Landon Palmer
More on Magic Mike:
Break Out the Fainting Couches, ‘Magic Mike 2’ is On the Way
“I’d argue (politely!) that both [Tom] Shone and [David] Edelstein are wrong about the documentary’s rising status and what the public generally wants from them, and that the reasons they’re wrong are germane to why mainstream discussion about the ‘documentary’ form is wrong and unhelpful. The term ‘documentary’ is increasingly untenable, seeing as it’s come to have connotations untampered reality: ‘non-fiction film’ is more to the mark, implying a basis in at least some degree of unconstructed/unmediated footage without firm quotas on the ratio of truth to fiction.” – Vadim Rizov (at Film.com)
More on the doc debate:
Documentaries are the real deal in Hollywood’s age of the CGI superhero (The Guardian)
Edelstein: How Documentary Became the Most Exciting Kind of Filmmaking (Vulture)
If documentaries want to be treated like movies, they need to behave like them (A.V. Club)
We ARE Living in a Golden Age of Documentaries, but the Reality Is Hard to See (Film.com)
“Edward Douglas may not be a name familiar to all of our readers. Although he should be, as he’s been a guest contributor to our site and a featured guest on Reject Radio. If you don’t know him from his limited work on our site, you may know his work on ComingSoon.net, one of the most prolific movie websites around. It is there that Ed has blogged as the Weekend Warrior for a number of years. As a writer and critic he’s always been incredibly savvy, fair and incredibly thorough. He never fails to be a great read….another great colleague, Mike Sampson of ScreenCrush.com, has set up a fund to help Ed fight cancer over at GiveForward.com. You can go right to Ed’s donation page or use the widget below. I would be honored, as a fellow movie lover, if you would join me in giving Ed your support. He’s a member of our worldwide movie-loving community, a great colleague and a good friend. With our help, he can beat this thing.” – Neil Miller