Revolution

TIE ME UP discs

Welcome back to This Week In Discs! If you see something you like, click on the title to buy it from Amazon. Tie Me Up, Tie Me Down! (Criterion) Pedro Almodovar’s Tie Me Up! Tie Me Down! was a massive cross-Atlantic hit in the early 1990s, helping to launch the global career of Antonio Banderas. Following an obsessive but charming former mental patient (Banderas)  as he captures a porn star (Victor Abril) so that she learns to fall in love with him, the dark comedy was the import of the season on summer movie screens 24 years ago, accompanyingWomen on the Verge of a Nervous Breakdown as the one-two punch that made Almodovar an arthouse fixture. While Almodovar has gone through various stylistic phases since, Tie Me Up remains a prime example of his unique propensity for comic chaos that plunges unabashedly into the trenches of sexual id. The film’s success can be credited in part to its massive controversy: its sexual content threatened its US release with an X rating, which began a lawsuit that resulted in the creation of the NC-17 rating. The story behind the film is thus as much a part of it as the film itself, and Criterion justly adorns this set with a collection of new special features that illustrate how the film changed the career of those in front of and behind the camera, with Almodovar thankfully present across all of them. Hopefully this first release of Almodovar’s work promises many Criterion treatments of the Spanish auteur to come. […]

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jjabramsstartrek2

While answering questions about something very few people care about (NBC’s Revolution) writer/director/mystery boxer/producer J.J. Abrams went on the defensive about his secrecy concerning projects. The filmmaker, who has his hands in many, many different pies, has long been known to keep relatively mum about his projects, whether they’re television shows like Lost or the upcoming sequel to Star Trek. Abrams said that it was no fun always having to keep mum on his projects, but ultimately it’s worth it. On the subject, he said “all the work we’re doing is about making this a special experience for the viewer; let’s preserve that as long as we can.” He went on to say that, as a movie fan himself, he doesn’t understand why people are always clamoring for information. While Abrams and I may disagree on the subject of lens flares, on this one we are 100% in agreement.

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Reject Recap: The Best of Film School Rejects

To paraphrase Loverboy, everybody’s waiting for the weekend… to read the best original movie-related content on the web. So, come on baby, let’s go back to the start and give the past week of Film School Rejects a second chance. But first, we want to remind you of the category links on this page that will help you find the most recent reviews (including new releases Dredd 3D, End of Watch and The Perks of Being a Wallflower) and trailers (new spots for The Hobbit and The Life of Pi included) as well as the sidebar of all your favorite columns. And, of course, this week brought the start of Fantastic Fest, so you’ll want to look back on what films we’ve covered so far, such as Frankenweenie and Holy Motors. Keep this link handy through the next five days or so.

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Channel Guide - Large

The dialogue in NBC’s less than revolutionary new adventure series Revolution is filled with pointless obfuscations. “It’s all going to turn off,” warns Ben Matheson (Tim Guinee), a frazzled family man who knows…something. “It’s going to turn off and it will never, ever turn back on.” Technology is the “it” being discussed in this vague statement that simultaneously establishes the show’s gratuitously theatrical tone and sets up the central conflict—lights, computers, cars, planes, iPhones (!), and all of the other essential, electronic thingamajigs that we take for granted, abruptly, stop functioning. The premise is provocative enough (albeit in an ordinary “What If?” game sort of way) but Revolution’s series opener is tepid—made up of recycled bits and pieces from other overblown post-apocalyptic dramas—and, at times, unintentionally hilarious. Created by Supernatural’s Eric Kripke, Revolution is supposed to be this year’s epic—the event show that sucks everyone in with its mythology and intrigue. Post-Lost, we’ve been given at least one of these Abrams-esque dramas every season. Sometimes, like this one, J.J. Abrams is actually involved with the production (Abrams and Jon Favreau are executive producing), which only fuels the hype. Revolution has all of the standard features of this class of show—the large ensemble, the misdirection, the sci-fi. The most lamentable flaw, then, is that it never rises above its role as the requisite Abrams show.

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Revolution Television Show

Editors’ note: Hey! TV stuff! With Revolution premiering on NBC this very evening, why not journey back with us to our own world without power – way back in July when we wrote about the show’s pilot episode as part of our Comic-Con coverage. This feature was originally published on July 16, 2012. NBC’s new television series Revolution was everywhere at this year’s Comic-Con, from a giant skin covering the side of the Hilton Hotel (a skin that was unavoidable if you happened to be near the San Diego Convention Center and you happened to have your eyes even slightly open) to a large scale set piece stationed in the middle of the hullabaloo of the Gaslamp District, so it’s not shocking that the series’ panel and pilot premiere was positively packed. The original series is a good fit for the ‘con – a new hour-long drama that takes place in a world without electricity and populated by people just trying to survive, people trying to seize (metaphorical) power, and people trying to figure out why the lights went out (and the planes went down and the cars stopped working and the water stopped running). Creator Eric Kripke is a known name to a niche audience of TV fans – he also created beloved long-running series Supernatural – but it’s the more marquee names that Revolution might be trading on to lure in fans for the show. Both J.J. Abrams and Jon Favreau are executive producers on the project (along […]

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Omar Little

What is Movie News After Dark? It’s a nightly news round-up that is fully prepared for the apocalypse. It watches enough movies to know what’s up. Our night begins with the iPod playlist of Omar Little. More to the point, it’s a playlist that actor Michael K. Williams designed for his character on The Wire. In order to maintain a character’s temperament, Williams often creates playlists that help keep him in the zone. Vulture has his playlist for Omar, which you can also get on Spotify. If you be comin’, that is.

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The Best Seat in a Movie Theater

What is Movie News After Dark? It’s a nightly movie news column that cares about your in-theater experience. We want you to have the best seat and be able to avoid having someone do something heinous to your corpse. We care so much. We begin tonight’s multimedia-heavy presentation of your favorite after-hours movie news column with an article I quite enjoyed over at Gizmodo, titled simply How to Find the Best Seat in a Theater. This is the kind of expert knowledge that many people assume I have, given the number of movies I see in theaters every year. But I’ve never quite dug into the science behind what makes the sweet spot the sweet spot.

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Spock on Hollywood Blvd

What is Movie News After Dark? It’s a nightly collection of things that serious movie lovers will find interesting, useful, or both. We begin this evening with an image from the website of the LA Times, who are featuring great reader photos chronicling Southern California moments. This one, by a gentleman named Chris Jackson, is of a street performer dressed as Spock on Hollywood Boulevard. Awesome costume. No, I don’t want a photo. No, I will not tip you. No, stop touching my girlfriend’s thigh. Live long and prosper, now get away from me.

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