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We Are What We Are (2013) Blu-ray Screenshot

Entertainment One Films US

For the last 12 years, you could say that Richard Linklater has been just a little bit busy developing Boyhood, his triumph of a film concerning the growth and life of a boy from childhood through adolescence — in real time. And while that ate up a dozen actual years, Linklater didn’t put all his eggs in one basket. As with his Boyhood cast, he allowed himself to work on other projects and tinker with new ideas for future films. One such project is the long-awaited follow-up to his 1993 masterpiece Dazed and Confused.

The Playlist reports that Linklater has begun casting this “spiritual sequel” (as Linklater has called it), which is titled That’s What I’m Talking About. He sent offers for three of the lead roles to the following up-and-coming young actors: Blake Jenner (Ryder from Glee — you know, the one that got catfished by another Glee club member), Tyler Hoechlin (the Teen Wolf from Teen Wolf) and Wyatt Russell (Zook from 22 Jump Street and the son of Kurt Russell and Goldie Hawn).

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I Know What You Did Last Summer

Columbia Pictures

No one has any lingering affection for I Know What You Did Last Summer, right? No? Great. Just making sure no one’s feelings will be crushed by the announcement that Sony has an IKWYDLS reboot fast-tracked for 2016. The following details come by way of DeadlineMike Flanagan and Jeff Howard (Oculus) will script the reboot, which will “again” take its inspiration from the 1973 novel by Lois Duncan. “Again” should really be up for debate, because it’s not like the original film was a slavish page-to-screen update. The book saw a group of teens kill a kid in a hit-and-run and then be haunted by a mysterious figure with a spooky connection to the killing. The movie saw a group of teens kill a scary hobo. Then they were slashed apart by a scary hobo.

Still, it’s not like anyone’s thought of IKWYDLS in years. It made a boatload of cash in 1997, churned out a sequel in 1998 and was promptly forgotten, but for a direct-to-DVD threequel in 2006 that turned the hook-wielding killer into a magic zombie with teleportation powers. Long-dead franchise that was originally a hundred-million-dollar hit? That’s prime reboot real estate.

It’s also a sign of the times — as a society, we’re above continually remaking the slashers of the ’80s. Because it’s now been 20 years since the ’90s, and whatever weird cultural embargo everyone was following is up, it’s open season on Fresh Prince of Bel-Air-era serial killers. Hollywood is already dipping its toes into ’90s slasher rebootdom, first by morphing the leprechaun from Leprechaun into a grimy rat monster and making Scream into a TV show that may or may not have a connection to the original Scream (is it a reboot? a quasi-sequel? no one knows). There’s so much more to be rebootified.

So, let’s delve into the other teen-choppers of the decade and pick out a few candidates worthy of a good rebooting. It may not have been as kill-heavy a decade as the one before it (marred by slasher fatigue and the beginnings of a remake tidal wave), but there are still a few gems in the ’90s that could stand a little updating.

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The Look of Silence

Toronto International Film Festival

Given the enormity of the festival, with all its glitz and glamour and galas, it’s sometimes easy to forget that the Toronto International Film Festival is one of the premier destinations for the top documentaries of the year. Curated by Thom Powers and his team, the selection here definitely leans towards the cinematic, where a compelling narrative and well-assembled, cohesive film is often as important as any journalistic intent of the work.

With dozens of films to choose from, along several nonfiction titles that play outside the already impressive TIFF Docs slate, this year once again reestablishes the festival as the place to see some of the finest documentaries from around the world.

Of the dozen-and-a-half selections I screened this year, here are the six best documentaries of TIFF ’14:

The Look of Silence

This quiet, contemplative film at times belies the sheer enormity of its accomplishment. Joshua Oppenheimer and his team of collaborators (often simply cited as “Anonymous”) follow on the work done for The Act of Killing with a penetrating examination of the ramifications of war. It follows Adi, an ophthalmologist who helps his clients see, both literally and metaphorically, as he gently but persistently quizzes several of them about the death of his brother. Tying together footage shot over almost a decade, the film confronts the very act of memory and the stories we tell about ourselves and our past.

Much of its power comes from the contrast to the previous film — the brash and colorful extravagance of The Act of Killing gives way here to poetic closeup views of faces engaged in contemplation — and in many ways this one actually does something nearly magical; it’s a sequel that actually helps improve the film that precedes it. Combined, the pair of docs represent the pinnacle of nonfiction filmmaking in the 21st century.

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Avengers Age of Ultron Poster

Disney/Marvel

How about that Avengers: Age of Ultron plot synopsis, eh? Shockingly generic? Yes it is. They might as well have said, “The Avengers are getting back together because the world is even more threatened this time, and you know you’re going to see it anyway you have your alarm set for May 2015 so why do you keep asking us for a plot synopsis?”

In other words, it’s an excellent synopsis that doesn’t give everything away or deliver pure fan service to the faithful. It’s also kind of pointless, so to make it more useful, let’s play Avengers: Age of Ultron Plot Synopsis Mad Libs.

Here’s how:

Choose a noun, a plural noun, the name of someone in the room, a verb that ends in S, the name of your favorite person, an adjective and one more noun.

Plug them (in order) into this handy be-underlined paragraph, and you’ve got the makings of your own superhero film!

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The Hunger Games Mockingjay

Lionsgate

Near the opening of the trailer for The Hunger Games: Mockingjay, Jennifer Lawrence’s Katniss points out that she didn’t set out to cause massive social disruption; she only wanted to protect her little sister from certain death at the hand’s of an oppressive regime. It’s an excellent thematic introduction to a penultimate series entry that should radically change what the franchise is all about. What she did by volunteering was intimate and fiercely personal, but it resonated in a way that opened everyone else’s eyes. When one person stands up, the question is why everyone else isn’t on their feet.

Donald Sutherland’s President Snow responds with a poetic zen koan about the things we love killing us. Undoubtedly, he loves power, so we’ll see how that all works out for him.

Before you watch the trailer, a fair warning: it shows how one character has significantly changed — altering the lines in the sand and blurring what everyone is fighting for. For some, it’ll be more interesting to watch the transition in the film itself, but, if you need a shot of confident adrenaline to get you going and don’t mind the information, this should do it.

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Jeremy Renner

Universal Pictures

 

Let’s take a journey back in time. The year? 2010. Hot off The Hurt Locker (and reasonably hot off The Town), Jeremy Renner looked poised to break out in a big way. He was going to be Hawkeye. He was going to be the new Jason Bourne. He was going to take over the Mission: Impossible franchise. It was going to be Jeremy Renner’s world, and we were all just going to live in it (and buy lots of movie tickets while living in it). It was going to be great.

It didn’t happen.

The literal promise of Renner’s breakout did come true – he is Hawkeye in the Marvel Cinematic Universe, he took over the Jason Bourne franchise, he was introduced as a new character in the last Mission: Impossible film – but he’s still not the star of any of those franchises. And, based on the latest round of Hollywood news, he’s not going to be.

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Robin Williams Teddy Roosevelt

Twentieth Century Fox

As with any Ken Burns documentary, PBS’s The Roosevelts (having finished its second of seven two-hour episodes last night) features a trove of archival material including photographs, documents, newspaper headlines, excerpts of diaries and books reads by actors ranging from Meryl Streep to Billy Bob Thornton, and new footage from the preserved estates of the title characters. Yet what dominated yesterday’s entry (which takes place roughly between 1901 and 1909) was silent film footage of the United States’ 26th President, often brought to life for a sound-sync audience through music or even foley effects.

While Burns’s films are known for their archival display, they don’t always contextualize how certain information is made available at certain points in history. Yet as The Roosevelts promises to cover over a century of ground between 1858 and 1962, the way information spread is a story that will inevitably be told, explicitly or implicitly. Between the early days of the moving image alongside the rise of industrialization in the late 19th century to Hollywood’s important role in rallying Americans during WWII, the story of how media develops in turn shapes how history is known.

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THE BATTERY discs

Welcome back to This Week In Discs!

If you see something you like, click on the title to buy it from Amazon.

Discs Section: Pick of the Week

THE BATTERY bluThe Battery

The zombie apocalypse has left America a wasteland of the undead with pockets of mankind struggling to survive. Two former baseball players forced by the situation to become fast friends travel the country looking for supplies and safety, but their different personalities and views on the situation lead to dramas far removed from the flesh-eating varieties.

Zombies have been ubiquitous in the horror genre for years now with three out of every five horror films focusing on them as their monster of choice. (I totally made that up, but it feels right.) The vast majority of them are pretty damn terrible, but once in a while a real gem comes along, and one of the best is this American indie that dares find the humanity in a story about the inhuman. It feels like a drama, but a lack of flesh-chewing scenes doesn’t mean it’s devoid of horror as the reality these men find themselves in is a terrifying one. Writer/director Jeremy Gardner (who also plays one of the two leads) is a refreshingly smart new voice in genre film-making.

[Blu-ray/DVD extras: Commentary, making of, outtakes, featurette, trailer]

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Marilyn Monroe Seven Year Itch

Twentieth Century Fox

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?

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Magnet Releasing

Magnet Releasing

Here’s the thing. It’s fashionable to bash remakes from their very first announcement as unnecessary and doomed to failure, but there have been more than enough good (and even great) ones to know that’s just dumb. No remake, whether good or bad, has the power to alter the original which will always be available to watch and enjoy. Of course, knowing that doesn’t change the knee-jerk reaction you feel when a particularly fantastic foreign film is snatched up and scheduled for American consumption.

Kim Jee-woon‘s deliciously brutal I Saw the Devil has been on the path towards an English-language remake since its release in 2010, but details as to who would actually be involved have been up in the air until now. The Wrap just revealed — and producer Keith Calder confirmed via Twitter — that the team behind You’re Next and the recent The Guest will be writing and directing the film. Adam Wingard will direct from Simon Barrett‘s script, and while we’re still more than a year away from a finished product there’s reason to feel both excited and concerned… while still remembering that Kim’s original will always be here regardless.

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Adam Sandler in Men Women and Children

Paramount Pictures

It’s an understood rule of comedic actors that they can all do drama, as well. Comedy is harder, of course. But then not every comedic actor is truly an actor. Not every comedic performance is about more than good line readings and having the necessary timing to tell a joke. Stand-up comedians often get starring gigs on sitcoms, but that doesn’t mean they’ll wind up with an Oscar nomination someday. (Sorry, Sinbad.) Those who do end up with Academy recognition are those who were always set to shine on the big screen and wound up on TV as a short little detour along the way. Jennifer Lawrence, for example. And Tom Hanks. And Leonardo DiCaprio. But there are also former TV comedy stars who do great work in dramatic movies and never garner Oscar attention, and then they have to go back and do a Dumb and Dumber sequel.

There is hope and buzz for quite a few former sitcom stars this fall. They could join the likes of Helen Hunt, George Clooney, Sally Field, Melissa McCarthy, Jackie Gleason, Art Carney, Mo’Nique, Sandra Bullock, Marisa Tomei, Will Smith, Diahann Carroll, Woody Harrelson, John Travolta, Judd Hirsch, Thomas Haden Church, Patty Duke, Pat Morita, Kate Winslet, Billy Bob Thornton, Jamie Foxx and Robin Williams. I’m sure I’m forgetting some others (and not even thinking of all the variety TV players like George Burns, Eddie Murphy, Dan Aykroyd, Bill Murray, Cher and Goldie Hawn). Or they could be the next Jim Carrey. Check out the funny TV vets said to be in contention now that the Toronto International Film Festival has spewed out a number of this year’s awards candidates.

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L4st Short Film

Mikko Löppönen

Why Watch? This short film proves that at least one filmmaking collective in Finland is obsessed with the fungus-murdering “The Last of Us.” Mikko Löppönen and company have created a slick action set piece that earns its haunting atmosphere with navel gazing music and uncomfortably long shots of a decrepit location.

L4ST barely has any dialogue, and it doesn’t exactly need what it has. It’s a brief anxiety attack, shot in a way that forces you to try to look around corners even though you have no control over the scene. That echo of video game views helps sell the survival, but the short’s greatest strengths are the choreography and execution of its fight scenes. Quick, sharp and simple, they mirror the ferocity necessary to survive in a world with few supplies and many dangers.

Someone give these people a bigger budget.

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Edge of Tomorrow BTS

Warner Bros.

As you all know, Edge of Tomorrow is the story of a man facing a grueling mid-life crisis who can only save himself by escaping a workday grind where every day poses the exact same set of existential irritations and wide-mouthed aliens who want to blow him into tiny bits. We’ve all been there.

The movie required a lot of projectiles and explosions for Tom Cruise and Emily Blunt to run away from (or to), and this B-roll footage (via ScreenSlam) shows the pair doing their own stunts while practical fireballs blaze in the background.

It’s tough to say whether Edge of Tomorrow had more practical special effects than other big action flicks (I once saw a car thrown at another car while driving near the Transformers set), but it definitely feels like it. The kind of explosions and stunts they’re pulling off without CGI are really fantastic. The body-flinging segment at 3:00 is genuinely startling, and I’m waiting for someone to explain how they safely shot rockets (missiles?) above the heads of dozens of extras and movie stars. That’s the kind of phone call Ned Ryerson waits his whole life for.

Questions aside, this video is damned impressive, and it makes me want to see Cruise and Blunt star in a Zhang Yimou movie as soon as possible.

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