A chat about the cultural significance of late fees and blue boxes.
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The story was nothing special: dapper secret agents, ribbed metal briefcases carrying confidential contents, double-crossing lovers with a penchant for the extravagant, motorcycle chases that defy physics. It could have been an episode out of any old spy series.
But the audience was gripped.
South Korean director Kim Jee-woon’s latest work features all of the usual staples fit for an action-adventure film, but it captivates its audience so thoroughly by other means. Kim, who recently directed The Last Stand starring Arnold Schwarzenegger, on Friday premiered his short feature The X using his country’s new multi-projection technology, ScreenX.
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If you’re a filmmaker looking to attract smart, adult audiences and award-show buzz this fall, it seems your best bet may be to set your movie in one of the following settings: out at sea, out in space, or in any year before 1980. Who knows which actors and directors will walk away winners at the Oscars next March, but here are 16 highly anticipated releases that hold plenty of promise.
A surprisingly high portion of those who supported the Republican presidential nominee almost never go to the movies.
The film portrays the man killed in the 2009 BART shooting as a full human beinga portrayal that, as the the Trayvon Martin trial reminds us, remains sadly needed.
There is a movie called Sharknado. It is a real movie. It is about sharks in a tornado. The killer sharks in the tornado fly around snatching up people who say things like “we just can’t wait here for sharks to rain down on us.”
And it explains everything you need to know about the Federal Reserve nowadays.
Sharknado, the movie, might just be a dumb story about sharks. But Sharknado, the business, is a story about a cable channel’s need to keep upping the ante to persuade viewers that it can always come up with a crazier idea than the last. After all, this isn’t the SyFy Channel’s first foray into absurdist animal action. Before tornadoes started catapulting great white sharks at unsuspecting victims, there was Sharktopus and Dinoshark and Piranhaconda. But with each stoner nightmare of science-or-nature-gone-wrong, SyFy has had to turn the ridiculousness to 11 to keep anybody’s attention: Alright, you’ve seen a genetically-engineered shark-human hybrid go on a rampage, but what about a genetically-engineered supergator … versus, um, a a dinocroc!?! (Those are real movies by the way).
Read more. [Image: The Asylum, Yuri Gripas/Reuters, Gary Cameron/Reuters]
Heading into to the summer, there was perhaps no Hollywood blockbuster that appeared to have as low a floor and as high a ceiling as Pacific Rim. On the one hand, the cast is notably second-tier and the plot—giant, human-operated robots fighting giant, alien sea monsters off the coast of Hong Kong—seems like a cross between Battleship and the Transformers movies. On the other hand, the movie is directed by Guillermo del Toro, whose prior achievements—both pop-cultural (Hellboy) andhigh-cultural (Pan’s Labyrinth)—are beyond reproach. Adding weight on the negative side of the scale were a series of underwhelming trailers. But on the positive side, again: The movie is directed by Guillermo del Toro.
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In Return to Oz, a bizarre sequel Disney made in 1985, Dorothy is committed to a sanitarium for electroshock treatment. The Wiz, a 1978 musical adapted from a Broadway show, is more upsetting to watch than it is endearing. In 2007, a television miniseries called Tin Man set Dorothy in bleak, dystopian sci-fi. All of these projects lacked that unique blend of poignant familiarity and broad cultural appeal that anchored The Wizard of Oz. Without it, they’re just creepy stories about a girl and her weird friends.
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