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Jean Eustache’s famous elegy for a left-wing generation is, at its heart, reactionary.
They say that health is a halo that only the sick can see. Grappling with the randomness of existence is one of the most challenging aspects of being a person. At a moment's notice, life has a strange way of reshuffling the proverbial deck in a way that throws your plans, stability, and mental state into utter chaos. — Read the rest
The latest edition of Star Wars Celebration is underway and, along with some fresh details about shows coming to Disney+ over the next year or two, Lucasfilm revealed more info about what's ahead for the movie side of the franchise. It announced three Star Wars films, one of which will feature the return of Daisy Ridley as Rey.
That film will take place 15 years after the events of The Rise of Skywalker, the final movie in the Skywalker saga and the most recent Star Wars movie to hit the big screen. It will center around Rey forming a new Jedi Order. Academy Award winner Sharmeen Obaid-Chinoy (Ms. Marvel, Saving Face) will direct the film.
A movie from James Mangold (Logan, Indiana Jones and the Dial of Destiny) will delve into the origins of the Force and the Jedi. It will be set 25,000 years before anything else we've seen in the Star Wars universe to date, according to The Hollywood Reporter.
Meanwhile, Dave Filoni will finally get a shot at directing a live-action Star Wars movie. Filoni has been at the heart of the franchise for many years. He directed the 2008 animated film Star Wars: The Clone Wars and has been deeply involved with the recent spate of Disney+ shows, such as The Mandalorian, The Book of Boba Fett, Ahsoka and Skeleton Crew. Fittingly, the movie he's set to direct will tie the stories of those shows together and put a bow on them.
Disney and Lucasfilm haven't revealed release dates for any of these films. However, Disney's current slate includes holiday 2025 and 2027 dates for untitled Star Wars flicks.
After the last three Star Wars films (The Last Jedi, Solo and The Rise of Skywalker) didn't exactly receive wide acclaim, Disney and Lucasfilm walked back on their plans to release a movie every year. They have made several attempts to get other Star Wars films off the ground, including Patty Jenkins' Rogue Squadron, a trilogy from Game of Thrones creators David Benioff and D.B. Weiss, another trilogy from The Last Jedi director Rian Johnson and entries from Taika Waititi and Marvel Studios head honcho Kevin Feige.
All of those projects have either been canned or deprioritized, according to reports. Disney and Lucasfilm are evidently hoping these three freshly announced films will reignite Star Wars' success in movie theaters, even if we'll have to wait at least a couple of years to see the first of them.
This article originally appeared on Engadget at https://www.engadget.com/three-new-star-wars-movies-are-coming-including-one-with-daisy-ridley-as-rey-144805449.html?src=rss
Rey in Star Wars
Rey (Daisy Ridley) in Star Wars Episode IX - The Rise of Skywalker.
Between Sonic the Hedgehog and Super Mario Brothers, it looks like video game movies are making a comeback – and this time, they're actually half decent! Not to be outdone, it seems Capcom is vying for another adaptation of its iconic Street Fighter series, having sold off the film rights to to Legendary Entertainment only a few days ago. — Read the rest
Super Mario Bros. is an almost perfect kids film. It's stunningly animated, it has enough momentum to keep youngins from being bored, and almost every character is unique and likable (even Bowser himself, thanks to the comedic stylings of Jack Black). It's clear that Nintendo didn't want to repeat the mistakes of that other Mario movie, the live-action 1993 film that's ironically beloved by some '90s kids (it's all we had!), but ultimately failed to capture the magic of the games. This film, meanwhile, is chock full of everything you'd remember from NIntendo's ouvre. It's a nostalgic romp for adults, and it's simply a fun time for children.
But boy is it safe. Maybe I'm a bit spoiled by the excellent non-Pixar animated films we've seen over the last decade, especially the ones that Phil Lord and Chris Miller have touched (The Lego Movie! Into the Spider-Verse!). But it's glaringly obvious Nintendo didn't want to take any major creative risks with this adaptation. The script from Matthew Fogel is filled with enough humor and references to keep us from feeling bored, and directors Aaron Horvath and Michael Jelenic deliver some inspired sequences. But it's almost like the film is trapped in a nostalgia castle thanks to the whims of an aging corporate dinosaur. (Bear with me.)
That wasn't a problem for the kids in my matinee audience, but it's a bit disappointing if you've waited decades to see a truly great Mario adaptation. It's in line with the recent live-action Sonic the Hedgehog movie — Super Mario Bros. is "fine." There's no attempt to achieve anything deeper than the basics: Mario (voiced by Chris Pratt) and Luigi (Charlie Day) are two floundering Brooklyn plumbers who are inexplicably transported to the Mushroom Kingdom. Luigi, ever the scaredy-cat, is almost instantly captured by Bowser's minions, and it's up to Mario and Princess Peach (an effervescent Anya Taylor-Joy) to save him. Big bad Bowser, meanwhile, has plans to either marry Peach or, barring that, take over the kingdom.
The film bombards you with an endless series of references from the start – just look at all those Punch-Out! characters on the wall! – something that will either delight longtime Nintendo fans or make your eyes roll. Personally, though, I mostly enjoyed seeing how all of the nostalgia fodder was deployed (the adorably fatalistic Lumalee from Mario Galaxy practically steals the film). The filmmakers also show off plenty of visual flair, like an early scene in Brooklyn that rotates into a 2D chase sequence. If only some of the musical choices were more creative. (A Kill Bill reference? Bonnie Tyler's "Holding Out for a Hero" during Mario's training montage? Come on.)
It's always nice to see kids movies reach far beyond our expectations — The Lego Movie wrestled with the prison of capitalism, the importance of pushing against restrictive social expectations and how fandom can ruin the thing you actually love, all in addition to being a fun adventure for kids and injecting a dose of smart humor for adults. In Super Marios Bros., Mario learns to eat mushrooms because they literally make him big and strong. What subtext!
At the same time, I can still respect a movie that simply accomplishes its goal of entertaining children. Over the years, I've been subjected to plenty of truly awful kid's films with ugly animation and production design, lazy writing, and zero creative vision. I wish I could reclaim the time I spent watching Space Jam: A New Legacy or the 2011 Smurfs movie. The Super Mario Bros. may be a bit basic and safe, but it's not a waste of time.
For one, we've never seen Mario and the Mushroom Kingdom look this good. Illumination may not have the stellar track record of Pixar, but this movie is filled with gorgeously detailed characters, vibrant worlds jam-packed with detail and some of the most fluid animation I've seen in years. It's a visual feast, and it makes me long for the day when a Mario game can look so lush (as much as I loved Super Mario Odyssey, it's visuals are held back by the Switch's aging hardware).
And for the most part, the voice acting kept me invested. Jack Black is inspired as Bowser, a hopeless romantic who can only express his feelings through song and world domination. Charlie Day basically plays his usual harried persona, but it fits Luigi, a character who mainly exists to support his little bigger brother. And Anya Taylor-Joy makes for a perfect Princess Peach, a leader who has to feign bravery to protect her adorable Mushroom Kingdom people.
For all of Chris Pratt's hype about his Mario voice, though, it's merely serviceable. The movie jokes about Charles Martinet's original problematic accent (Martinet also voices two characters in the film), but Pratt's spin on it just feels like someone pretending to be a schlubby Brooklynite. That's particularly surprising since Pratt injected so much life into his Lego Movie lead.
What's most disappointing about The Super Mario Bros. Movie is that it's so close to being genuinely great. If the film had more time to build up its characters, or if it made room for Jack Black unleash his full Tenacious D talents as Bowser, it would easily be stronger. Why not go a bit harder on that Mario Kart sequence? (Even Moana managed to fit in a Mad Max: Fury Road reference!) Why not spend a bit more time on the rivalry/budding bromance between Donkey Kong (Seth Rogen) and Mario?
With a projected opening weekend of $150 million or more, it's clear that Nintendo has a hit on its hands. A sequel is inevitable. I just hope that the company loosens up the next time around. After all, what fun is a Mario adventure without taking a few creative leaps over chasms of uncertainty?
This article originally appeared on Engadget at https://www.engadget.com/super-mario-bros-movie-review-fun-safe-romp-135146207.html?src=rss
The Super Mario Bros. Movie
Mario and the team in karts in The Super Mario Bros. Movie
Somehow, it took me 21 years to see Lilo & Stitch. A huge pizza night blockbuster with our crew.
It is so satisfying to me when you see something and you think, “This is so unlike everything else… how did this even get made?” And the answer turns out to be: “Well, it wasn’t made like everything else.”
In “An Oral History of Lilo & Stitch,” the writer Bilge Ebiri tells the story of how the movie came to be. Basically, it was done for a tiny (for Disney) budget, with a tiny (for Disney) crew, in a “secret hangar” in Florida, far away from the eyes of Disney leadership in Burbank. They’d just worked on Mulan, which was sort of a nightmare, and this time they wanted to do things differently:
We said, “Okay, here’s the deal. We have a lot less money. We have less time. But we want to figure out how we can make this movie so that everybody goes home at night to have dinner with their loved ones. Everybody gets a weekend. We’ll figure out how to make this and be happy doing it.” That became the spirit of making the film.
They did wild stuff like going old school and choosing to use watercolor backgrounds like in the 1930s. The only trouble was, almost nobody was alive who knew how to do it. Luckily they went to see Maurice Noble, who painted backgrounds on Snow White:
Maurice Noble was one of my heroes, and he was in his 80s. He used to work for Disney in the ’40s and ’50s. He could hardly see. One great technique that he told me about: There were these rocks in Peter Pan, in the Mermaid Cove, with beautiful rock texture. I asked, “How’d you get this texture?” He said, “The secret is sea salt — very coarse-grain sea salt.” Now, I had tried to get that texture so many times, and I knew about the salt technique, but I never knew you used sea salt. So all the lava rocks in Lilo & Stitch — it was all sea salt. It came right from Maurice Noble.
They also went on location in Hawaii because they didn’t believe you could really get the light and color right without visiting:
One day we were sitting on the beach at night having dinner by the ocean. The sun was setting and the waves were coming in. The water was turquoise, but the sea foam was pink. “How can the white foam be affected that much by the color of the sky, but not the water?” You’ll see in the surfing scene, we did that. Most people would’ve just done the water with white foam or grayish blue foam. We made it pink because that’s what we saw.
The whole piece is worth reading. (It reminded me a lot of reading about the making of Mad Max: Fury Road. That movie really shouldn’t exist. It is what it is because of the process of making it.)
In fact, now I’m wondering if that’s one way you know something is great? When you say: “How does this even exist?”
Keanu Reeves as John Wick in John Wick: Chapter 4. Photograph by Murray Close. Courtesy of Lionsgate.
In our Spring issue, we published Kyra Wilder’s poem “John Wick Is So Tired.” To celebrate the poem and the recent release of John Wick: Chapter 4, we sent four reviewers to three different John Wick screenings over the course of a week.
Tuesday, March 21: Press Preview
The first thing we noted when we entered AMC Lincoln Square 13 for the New York press screening of John Wick: Chapter 4 was that film PR girls are way nicer than their fashion industry counterparts. Check-in was a breeze, and we were informed that since we had special blue wristbands, we didn’t have to turn in our phones. We hadn’t considered that we would potentially have to turn in our phones, but were relieved nevertheless. We were handed a very large stack of papers with a large John Wick logo at the top, containing detailed information about the franchise and a long explanation of the movie’s plot, which we chose not to read too closely for fear of spoilers. This heavy stack of papers was also where we first learned that the runtime was a whopping 169 minutes. This troubled us, mostly because we had had a lot of wine with dinner and were concerned that we would have to pee. The theater was packed with agitated-seeming nonjournalists who were somehow able to secure tickets. People wove up and down the aisles in a huff, frustrated by the first-come-first-served seating. A couple of women exchanged curse words over another woman’s volume. Multiple people arrived late with full take-out bags, their lack of discretion leading us to believe that the staff of the theater were not too concerned with enforcing the rules of this AMC John Wick press preview.
The French crime film maestro Jean-Pierre Melville once said, “What is friendship? It’s telephoning a friend at night to say, ‘Be a pal, get your gun, and come on over quickly.’ ” In the universe of John Wick, it’s pretty much that too, but it’s a thousand guns, two dozen archers, bows, arrows, knives, swords, bulletproof suits, a sundry list of exotic ammunition, an attack dog, a blind assassin, dueling pistols, a fleet of luxury attack vehicles, and a handful of classic American muscle cars. Oh, and if you could bring them all to the Sacré-Cœur, in Paris, by sunrise, that would be great, thanks.
By now, with the fourth installment in the franchise, the formula is familiar. John Wick (Keanu Reeves), on the run from the High Table (a governing body for the underworld whose main function just seems to be killing people) kills a lot of people in a series of highly choreographed set-piece action sequences in places like fancy hotels for assassins, fancy churches for assassins, and fancy Berlin techno clubs, also presumably for assassins. There’s something very charmingly mid-2010s about the environs and the soundtrack (was that the opening of Justice’s “Genesis”?), like a world where there was no COVID pandemic, but where everyone is a rich assassin in an ugly custom three-piece sparkly suit. Better times.
Reeves speaks softly and carries a number of big loud sticks, swords, et cetera, often breaking down his guns into their constituent parts and throwing them, stabbing people with them, or indulging in other creative but necessary acts of violence. There’s an extremely fetishistic aspect to the gearheaded breakdown of the guns, and to the clicking of magazine releases, that forms a sort of counterpoint to the theoretically balletic fight choreography. Like Jean-Pierre Melville, John Wick normally drives a classic Mustang. How a similar car made its way to Paris in this film is anyone’s guess. There really aren’t any other comparison points between this film and Melville’s Le Samouraï, except that they’re both about assassins. Oh, and friendship.
—Alex Tsebelis and Chloe Mackey
Thursday, March 23: Premiere Day
I was supposed to go to a cosplay premiere event for John Wick: Chapter 4, but couldn’t get tickets in time—so I ended up at a normal Regal theater for the nearly sold-out 7 P.M. screening. I’d dressed for cosplay that morning, but I’d also never seen a John Wick film, so I had to make some educated guesses. Action movies, I knew, are all about men in suits performing suit-inappropriate actions. Assuming John would have a sexy love interest (this turned out to be wrong), I selected the female suit equivalent, a secretary costume: fitted brown houndstooth minidress. I loitered at the Regal Essex Crossing second-floor bar, photographing my outfit against the sunset over the Williamsburg Bridge, a very John Wick backdrop. “Is this for a fashion blog?” the Regal bartender asked me, winking. “No,” I said. “I mean, yes.”
Everyone else in the audience wore joggers, a garment absent from the fashion-forward film. Indeed, without context, the opening sequence registered to me as a kind of psychedelically plotless Saint Laurent advertisement, a brand for which Keanu Reeves is an “ambassador.” We begin with John Wick punching a brick in an elaborately shadowy warehouse. His training is interrupted by the dramatic entrance of his three-piece suit, appearing, silhouetted against the inexplicably fiery glow of a doorway, in the hands of some sinister fellow (friend, foe, butler?). The suit—presented in a manner usually reserved for the hero’s weapon of choice—is accompanied by a line of dialogue I neither understood at the time nor remember now, but which was clearly a classic John Wick catchphrase that meant something like “Here’s your suit. Now it’s time to kill—again.” And he totally does.
Wick’s antagonist, the Marquis, sports a series of glittery waistcoats complete with asymmetrical gold buttons and stupid little chains. His weapon: blades. His goal: glory. The effete Marquis probably has ten times as much dialogue, and charisma, as John Wick, who is completely without character attributes. John Wick is just a killer, more like a machine than a human being. His suit, like his gun, is all-black.
—Olivia Kan-Sperling, assistant editor
Tuesday, March 28
The statistically inclined among us might have told me, as my projectionist friend did later on, that the odds of the screen going black twenty minutes into my 10:30 A.M. Sunday-brunch screening of John Wick: Chapter 4 at the Alamo Drafthouse up at least three escalators in the City Point mall were actually not so low in the age of automated projection. So my associate (a different one) and I finished our cauliflower-crust breakfast pizza and got a refund, and I picked up where we’d left off two days later at AMC 34th Street 14, where Nicole Kidman’s on-screen avatar assured me that the display was IMAX and the projectors laser. In the basement of a Berlin techno club full of bad, identically robotic dancers making repetitive upward arm movements, John Wick is dealt in to a five-card-draw game of poker with the two hitmen contracted to murder him and a German High Table official named Killa. At the end of the game, Wick puts two black eights and two black aces on the table, in what is usually a strong move—called the dead man’s hand, as I learned that night on the Reddit forum r/NoStupidQuestions, after the hand Wild Bill Hickok was reputedly holding when he was shot—but Killa destroys his chances by playing an unbeatable five of a kind: impossible to achieve without cheating, of course, because there are only four suits in a deck. Vegas would do well to be reminded, though, of the words of the Marquis, which I should start telling myself when I wake up in the morning: “How you do anything is how you do everything.” The odds are always against John Wick, and he always wins anyway. In the end, he slices Killa’s neck open with a playing card, and pockets one of his gold teeth.
—Oriana Ullman, assistant editor
When Charlie Watts died in August of 2021, I wrote: “This feels like a big one, and is certainly a harbinger of things to come.” I didn’t know at the time that Damon Linker had written two years earlier about “The coming death of just about every rock legend.”
But it’s not just musicians, is it? Consider some of our most famous film directors:
(Obviously, other distinguished names could be added to the list.) Interesting how closely their ages correlate with those of the great rock stars — though the rock stars became famous a decade or more earlier. Won’t be terribly long before we’re saying “There were giants on the earth in those days.”
In Italy Father’s Day is recognized on St.Joseph’s saint day, which is today. And I have to say given Joseph’s role in Jesus’s birth, there’s a strange subtext to the day here Anyway, I spend much of both the Italian and American Father’s Day quoting from the first episode of the horror omnibus Creepshow (1982), which is appropriately called “Father’s Day.” It’s a story of a wealthy, homicidal patriarch that is murdered by his daughter after having her lover killed in his ongoing campaign to control her love life. It’s an awesome episode, and everything is narrated by the bored, dissolute heirs of this fortune while they’re waiting for their great aunt Bediliah to arrive to celebrate Father’s Day, which happens to be 7 years after she murdered the pater familia.
Creepshow: “I want my Cake, Bediliah”
The line repeated throughout the episode is by the tyrannical patriarch, who belligerently cries, “I want my cake!” while banging the table with his cane. And that’s what I find myself saying again and again on this hallowed day. I often preface this demand with some context, “It’s Father’s Day, and I want my cake!” And once I get it I say, “It’s Father’s day, and I got my cake,” the latter being a reference to the end of that episode, but no spoilers here. Anyway, I’m not sure why Creepshow continues to be a huge touchstone for me on a regular basis 40+ years later, but it is. The other thing I find myself exclaiming histrionically when the occasion calls for it is “I can hold my breath for a long time!” which is a quote from the third episode of Creepshow called “Something to Tide You Over.” You just have to see that one, which is my all-time favorite.
Creepshow: Lost Reception
Also, while we’re on the subject of Creepshow, it’s worth noting the “Father’s Day” episode also features a young Ed Harris doing an impressive series of disco dance moves:
A Young Ed Harris doing the sprinkler move
I love Creepshow, and all these GIFs were actually taken from the bava archive during the heady days of the Summer of Oblivion. I went on a little Creepshow tear in June 2011, and the tale of the blog confirms that. Speaking of GIFs, I’ve been watching a bunch of Yasujiro Ozu‘s films recently, and I got an idea for an interesting GIF project for my house. I ordered the Blu-ray and will be trying to make really high quality GIFs from Ozu’s An Autumn Afternoon (1962) because I think that film is one of the most beautiful I’ve ever seen, and like the first episode of Creepshow, it is all about fatherhood I’ll try and write about my Ozu GIF project once a figure a few things out, but until then 2011 is a little something to tide you over
Best double check those Roman numerals in your copyright notice...
The post Roman Numeral Error Shaved Ten Years Off A Movie’s Copyright appeared first on The Scholarly Kitchen.
Not to jinx it, but it's pretty obvious that Michelle Yeoh is going to take home the top prize for best actress at the Oscars tonight, right? Since its release, the dazzling and dimension-hopping film Everything Everywhere All At Once has garnered nothing but positive reviews and attention. — Read the rest
The bass notes in the Jaws theme and the five tone melody in Close Encounters of the Third Kind are two of the biggest stars of those films. They set the mood, build tension, and drive the plot. In Close Encounters, those notes are literally a crucial element of the plot. — Read the rest
At this point, it's safe to say that The Super Mario Bros Movie is on track to become one of the most successful animated films of the entire year. In addition to the instant brand recognition the film offers with its titular characters, the movie also has the potential to tap into the collective nostalgia of gamers that also have a gaggle of children. — Read the rest
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