Category Archives: News

‘Batman v Superman: Dawn of Justice’ Official Trailer Released Two Days After Leak

The trailer for Batman v. Superman: Dawn of Justice was released yesterday for the film that will premiere in a little under a year on March 25, 2016.

Given Sony’s unprecedented deal with Marvel to release four films through 2019, costly superhero films must truly break the mold in order to gain traction in what is quickly becoming an oversaturated market. Batman v. Superman, at least at first glance, certainly seems to break the mold with an apparently villainous Batman (Ben Affleck) taking on Superman (Henry Cavill). This is Batman in Superman’s world located in Chicago, so we will also see Lois Lane (Amy Adams), Lex Luthor (Jesse Eisenberg) as well as Wonder Woman (Gal Gadot) all making appearances in crossover film.

The tone of trailer dedicates a lot of time to presenting intensely negative media reactions to Superman’s alien powers which suggests an especially dark and gritty tone in line with recent trends, such as the new Netflix series Daredevil. Certain critics question this move towards “realism” as a means of differentiating this DC movie from its Marvel counterparts. Still Director Zack Snyder and Warner Brothers are likely trying to correct for the first film in the Superman saga, 2013’s Man of Steel, which was deemed lacking in character development and story.

Anticipation for this sequel is high considering the media storm surrounding a leaked version of the trailer with Portuguese subtitles just a few days before the trailer’s intended April 20th official release. Little of the plot has been released, but Snyder’s decision to use “v” in the title instead of “vs.” in order to “to keep it from being a straight ‘versus’ movie, even in the most subtle way” suggests the crew is trying to differentiate this sequel from all crossover film predecessors. Whether the film will live up to the director’s lofty ideas, however, is anyone’s guess through response has been mixed.

Baz Luhrmann The Get Down

Baz Lurhmann Gives Shape to His Upcoming Hip Hop Netflix Series ‘The Get Down’

Director Baz Luhrmann has recently opened up with more information on his first television series The Get Down, which is set to come out on Netflix in 2016. Luhrmann has succeeded as a big budget auteur with films like Romeo + Juliet and most recently Gatsby that reinterpret literature and historical events with extravagant twists. Netflix’s first investment into original television content from a well-known director shows the company’s commitment to maintaining its market dominance in the field of streaming video on demand by competing with Amazon Studios’ partnerships with acclaimed directors Steven Soderbergh and Woody Allen.

The Get Down sounds well suited to the Luhrmann treatment as it focuses on the emergence of hip hop culture in the 80’s when New York City was perhaps at its lowest point with four times as many murders per year as there are now. Specifically the series centers around South Bronx teens with little hope for a conventional future who instead turn to break dancing, rapping and graffiti writing as refuge that serve as impetus for a hip hop culture that soon sweeps the nation. In an attempt to preserve integrity for the subject matter, Luhrmann has launched the website TheGetDownCasting.com for African American and Latino men and women ages 18-21 to submit online auditions without agents or previous acting experience. The demonstrated goal is for the show to not only feature established actors, but also young people with relevant talent to contribute to the show but without any showbiz connections.

Being a show about hip hop, music will be a central focus with classical hits as well as new compositions from as of yet unnamed musical partners in order to provide a range of quality music that made previous productions like Moulin Rouge a blockbuster hit. Plans are for the series’ first season to begin in the late 1970’s with the disco that formed the basis for hip-hop and end in the early 1980’s.

Luhrmann himself plans to direct the pilot and then the final two episodes of the season in addition to executive producing. His crew’s background is diverse from playwrights Radha Blank and Seth Zvi Rosenfeld as writers to producers from Australia and The Shield. Luhrmann also plans to work with frequent collaborator, and wife, Catharine Martin as production and costume designer. Those associated with The Get Down have not yet released any confirmed actors in the project, but shooting is planned to start in May.

Old Fashioned Hollywood Bias

Anonymous Voter Confirms the Academy’s Old Fashioned Hollywood Bias

We can all agree that as the anonymous “longtime member of the Academy’s 378-member public relations branch” said, “Everything is Awesome” from the snubbed Lego Movie deserves best song of the year. Alright, now let’s move on to the many disagreements I have with this voter for the Academy that chooses the winners of the Academy Awards. The Hollywood Reporter presented a transcript of an anonymous voter weighing in on all the Best Picture nominees and likely winners for the remaining categories with answers that range from direct to downright insulting not only to the all the creatives who have contributed to filmmaking this year, but also to the integrity of the Academy.

Well, I suppose that depends on what the Academy Awards are actually supposed to stand for and celebrate. The Oscars purportedly reward “excellence in cinematic achievements” but that still sounds quite vague. How do they define achievement? Achievement at the box office or among the art house circuit? How we interpret this woman’s responses depends on whether the Academy rewards well-done, artistic works of film or narrowly defined Hollywood-approved, money making movies.

Much like the MPAA, the Academy is often seen as a somewhat Kafkaesque Hollywood establishment that plays such a huge role in our consumption of modern film given that the statues can lead to increased box office returns (depending on release date) and give viewers an idea of worthwhile films to watch. Despite the clout this ceremony carries with it, the rules that govern the academy are hard to discern. This specific voter has received some flack for certain contentious statements that I’ll get to in a minute, but the larger problem is present in all of her responses.

The voter noticeably remained anonymous, perpetuating the perception of a nontransparent Academy, but more importantly the woman’s responses suggest a complete lack of concern for true excellence in film and filmmaking. When discussing Birdman, a film with nine nominations from Best Picture to Sound Editing, she devotes her entire explanation to how it managed to rack up ticket sales despite its narrative and cinematic complexity. There are no doubts about whether the Oscars equate to respectable film festival awards from Cannes or Sundance, but some mention of creative skill when addressing the current favorite for Best Picture would lend credence to the theory that the Oscars mean anything at all.

The rest of the voter’s Best Picture nominee analyses similarly criticize critical favorites like Boyhood and Selma yet praise weaker showings like The Imitation Game. Somehow in this crazy world, she thinks The Imitation Game should win best picture because of it is what she considers “’prestige filmmaking’”. The Imitation Game certainly passes the Hollywood test with a silly platitude repeated too often (“Sometimes it is the people who no one imagines anything of who do the things that no one can imagine”), an all white cast, and contrived score all ensure the film adheres to tired Hollywood conventions. While struggling in artistic merit, much like the voter’s other beloved film American Sniper, The Imitation Game has done very well at the box office with more than double the box office returns of Birdman.

A skewed view of the definition of excellence is not all the voter brings to the table. She also makes an inflammatory statement decrying the Selma filmmakers wearing “I can’t breathe” shirts at their New York premiere, calling it “offensive” and placing her again on the side of white Hollywood privilege. She poses Clint Eastwood’s American Sniper as the counterpoint to Selma’s offscreen politics because Eastwood decided to leave the politics in the movie. Frankly the Selma filmmakers wearing politically charged shirts is one of the least offensive things a group of people intimately involved in telling an intense story about Civil Rights could do. For an Academy that the voter acknowledges is still mostly white males, the overt racism the voter denies is not as much of an issue in this day and age as much as a probably unintended bias that stems from homogeneity. The A.V. Club’s recent interview with a seat filler at the Oscars indicates how much the awards are concerned with appearance and façade over thoughtful substance.

The Academy’s lack of focus on substance comes through clearly with the voter’s superficial focus on Patricia Arquette’s appearance instead of her acting chops in Boyhood. For Best Supporting Actress the anonymous voter believes Arquette should receive “a bravery reward” for having “no work done during the 12 years [of filming].” While Arquette is the favorite in that category, and in my opinion deserving of the award, the voter’s lack of attention to the actual skill of acting in favor of a rehashing of toxic, media-fueled ideals of beauty is an indictment of the Academy.

Again the voter believes Michael Keaton should win Best Actor for Birdman not really because he’s a good actor, or at least she never mentions that fact, but because Keaton’s “grateful, not particularly needy” and he probably won’t get nominated again. While I’m glad to hear of Keaton’s upstanding moral code, neither humility nor a lack of future opportunities to win should be the basis for receiving an Oscar. Good acting and good acting alone should be. The list goes on with her dismissal of Emmanuel Lubezki’s stunning cinematography in Birdman because it gave her a headache in favor of Robert Yeoman’s far more conventional work in The Grand Budapest Hotel. Cinematic merit for taking risks and honing the craft are not valued by at least this member of the Academy.

What is perhaps the most alarming in my opinion is that this voter was completely unwilling to broaden her horizons and get insight into the diverse and multifaceted nature of filmmaking outside of the main categories. More than her remarkably uninformed responses, is what the voter chose to leave out. She abstained from almost all of the categories that require some effort on the part of the viewer to understand and appreciate them outside of the conventions of Hollywood cinema such as Best Foreign Film and Best Documentary Short. Unlike the rest of us that have to hunt down these films to view them, this voter receives screeners precluding any reasonable excuse to not see them except their deviation from the more palatable feature-length Hollywood standard.

The examples I drew out are only the tip of the iceberg of close-minded, cinematic ignorance contained in her transcript so please read it to get a more complete picture. It is logical that the Academy places some sort of emphasis on making money as it is a strong indication of what the American populace is watching, but the national awards should have a more engaged voting public that also acknowledge challenging and less commercially viable filmmaking. The Oscars have the potential to present outstanding films that inspire the average American to investigate films they would not have heard about otherwise, but if this voter’s response is any indication the Academy has a long way to go before that becomes a possibility.

George Clooney, Peter Tolan, Bennett Miller

George Clooney, Peter Tolan and Bennett Miller’s ‘The Studio’ Finds a Network

After some bidding from different networks and online distributors, Showtime has landed the upcoming George Clooney project The Studio. Clooney and Grant Heslov’s Smokehouse Pictures are backing the upcoming drama about the 90s movie business. One of the first TV deals of 2015 indicates a continuing interest in period dramas like AMC’s Mad Men and Showtime’s Penny Dreadful. Showtime might also be indulging another theme in showbiz shows with the Matt LeBlanc comedy “Episodes” about the television industry having been the channel’s asset for four seasons now.

Rescue Me creator Peter Tolan will write the upcoming show with MoneyballCapote and the recent wrestling film Foxcatcher director Bennett Miller attached as well. While The Studio is only in development at the moment, the project has a penalty deal attached which increases the likelihood the show will get on air.

The show chronicles a movie studio in the early 90s negotiating corporate interest for potential deals. The two friends who run the studio see their lavish lives clash with conglomeration, prompting friction internally as well as externally. Any viewer of Mad Men will be able to guess the amount of underhanded deals and power plays in a big business show like The Studio. The rest of television shows executive produced by Clooney like 2000’s Fail Safe or 2005’s Unscripted have not left much of a mark, but with the support of Tolan and Miller this show is looking pretty promising.