Well this weekend’s viewing turns out to be pretty eclectic. Given that I saw the screening of the new Ghostbuster movie (review up later this week), I was inspired to re-watch the original. I honestly can’t remember when I saw that one, probably when I was a teen years ago, so my memory of it is hazy.
Well, just like the reboot, the cast of Bill Murray, Dan Aykroyd, Harold Ramis, Ernie Hudson and Sigourney Weaver is truly the best thing about the movie. I enjoy the camaraderie of the ghostbustin’ team, which is the main strength of the new one as well. So yeah, I’d say the original movie still holds up very well, though I actually find Rick Moranis‘ character a bit irritating. The movie is obviously funny, but the comedic style is pretty different from the new one, which isn’t a good or bad thing. Having seen both movies last week, I’m more convinced of how absurd the controversy is over the all-female cast. I suppose haters are gonna hate, I just can’t fathom the idiocy of it all.
Sunday is often reserved for indulgent viewing for me, which is the time I usually watch my fave period dramas. But for some reason I was in the mood to watch Superman Returns. I can’t believe that movie is 10 years old! It’s funny how remakes/reboots often made you reflect on the older movies. Now, I never hated this Bryan Singer version apart from the whole Superman kid absurdity, which I think is the weakest link of the movie. But rewatching it this time around made me like it a bit more. I like how geeky Brandon Routh‘s Superman is as Clark Kent, and that rousing airplane rescue scene is still awesome. Yeah it’s definitely more of a rom-com at times (which Singer himself admits), but you know what, I enjoyed that whole flying scene of Supes & Lois. Oh and Parker Posey is a hoot to watch here, esp. the scene where she’s fan-girling over Supes!
… Lastly, I watched this UK adventure flick The Adventurer: The Curse of the Midas Box. Heh, that is one clunky title and the movie itself isn’t that much better. Honestly, I only watched it because of the awesome Welsh actors in it: Aneurin Barnard (in the lead role), the always watchable Michael Sheen and Ioan Gruffud. Sam Neill and Lena Heady played the villains, so even though it’s still fun to watch these talented actors, they all deserve a much better movie!
It’s supposed to be Indiana Jones meets Hugo (as Aneurin played a teenager here), but it’s nowhere near as good as either. I concur with Rodney’s review and rating of it here, which is too bad given the talented cast and promising plot. I agree that the score by Fernando Velázquez is the best thing in it, he happens to also score the great soundtrack of Pride + Prejudice + Zombies.
Tomorrow night I’ll be watching these two wacky-but-fabulous London ladies wrecking havoc in style…
So that’s my weekend recap. What did YOU watch this weekend, anything good? …
400 Days is a psychological sci-fi film centering on four astronauts who are sent on a simulated mission to a distant planet to test the psychological effects of deep space travel. Locked away for 400 days, the crew’s mental state begins to deteriorate when they lose all communication with the outside world. Forced to exit the ship, they discover that this mission may not have been a simulation after all.
Starring: Brandon Routh, Caity Lotz, Ben Feldman, Grant Bowler, with Tom Cavanagh and Dane Cook Directed and Written by: Matt Osterman
Available on VOD (Amazon) and iTUNES: January 12, 2016 Available in Theaters: January 15, 2016 Running Time: 90 Minutes Rated: Not Yet Rated
I love indie sci-fi films and I had seen the trailer a few months ago and was intrigued by it. When I later learned that it was made by a Minnesota-native, who still lives in the Twin Cities area, I definitely wanted to feature it on my blog. Thanks to my friend and fellow Twin Cities Film Fest’ staff Matt Cici who introduced me to Matt Osterman. He was one of the speakers at a TCFF Educational Events back in October, but I wasn’t able to make it then, so I’m glad I finally got the chance to meet with Matt to talk about his film.
Matt grew up in Wisconsin but since college he had made MN his home. Filmmaker wasn’t on his career checklist but he was a big movie geek. His parents gave him a black/white TV for his room so he could watch reruns of Twilight Zone from an early age. He had always been into writing and telling stories and one day he had a lightbulb moment that he wanted to go into making movies.
Here’s my Q&A with Matt:
Q: You wrote as well as directed this film. What’s the biggest challenge in adapting your own work?
A: Well, that in and of itself is literally the biggest challenge, not having the aesthetic distance to properly judge something. You get so close to it, and though you know it better than anyone else but that’s also a curse because you can’t take a step back and look at it objectively. So that’s difficult but what I did was I tried to get as many feedback as possible throughout the entire process. Hopefully they can be honest with you and say ‘hey this part sucks, what are you trying to do, etc.’ So I tried to incorporate that into the process, you know, just lose the ego and try to take it all in. Whatever makes the project better.
You chose to live Minneapolis, far away from the filmmaking mecca of L.A. and NYC. How have you been able to make it work somehow, as you’re also raising a family here in Minneapolis?
You know, it’s been ok so far. Luckily living here we have a great quality of life and it’s a lot cheaper to live here than it is out there. I have a family so living in Minnesota has afforded us a lifestyle that you can’t really get anywhere else without a huge bank account. So I have to travel up there quite a bit but I have a manager who lives out there in L.A. so he’s sort of my ear to the ground and he can set up meetings. I’d say, ‘hey I can be out there for a week so let’s get all of our meetings in.’ I don’t know what opportunities I’m missing because I’m here. But because I’m a self-generating writer/director, you can write from anywhere. I don’t have to be over there to write, and in some ways it’s better because you’re away from the ‘bubble’ y’know and you can bring your own unique voice and not get caught up in the industry’s crap.
Q: Now, let’s talk about casting. You have three actors from CW’s superhero series (Brandon Routh and Caity Lotz were in Arrow and now in Legends of Tomorrow, and Tom Cavanaugh’s in The Flash).
A: Well, Brandon, Caity and Tom weren’t [in those series] before we cast them in this movie.
Q: Ah so that came afterwards. So did you have a lot of input into casting, a certain wish list if you will in terms of what type of actors you want for the roles or did you just trust your casting managers?
A: No, we actually cast them ourselves. So I had a say as to which actors we hire. We met with hundreds of actors out there, it was insane. We didn’t have auditions as we went with a higher level of actors who already had a lot of taping and projects to look at. You get a sense of what skills and range they have. Especially for a low budget film, it’s more like they did you a favor than the other way around. So with a lot of them you just met with them and talk about the story and try to understand it, and see if they have the right vibe for it. So I easily have met with at least a hundred actors for all the roles. Now, for these four in particular, I was familiar with all of them and I went back to watch some of the stuff they’ve done and was sold. It’s a business as well, so you want to get people that would get the distributors excited and people around the world would want to watch. So it’s always a mixture of who’s right for the role, who has talent and who is well-known enough to make it happen.
I couldn’t be happier with people we cast, they were all amazing and did an awesome job.
Q: Talk about the filming locations a bit. Where did you shoot this film?
A: The ship we built in a sound stage in L.A. It’s all custom-built and again, we’re very low-budget so we had to be very smart with how we build things. And since it’s all a simulation it didn’t have to look like a real working spaceship. So we’re afforded an extra wiggle room there where if it’s truly a spaceship, people might say ‘hey that didn’t look like…’ but luckily we didn’t have to deal with stuff like that.
When I wrote the script I knew I wanted to do it and I knew I wouldn’t have someone give me $20 mil to make the movie. So I made sure that the spirit of the story would fit into this film.
Q: I just read an article on Metropolis.comthat the future of sci-fi films are indies instead of big blockbusters. It made me think about indie sci-fis like Another Earth, Ex Machina, and The Machine which also stars Caity Lotz. So what are your thoughts about that, do you think the future of sci-fi films are independent films vs big-budget ones like say, Interstellar?
A: Well, Interstellar is sort of its own thing. It’s done by Christopher Nolan who pretty much could do whatever he wants right now. And that film, I’d say, still kept a lot of the indie spirit because it wasn’t afraid to tackle big ideas and challenging concepts, which are the opposite of what most studio films are right now. So they [the studios] usually go with something very broad so they could sell internationally and they’re very smart about what they do, obviously it’s a business and they’re doing it extremely well. So I can’t begrudge them at all for that. But yeah, you’re exactly right, indie films are more about challenging ideas which sci-fis need, it’s giving us a different lens or perspective to view things. You need that to be able to talk about various issues and what not, so I think we’ll see a huge explosions of indie sci-fi films. Especially where sci-fis has been traditionally effects-driven films and you can do that on the cheap now, or find ways to get more bangs for your bucks. Like what we did, a lot of the effects in our film are practical effects. We had a few visual effects here and there to elevate the rest of them.
Q: It makes me think of how good District 9 was, the film by Neill Blomkamp which was made relatively cheap by Hollywood standards ($30 mil) compared to its follow-up Elysium which was nearly four times more expensive to make ($115 mil). The latter was all CGI, explosions and had no heart. It was like a superhero Matt Damon in space or whatever. So a lower-budgeted sci-fis actually appeal to me more.
A: Yeah well, most low-budget films, you don’t have money to throw at a problem, y’know. So you have to think hard about how to solve those problems. A lot of the times with big-budget movies, they run into an issue and they’d just throw money at it to camouflage it. Whereas we, we have to find ways to organically incorporate something or find an interesting solution that’ll make a movie better because of it. And a lot of limitation is actually more freeing, and that’s the fun part for me, like engineering has always been interesting to me. Problem solving is always so fascinating.
Q: This is the first project out of Syfy Films out of the gate. How’s it been working with them. Were they involved from the beginning in terms or financing or just distribution?
A: Syfy has been absolutely amazing, real supportive and a real champion for the film. A lot of smart people over there so I’ve been really lucky to have been associated with them. They came in after we started shooting. I’m not even sure if Syfy Film had existed or not as an entity at that time, perhaps they were in the process but certainly they weren’t ready to buy anything at that point. We tried to finance this ourselves but we did have other partners come on that bought the film so we have a domestic and international distribution. XLrator Media for domestic and Content Media handles the international rights. So they bought the film a week into production so we didn’t even have anything to show, we had some footage and they saw the cast and they liked it so they jumped on board. Then later when we had the rough cut, Syfy jumped on it immediately.
Q: If you don’t mind sharing, what’s the budget and financing process for the film?
A: It’s all privately-financed, so I partnered with producers that are L.A. based. So they have producers and financiers that they work with, and they said ‘hey we have this movie, it’ll be great, trust us.’ So they’re part of various production companies, not big studios, so they’re pretty much involved in the indie world. So they’re able to get the money and we went and made it. Our movie’s made for well under a million dollars.
Q: You mentioned that your film is like a puzzle. What do you want the viewers to get out of your movie, or what do you intend it to be for the viewers?
A: Going into it, and all the way into the process even up until now, I want people to watch it and after that they’d have a conversation afterward about their own interpretation. Because there are multiple interpretations that they can get out of this film. For me, I enjoy movies that aren’t wrapped up in a neat bow at the end and hand you the ending on a silver plater. Nothing wrong with those movies, in fact most movies are that way, y’know, nice resolution. But I really like movies that challenge the audience and say ‘we’re not going to connect the dots for you, you have to pay attention and come to your own conclusion at the end and then hopefully talk to someone else who perhaps have a different interpretation of it.
I also love movies that has those *refrigerator moments.* It’s when you watch a movie and you enjoyed it but something sticks with you. Then you find yourself a couple of nights later at 2 am, you can’t sleep, then you’re staring at your refrigerator looking for a snack and go ‘oh that’s what that meant’ or ‘ oh I get that now’ I love movies that live beyond the time you watch it and I find that it’s frustrating for people. Now that the film’s out internationally, and of course some are illegally downloading it, I’m getting angry tweets from people. Some said ‘how could you forget to write an ending?’ and I said, ‘well that wasn’t quite THAT, but there’s been a history of movies that didn’t get wrapped up in a pretty neat bow.
With the casting of Henry Cavill as the new Superman, I often wondered how the previous big-screen Kryptonian hero Brandon Routh feel about this. Is he upset? Disappointed? Relieved? I know that various news reported that he was vying to be invited back to reprise his role of man of steel, but he just seems like a level-headed guy that I can’t imagine him moping around over this news. Whatever the case may be, it’s curious that a new poster of his new movie, Dylan Dog: Dead of Night was released in the same week. I wonder if the marketing power behind this thought that maybe there’ll be some residual buzz for Routh as he played Superman before? I’m just theorizing here. In any case, he’s playing yet another comic-book character, albeit a lesser-known one. That is unless you’re Italian as apparently Dylan Dog is a very big deal in Italy (according to this ItsJustMovies article).
Just from that test screening review, I learned quite a bit about the character as I’m not at all familiar with this story:
The original character was created by Tiziano Sclavi in the mid-1980s and is a recovering alcoholic nightmare investigator living in London. The world in which he lives is filled with monsters — such as vampires, zombies and werewolves from the movie world — who secretly live all around us. Dylan almost always wears the same clothes: a red long-sleeved shirt, black jacket and a pair of blue jeans. In the comics, he has an assistant named Groucho who is a former celebrity impersonator who became frozen into the character he once impersonated. Dylan and Groucho drive around in an old black-over-white VW convertible bug.
Funny that his ‘costume’ still has the red/blue colors in it. Oh and the Superman connection doesn’t end there. Remember Sam Huntington, who played Jimmy Olsen in Superman Returns? Well he plays Dylan’s assistant, Marcus. Well, I’m not exactly going to be rushing to see this on opening night, maybe a rental on a slow night . The stills—and this poster—look kinda cheesy. And no offense to Routh, but he hasn’t sold me on his acting ability, yet. No, I don’t hate Superman Returns, he’s not exactly to blame that the movie underperformed, but I don’t know if he helps alleviate the problems, either. Nonetheless, it has enough going for it (such as this scene) that I actually bought the dvd. But his guest stints at the NBC series CHUCK, as well as other things I’ve seen him in, just hasn’t convinced me he has the chops. So anyways, I guess the reason I’m posting this is that I’m glad he’s doing another comic-book movie and not back as Superman. I think Henry Cavill is a far more convincing actor and so I’m happy with Snyder’s decision.
Anybody interested in seeing this one? And while the Superman news hasn’t cooled off yet (probably won’t be for a while), what’s your thoughts about Brandon Routh as Superman?
It’s been three years since the Man of Steel reboot and the word is, Bryan Singer is no longer interested to direct. Now with the time lapse, Brandon Routh’s contract has also expired.
According to this article, Routh admitted in a Portugese interview that he didn’t know what Warner Bros plans with the franchise. He blamed the failure on the lack of fight scenes, which made the indestructible Kryptonian seemed rather weak. Methinks it’s the obscure plotline of the is-he-or-isn’t-he-Supe’s kid (who has Asthma?!) and the often schmaltzy melodrama with his long lost love Lois Lane. Even with some really cool scenes—I totally dug the part when he stopped a plane crash in the middle of a baseball stadium—the dialogue was inconsistent and downright cheesy at times. I didn’t think Routh was horrible as the titular hero, but obviously lacking that ‘it’ factor that Christopher Reeve had in droves. I was a HUGE Superman fan ever since I was a wee girl, donning a Superman suit in my frontyard and wrote several letters to Chris Reeve (which got me not one but TWO autographed photos from the late actor).
I’d love to see the franchise continue, but perhaps it is in dire need of a complete overhaul. I’d start with the writers and a director with the cojones and vision like Zach Snyder. Or better yet, Christopher Nolan? Imagine what he’d do with Superman with the success of two highly successful Batman flix under his belt. I doubt he’d want to be associated with another comic superhero though. Alas, it might be a while before we get to see Supes fly again. Until then I suppose I can always re-watch the original and feel that familiar glee every time John William’s classic theme comes on.