Thursday Movie Picks: Police Detectives

ThursdayMoviePicksHappy almost Friday! It’s TMP time! The Thursday Movie Picks blogathon was spearheaded by Wandering Through the Shelves Blog.

The rules are simple simple: Each week there is a topic for you to create a list of three movies. Your picks can either be favourites/best, worst, hidden gems, or if you’re up to it one of each. This Thursday’s theme is… Police Detective.

Well, there are SO many to choose from as Hollywood loves procedural movies! But there are a few that stood out to me from movies as well as TV. In fact, I’ve rewatched most of these recently and they’re still fun to watch.

In any case, here are my picks:

HOT FUZZ

One of my favorite action comedy!! Edgar Wright is basically doing a spoof and homage to American buddy action movies like Bad Boys, in fact there’s a scene of them watching that movie! Seeing Simon Pegg as a goody two shoes policeman (hence his name is Nicholas Angel) is such a hoot!! Any movie w/ Pegg + his BFF Nick Frost is always fun. Plus there’s Timothy Dalton as the villain, so perfect!!

Fun Trivia:
Simon Pegg and Edgar Wright interviewed many real police officers while doing research for the film. Many lines in the film such as “I prefer to think my office is out on the street” came directly from those interviews. The stylized scenes of Nick doing paperwork were inspired by the officers noting that paperwork is a huge part of the job, but it is never depicted in cop shows and films.


SLEEPY HOLLOW

I just rewatched this a few months ago as I’ve forgotten quite a bit of it since I first saw this a while ago. I actually enjoyed it more than I did the first time, perhaps my fave Tim Burton film. Johnny Depp is fun to watch as the rather bumbling Ichabod, probably one of my fave roles of his.

Fun Trivia:
Historically, Ichabod Crane was a very unattractive man. Johnny Depp offered to add prosthetics to his face to make himself look ugly, but director Tim Burton wanted to base the character on Crane’s more unattractive personality traits, his reported squeamishness and eccentricity.


MINORITY REPORT

This is one of my all time fave sci-fi movies and somehow a lot of the technology doesn’t seem dated even though this movie is almost 2 decades old! I suppose self-driving cars, personalized ads, home voice automation and gesture controlled computers, most of those have become part of our every day lives now. Tom Cruise is in top form here, definitely one of his best roles.

Fun Trivia:
For the scene where Anderton holds his breath in the bathtub, Steven Spielberg was going to create the air bubble rising with CGI, but Tom Cruise took the time and learned how to do it himself. Both Spielberg and Cruise agreed to waive their usual salary to help keep the film’s budget under $100 million. They agreed to take 15% of the film’s gross instead.

BBC’s Sherlock

Ok so this one is not a movie, though I think they’re still planning on adapting this popular series as a feature. It’s Benedict Cumberbatch‘s huge breakout role (launching the Cumberbitches phenomenon) and he’s definitely fun to watch here. I love his friendship with his partner/assistant Watson, brilliantly played by Martin Freeman, which is one the strongest part about this series.

Fun Trivia:
Many of the crew in Sherlock (2010) are related. Sherlock’s parents are actually actor Benedict Cumberbatch’s parents, Wanda Ventham and Timothy Carlton; Amanda Abbington (Mary Morstan) and Martin Freeman (John Watson) were real-life partners; producer Sue Vertue is writer Steven Moffat’s wife, and co-producer and writer Beryl Vertue is his mother-in-law; writer Mark Gatiss’ husband is the barrister in Sherlock: The Reichenbach Fall (2012); Steven Moffat’s son plays Sherlock Holmes as a child in a few episodes.


So who are YOUR favorite movie/tv detectives?

Musings on the Spielberg VS Netflix Debate

Hello readers! Today is the fifth and up until a couple of years ago, it’s customary that I post five random movie news/tidbits/query under the Five for the Fifth series. Well, this topic would certainly be part of that series today!

I had thought about this quite a bit since I heard about Steven Spielberg’s plan to push for the Academy to ban Netflix from Oscars at its annual post-Oscars meeting. Spielberg is the Academy Governor of the directors branch and this is what his company Amblin spokesperson is quoted as saying:

“Steven feels strongly about the difference between the streaming and theatrical situation… He’ll be happy if the others will join [his campaign] when that comes up [at the Academy Board of Governors meeting]. He will see what happens.” (per Variety)

I didn’t know this but apparently Spielberg has said in the past that Netflix films should only be eligible for Emmys rather than Oscars. Again per Variety, this is what he said back in 2018: “You certainly, if it’s a good show, deserve an Emmy, but not an Oscar. I don’t believe films that are just given token qualifications in a couple of theaters for less than a week should qualify for the Academy Award nomination.”

This news was first reported by Indiewire, and it lists some of the complaints from Hollywood studios against the streaming service. Among others, the fact that Netflix doesn’t report box office and that it doesn’t respect the 90-day theatrical window. ROMA only spent spent 3 weeks in the theatre before it’s shown on Netflix.

Now, this is what Netflix responded with on Twitter a couple of days later, without mentioning Spielberg by name…


Now, when I first read Spielberg’s comment, I was already unnerved by it. My initial reaction is that he’s just a big Hollywood elite who does not like change, especially one that threatens his own status and tradition he holds dear. No doubt that ‘threat’ got bigger when Netflix’s ROMA got no less than 10 nominations at the Oscars this year AND won three, including Best Foreign Language film.

Now, I don’t have to be a filmmaker to realize how tough it is not only to get a film made, but to get it distributed. An indie filmmaker would be lucky to get even a limited theatrical release, and few could expect to get a wide release the way a standard legacy (studio) system would. The title of the IndieWire article alone says it all about what this ‘battle’ means for the underdogs, aka indie filmmakers…

The Spielberg vs. Netflix Battle Could Mean Collateral Damage for Indies at the Oscars

I recognize that many of the films Netflix campaign aggressively for Oscars were about people of color AND were made by people of color who are still very much a minority under the Hollywood legacy system… Beasts of No Nation (Cary Joji Fukunaga), 13th (Ava Duvernay), Mudbound (Dee Rees), and Roma (Alfonso Cuarón).

So naturally, as a filmmaker of color myself who’s trying to get a feature made, I experience it firsthand how arduous it is to get the chance to make a film. Indie filmmakers don’t get the privilege to expect ANY theatrical release, and many consider getting even a streaming release as a huge accomplishment. Thus I see Netflix as an ally to independent filmmakers, and also filmmakers of color. Based on the films they’ve made/distributed, they seem committed to inclusive storytelling which can only be a good thing for film fans everywhere. But of course that’s still somehow seen as a challenge to the ‘status quo’ who only says they support ‘diversity’ if it aligns with their own success and pocketbooks.

As a film fan, I have increasingly choose to see films on my TV rather than going to the theater. Yes, as a press member I do get invited to advanced screenings, but if I miss some of those films, I often choose to wait until it’s available on VOD. Now, when I know it’s a Netflix film or an Amazon Studio film, I’m glad to know that I can see it sooner and without paying extra because I already have subscriptions to both streaming services. So to me, the quality of a film and its legitimacy to be regarded as a motion picture (read: its Oscars-eligibility) has no bearing on where it’s presented. Spielberg seems to say that there is one way to see a movie and that is on the big screen. I think that communal way of film viewing will never go away, and I still do enjoy seeing some films on the big screen (even in IMAX if it’s made specifically for that giant screen), but there is really no wrong way to see a movie.

Many Hollywood studios don’t like the fact that Netflix doesn’t report theatrical grosses. They are starting to share some metrics of audience viewerships (per BGR.com) so perhaps they’d do the same with theatrical release numbers in the future? Not that it matters to me, the audience member, nor should it have any bearing in the quality of a film.

Even before the Spielberg news came out, Alfonso Cuarón already weighed in on this subject to Variety:

There needs to be greater diversity in how we release our films. Distribution models need to be more flexible, depending on the film. You cannot impose the release strategy of a tentpole film on a smaller film. You may need fewer theaters and longer runs or models in which the so-called window is shorter. We’re thinking in one single paradigm. It’s a moment to start opening up paradigms. Right now it’s a confrontation between economic models. It’s not like one model benefits cinema, and the other does not.


Now, I’m NOT writing this because I’m on the side of a multi-billion dollar streaming company. In fact, I’ve been a longtime fan of Spielberg, but his comments shows him as being out of touch and elitist who wants to maintain his status quo. He’s a product of the studio system where minorities (women, people of color, disabled, etc) struggle to get in and tell their story.

I came across this thread from Franklin Leonard, the founder of The Black List (an annual survey of Hollywood’s executives’ favorite unproduced screenplays), and it’s hard to argue with his points…


Yes I realize some of you might argue that Netflix is not an ‘underdog’ company that deserves our sympathy. After all it spent about $50 million for Roma‘s Oscar campaign alone. So perhaps the argument should be about limiting spending on Oscar campaigns? I personally can’t stand studio’s award campaign, that’s one of the worst things about award season for me. But if the film Netflix or other streaming service is promoting is a worthy one, who’s to say it’s not eligible to be included in the Oscar race??

As I have just seen a Netflix Original Film last night, TRIPLE FRONTIER. It’s the first time I saw a Netflix film on the big screen, surely the first of many. At the film premiere, no doubt this topic was all the buzz. One of the film’s star who’s also a filmmaker, Ben Affleck, is naturally supportive of Netflix, saying that “they’re helping define the future of cinema and distribution” (per Deadline).

Per Cinema Blend, Affleck spoke of his rationale why he wouldn’t be in Spielberg’s camp in trying to disqualify streaming films (even those that has limited theatrical release) from competing at Oscars…

We certainly approached [Triple Frontier] as any other movie. There’s no difference when you’re making it between what the platform is that it’s going to be seen on. I do think Netflix is doing more interesting stuff in creating a more cinematic experience for the home. More people, more viewers, bigger TVs, bigger sound. They’re doing Dolby Cinema color correction, they do Dolby Atmos sound mixes. So they’re sort of synthesizing the theatrical with the home viewing experience in a kind of interesting way. It’s all changing very fast.


Netflix continues to work with big names in filmmaking, (One of Triple Frontier‘s executive producers is Kathryn Bigelow) and they’ve got Martin Scorsese’s The Irishman with its all-star cast (DeNiro, Pacino, Harvey Keitel) which will likely get an even wider release than ROMA. I personally think it’s an exciting time as a film fan as we have more options for content and how we want to see them.

So in conclusion, I’m glad there are streaming services like Netflix exists. I’m lucky that I live in a city where there are plenty of cinemas. But even so, there are always smaller films that I want to see that don’t get shown or they’re shown only in 1-2 theaters in Minneapolis for 2 weeks tops. I’d imagine people in rural or remote areas don’t even get that same privilege, but it’d be easier for them to subscribe to streaming services like Netflix.

In the end, I believe in options… I like to be able to see movies wherever and whenever I want. In the ideal world, the theatrical and streaming model should co-exist. Just because something has been done one way for so long doesn’t mean it has to be the ONLY way.


So what do you think of this Spielberg VS Netflix debate? Let’s hear it!

 

FlixChatter Review – Ready Player One (2018)

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Directed By: Steven Spielberg
Written By: Zak Penn & Ernest Cline
Runtime: 2hrs 20min

Before seeing Ready Player One, I had to remind myself to judge it as a stand-alone movie rather than a book adaptation. I’ve read the book several times and thoroughly enjoyed it for the most part, and I didn’t want to ruin the experience for myself by nitpicking every little difference between the book and movie. This was a good mindset going in, because it isn’t a very faithful adaptation, but it’s a decent movie on its own.

Tye Sheridan w/ Olivia Cooke, Philip Zhao and Win Morisaki

Ready Player One takes place in the year 2045, when the world has become an economic and environmental wasteland. To escape their dreary reality, people spend their time in an incredible virtual world called The OASIS. When its creator, Halliday (Mark Rylance) dies, he challenges its users to find three keys to unlock an Easter Egg that will bestow his fortune to the winner. OASIS users Wade, AKA Parzival (Tye Sheridan), Art3mis (Olivia Cooke), Aech (Lena Waithe), Sho (Philip Zhao), and Daito (Win Morisaki) work together to find the Egg before the evil corporation IOI, led by Sorrento (Ben Mendelsohn), gets there first.

My biggest issue with this film is its heavy reliance on narration, especially at the beginning. I understand that it’s difficult to fit a lot of pertinent information from a novel into a film adaptation, but the rule “show, don’t tell” is important to remember, and this movie had plenty of opportunity to do so. It opens showing people in their homes in The Stacks (mobile homes literally stacked like high rises), escaping their dreary surroundings by wearing high-tech VR goggles and accessories, then shows the detailed, fantastical, hyperrealistic virtual world of the OASIS- all of which is then explained with nearly ten minutes of narration. It’s completely unnecessary. The movie has plenty to work with visually to establish the background information, and what they can’t do visually they could set up through dialogue (which, to be fair, they do sometimes); it would have felt more natural and less lazy.

Despite this, Ready Player One is still an enjoyable movie. The CGI is impressive, and there are a lot of great 80’s and 90’s visual references, some subtle and some obvious, that will appeal to nostalgia geeks. The action is beautifully animated and really sucks you in. The soundtrack is a nice blend of 80’s rock music and original orchestration that is all the sweeping schmaltz one would expect in an 80’s adventure movie from Spielberg.

The acting is excellent as well. Despite the character of Parzival/Wade being about as bland as an un-toasted slice of white bread lightly seasoned with tap water, Tye Sheridan does well with what he’s given. I was thrilled to see Olivia Cooke as Art3mis/Samantha, especially after seeing her in another film, Thoroughbreds, earlier this year. She gives a fun, genuinely passionate performance. I don’t think she and Tye have great romantic chemistry, but that might just be a writing issue, as it isn’t very well-developed. Both TJ Miller as I-R0k and Lena Waithe as Aech have several great comedic moments. Mark Rylance is delightful as the awkward but sweet Halliday. Ben Mendelsohn is satisfyingly sleazy as Sorrento, although he’s not a particularly intimidating villain; again, though, that might be a writing issue, as Mendelsohn usually pulls off villainous roles well.

If you’re hoping for a good film adaptation of the book, Ready Player One will probably disappoint you. But if you go into it expecting a fun, well-animated adventure flick, you’ll probably enjoy yourself. Despite its problems, this movie is still entertaining.

laura_review


Have you seen ‘Ready Player One’? Well, what did you think? 

Five for the Fifth: JULY 2016 Edition

Welcome to FlixChatter’s primary blog series! As is customary for this monthly feature, I get to post five random news item/observation/poster, etc. and then turn it over to you to share your take on that given topic. You can see the previous five-for-the-fifth posts here.

1. Happy Tuesday everyone! To my American friends, how was your Fourth? Hope you had an awesome three-day weekend! For some of us, Fourth of July weekend means family time, whether it’s at a state park, beach, lake, or at the movies!

FindingDory

So apparently Pixar’s latest Finding Dory threepeats this weekend, as Box Office Mojo called it, landing at #1 again at the box office for its third weekend. The Legend of Tarzan brought in about $45 million, followed by The Purge: Election Year at around $34 million and The BFG ends in fourth place with $22 million. Hmmm, I think we all know the major winner is The Purge 3 as its budget is merely $10 million, wow!

Did you see any new release movie on the big screen this weekend? 

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2. Now, in relation to this weekend’s box office. Well, The BFG turns out to be a bust, earning a paltry $22 mil in its first weekend when the budget is $140 mil!

I haven’t got a chance to review it yet as I was out and about all weekend, but I wasn’t that impressed with it. I barely remember any of it when I saw it over a week ago, but I found it a bit tedious as it took forever to get going. Variety wrote this piece wondering if Steven Spielberg has lost his blockbuster touch.

Spielberg_RubyBarnhill_BFG
Spielberg w/ BFG star Ruby Barnhill – image courtesy of Vox.com

I did like Spielberg’s last film Bridge of Spies, though I haven’t seen Lincoln yet. War Horse was overly sentimental despite a few moment of greatness, and I enjoyed The Adventures of Tintin mostly because I adore the Belgian comics. All the way to 2000s, Spielberg’s films were still relatively successful,from A.I. (2001), Catch Me If You Can (2002), Minority Report (2002), and War of the Worlds (2005), and of course the abominable Indiana Jones and the Kingdom of the Crystal Skull (2008) still raked up over $300mil! As he gets older though, his films seem to make less money. Bridge of Spies only made $72mil (on a $40mil budget).

What are your thoughts on Spielberg? Is his box office mojo behind him now?

3. Ok, time for a few new trailers that caught my eye. I always like to mix things up so these two couldn’t be more different from each other.

Based on the extraordinary true story of Operation Anthropoid, the WWII mission to assassinate SS General Reinhard Heydrich, the main architect behind the Final Solution and the Reich’s third in command after Hitler and Himmler.

I always love a good WWII thrillers, and Cillian Murphy is always solid in everything he’s in. Not really a fan of pretty boy Jamie Dornan but glad to see him doing something serious instead that Fifty Shades crap.
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A suburban couple becomes embroiled in an international espionage plot when they discover that their seemingly perfect new neighbors are government spies.

I hadn’t even heard of this movie before, but when I saw the trailer it made me laugh! It’s obviously inspired by Mr & Mrs Smith, with two absolutely beautiful couple Gal Gadot and Jon Hamm (who’d make the perfect match for a Wonder Woman + Superman flick!). Zach Galifianakis & Isla Fisher look pretty funny here, it looks like it’ll be a hoot like Melissa McCarthy’s SPY.

I was hoping Ben Wheatley’s upcoming movie Free Fire (starring a great ensemble cast including my beloved Sam Riley) will have its trailer out by now (it’s shown with A24’s Swiss Army Man, so I’ll add it here once it hits.

What do you think of these trailers?
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4. I’ve talked about my excitement for Idris Elba’s casting as the Gunslinger on Stephen King’s The Dark Tower adaptation. Well, I just saw some pics on Just Jared from the NYC set and I just had to share!

Idris_Gunslinger1


Oh my, he certainly looks the part doesn’t he? I certainly wouldn’t mind roaming the Old West with THIS Roland Deschain 😉 I guess it’ll be a while before we’ll see a trailer, as the film won’t be released until February 17th next year. But for sure I look forward to seeing Idris in the role and Matthew McConaughey as Roland’s adversary Man in Black.

What’s your initial thoughts on ‘The Dark Tower’? 

5. This month Five for the Fifth’s guest is Zoë from Sporadic Chronicle of a Beginner’s Blogger! I LOVE that her question is in keeping what I’ve been obsessing lately, that is historical series (as I’m still nuts over The White Queen and finally finished BBC’s War & Peace this weekend).

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Here’s Zoë in her own words:

I’ve been watching a lot of Downton Abbey and Vikings lately and I’ve been loving both shows (as always). There are many shows under this genre, whether fictitious or factual, or a blend of both.

Which historical/period series are you currently watching and loving? 


Well, that’s it for the JULY edition of Five for the Fifth, folks. Take part by picking a question out of the five above or better yet, do ‘em all! 

Weekend Roundup + Mini Review of Bridge of Spies (2015)

What a weekend it’s been! It’s just three days until Twin Cities Film Fest kicks off Wednesday night 10/21 so naturally my week and the entire weekend is filled with preparation for the festivities.

If you follow me on Twitter, you’ve likely seen me tweeting up a storm about TCFF, so yeah clearly I’m excited 😛

The TCFF programmers have traveled to Austin, Los Angeles, & New York in search of great movies this year… the result is an awesome lineup of more than 100 premieres, including a bunch that have huge awards buzz. I’ve highlighted some of those must-see films here, but I’ve also made a list of MN-connected films that I can’t wait to see – from comedies, dramas, thrillers, docs, there’s definitely something for everyone, cinephiles or otherwise.


This weekend happened to be a perfect Fall day here in MN, with seasonably cool temps and ample of bright sunshine both Saturday and Sunday. So I did get a chance to get out and be outdoors before I’m cooped up inside a theater watching a whole bunch of movies. I LOVE Autumn in Minnesota… the fall colors is just absolutely gorgeous!!


BridgeOfSpies

The last Steven Spielberg film I saw was War Horse, which was back in 2011. I haven’t got around to seeing Lincoln but for some reason, I haven’t been um, compelled to see it. Spielberg is back to yet another based-on-a-true-story historical drama, about an American insurance lawyer who’s recruited by the CIA during the Cold War to help arrange a prisoner swap when a rescue a pilot is detained in the Soviet Union.

Bridge of Spies is the kind of slow-burn espionage thriller in the vein of a John le Carré’s adaptation, so if you’re expecting an action-packed movie a la James Bond or Jason Bourne then you’re likely disappointed. But the lack of action doesn’t mean there’s lack of suspense and the Cold War intrigue is ever present. I don’t think a film needs to be violent to build tension, and Bridge of Spies is proof of that. The film lives up to the title as well as the pivotal scene on the Glienicke Bridge is certainly memorable.

BridgeOfSpies_bridgescene

Tom Hanks is perfectly cast as James B. Donovan, channeling Jimmy Stewart as a virtuous and effortlessly likable everyman who’s more shrewd and skillful than meets the eye. There’s an unsubtle message about defending an American value that everyone deserves a fair shake, but yet it doesn’t feel preachy thanks to Hanks’ portrayal. Hanks is in nearly every frame of the film, but English actor Mark Rylance is equally brilliant as the Soviet spy Rudolf Abel. In fact, he’s quite the scene stealer right from the opening scene. Abel’s relentlessly-unperturbed demeanor is part of what makes his character so intriguing. I love that the film also takes the time to show us the unlikely friendship of these two characters.

BridgeOfSpies_MarkRylance

Out of a decent ensemble of supporting cast, Amy Ryan stood out as Hanks’ wife, a role that would’ve been utterly forgettable in less capable hands. The script is co-written by the Coens, who infused it with a dose of wity humor to break the tension that make all those dialog scenes sprightly. Visually speaking, the set design looks realistic, especially all the Berlin scenes just right after WWII. The cinematography by Spielberg’s frequent collaborator Janusz Kaminski is stunning to look at, especially the rainy scenes that echoed a memorable scene in The Road to Perdition that also starred Hanks. The music by Thomas Newman perfectly complements the tone of the film, I’ve come to expect that Spielberg movies usually have memorable scores.

BridgeOfSpies_rainscene

There are slower moments, but overall this film was pretty engrossing. This is definitely another Spielberg/Hanks fruitful collaboration and clearly the two have formed a great rapport over the years. I didn’t know anything about the protagonist, but Mr. Donovan’s story is definitely worth telling. Unlike some of le Carré’s spy stories though, this film is pretty straightforward and easy to follow. There’s an earnest quality about Spielberg directing, the lack of cynicism in the way he tells the story that some people might call conventional. But I admire that sincerity that Spielberg and Hanks are known for, and there’s a great deal of measured and astute work from the both of them.

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Have you seen Bridge of Spies? Well, what did you think?

Music Break: Jurassic Park Soundtrack (1993)

JurassicParkSoundtrack

Well, I saw Jurassic World last night. It was one of my most-anticipated movies of the year and one of the most evocative thing to me is STILL John Williams’ score. It’s one of my top 10 favorite scores from this legendary composer, out of a long list of phenomenal work. The score played within the first 15 minutes of the film and I immediately felt nostalgic about the first Jurassic Park movie that opened in 1993. That was 22 years ago and boy the score still felt as fresh and powerful as ever. I’ll save my thoughts about the new movie for my review but since I’ve been humming this score all day today, I thought I’d highlight it on today’s music break!

Apparently Williams began writing the Jurassic Park score at the film at the end of February of 1993, and it was conducted a month later (per Wiki). WOW! Can’t imagine it only took him a month to come up with something so iconic and legendary. Even just hearing a few notes, the score is immediately recognizable and so evocative that it REALLY takes you to Isla Nublar in Central America.

There’s a sense of adventure that’s simply intoxicating in the score. That chopper scene on the way to the island is full of excitement and hope, completely unsuspecting of the danger in store for them once they get there. There’s a slight ominous tone in the score below, but only briefly, as then the music swells up again with that iconic theme that makes you even more excited to see those dinosaurs!

This gentle and sublimely gorgeous score is not as popular as the main theme, but I absolutely love it. It fits the gentle nature of the largest known dinosaur, the Brachiosaurus.

Per Wiki, similar with another Steven Spielberg film he scored, Close Encounters of the Third Kind, Williams felt he needed to write “pieces that would convey a sense of ‘awe’ and fascination” given it dealt with the “overwhelming happiness and excitement” that would emerge from seeing live dinosaurs.

I’m glad they still use this iconic score for the new film. I can’t imagine topping this masterful work.


Hope you enjoy this Music Break. Do you love this score as much as I do?

Five for the Fifth: APRIL 2015 Edition

FiveForFifth2015_Spring

Welcome to FlixChatter’s primary blog series! As is customary for this monthly feature, I get to post five random news item/observation/poster, etc. and then turn it over to you to share your take on that given topic. You can see the previous five-for-the-fifth posts here.

1. Since this months’s edition falls on Easter Sunday, I think it’s the perfect time to highlight films with redemptive themes. They don’t have to be spiritual films per se, it could be from any genre, so long as it contains films where the character realize the error in his ways and become a changed person. Some of the ones that have memorable redemptive themes Road to Perdition, Michael Clayton, Schindler’s List, Gran TorinoLéon: The Professional, Children of Men, Star Wars, those are just at the top of my head.

But the one that I always find profoundly moving is the finale of Ben-Hur

BenHurRedemptionFinale

Judah: Almost at the moment He died, I heard Him say, “Father, forgive them, for they know not what they do.”
Esther: Even then.
Judah: Even then. And I felt His voice take the sword out of my hand.

It’s a perennial favorite around Easter time, but really, I’d recommend one of the greatest epics in cinema history any day of the year.

Which film(s) with redemptive theme resonate with you most?

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2. Check out the FIRST LOOK of Steven Spielberg‘s WWII drama Bridge of Spies.The name refers to a bridge across the Havel River in Germany used by the Americans and Soviets for the exchange of captured spies during the Cold War.  

BridgeOfSpies_FirstLook

This marks the fourth Spielberg – Tom Hanks collaboration and the Coen brothers are apparently polishing the script originally written by Matt Charman. Wow, with such a pedigree and an intriguing premise, I can’t wait to see this! 

Too bad John Williams won’t be scoring the film though, apparently due to “a minor health issue that’s now been corrected,” (per EMPIRE) and replaced by Thomas Newman. The article also provides a caption of the image we see above: James Donovan (Hanks), a lawyer who was pushed headfirst into the Cold War during the 1960s when he had to negotiate for the release of downed U2 spy plane pilot Gary Powers after the airman was shot down over Russia. Alongside him is Mark Rylance’s Rudolf Abel, a suspected KGB spy who was defended by Donovan in a US courtroom in 1957.

What’s your initial thoughts of Bridge of Spies?

3. I just read this over at Slash Film that series creator Steven Moffat wants a crossover of Doctor Who and Sherlock. Now, though I’m not obsessed with either show, I totally get the appeal and I think both are fun and well-written. Crossover ideas are nothing new in pop-culture, we’ve seen ’em in a lot of comic-book adaptations like CW’s Arrow and The Flash, and of course the DC and Marvel Cinematic Universe are full of them.

DrWhoSherlockCrossover
Photo courtesy of Geek Tyrant

Well, apparently Moffat is the only one excited for the crossover idea as the lead cast Benedict Cumberbatch & Martin Freeman, as well as the series’ co-creator Mark Gatiss aren’t keen on the idea, saying “Look, it will never be as good as they think it’s going to be.” You know what, I kind of agree with them. It seems like a fun idea, but whether it’ll actually work or not is another story. Though if there’s anyone who could somehow make it work, it’d be Moffat. So never say never I guess.

What do you think of this Sherlock/Dr.Who crossover or other crossovers on film/tv?

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4. This question is inspired by my recent roundtable interview with the two lead cast of The Longest Ride: Britt Robertson and Scott Eastwood (I will post the transcript next week). Also, I saw A Woman in Gold last week in which Max Irons has a supporting role (I first noticed him in The Riot Club trailer) and Colin Hanks was just on MPR’s Wits, a live public radio show filmed here in town. Well, just looking at the last names, you might be able to deduce that all three have famous dads who are practically screen legends: Clint Eastwood, Jeremy Irons and Tom Hanks. Boy, they all seem to be splitting images of their dads, aren’t they?

ScottMaxColin
Scott Eastwood, Max Irons, Colin Hanks

Now, I haven’t seen enough of their work to judge their talent as an actor, but they seem to have a decent career so far in Hollywood. It made me think of other famous Hollywood actors’ offsprings who’ve made it in showbiz. There are no shortage of them, and some have even match or even surpass the success of their parents, Angelina Jolie, Michael Douglas, Jeff Bridges, those are just a few that come to mind.

So I’m curious, who are your favorite famous actors’ offsprings?

5. This month’s Five for the Fifth’s guest is Stu from Popcorn Nights blog!

BladeRunnerFinalCut

The Final Cut of Blade Runner has just been re-released in cinemas in the UK, and stands as Ridley Scott’s definitive version of the film, and far better than the 1982 cinema release. Here’s the trailer:

Which director’s cut of a film do you think is the biggest improvement on the original work?


Well, that’s it for the April 2015 edition of Five for the Fifth, folks. Now, please pick a question out of the five above or better yet, do ‘em all! 😀