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Saturday, September 14, 2013

The Family Review. The Film Is Good Mobster Fun

The Family Review
By: MattInRC

The Family is good mobster fun, so long as you don't take it too seriously.

Mob movies are a favorite of American moviegoers. For some reason, we root for people which we normally despise as dark and dangerous folk, as greed or the law catches up with them. Comedic mob films somehow allow us to find a happier middle ground, putting a nicer dress on what is usually a dreary affair. The Family is just that sort of movie, a rip-roaringly hilarious film about a mob family under Witness Protection whose penchant for violence makes them more dangerous than the people who are hunting them.


The Manzoni family have been on the run ever since second-generation Giovanni (Robert De Niro) snitched, enjoying life in Witness Protection by smashing and blowing up their way through Europe. If it's not Giovanni, it's his wife Maggie (Michelle Pfeiffer) or their two children (Dianna Agron and John D'Leo) who are caught in some sort of ultra-violent mishap. When the family is re-re-re-located to Normandy France, all their handler (Tommy Lee Jones) wants them to do is disappear into that quiet town. Before long however, Maggie has blown up the local market, Giovanni has broken the leg of dirty plumber, and Warren has gotten in on the cigarette racket at the local high school. As part of his new identity, Gio decides to assume the role of a writer and sets off to write his memoirs, which is told through a series of funny 'Rule #1' vignettes. Through a strange twist of fate, Giovanni's mob boss learns of his whereabouts and sends a hit squad to take the family out. The result is a bloody third act reminiscent of a Seal Team Six strike than a comedy. But will Gio finish writing his book in time? Will Belle run away with a much older man at her school? Will Maggie ever find peanut butter in this small town?


Besson does a good job of getting the most 'mob' out of Pfeiffer and De Niro, both of whom don't need to do much in that department to begin with. They have terrific chemistry, like a real Brooklyn couple who will fight like cats one minute, then dial up the love in the next. Watching De Niro mock himself is like watching William Shatner do the same - both can play the deadpan so well, with audiences reaping the benefits throughout. Even though his performance in the over-hyped Silver Linings Playbook was not as memorable as others, De Niro shines here as he mocks himself and the genre that made him famous. When asked to attend a film discussion that turns into an impromptu showing of Goodfellas, it's a tip of the hat works flawlessly. I don't think I've ever heard anyone use the 'F' word so often and with such depth. There's even a scene when his son shares his total respect for dad's singular command of it, reminding us why we love De Niro so much. And while he hits every mark, it's Pfeiffer who steals the show. From her penchant for big violence to the bigger hair curls she dons while making dinner, Pfeiffer channels her previous performance in Married to the Mob as if it were yesterday. But she also shows her dramatic chops near film's end when she grabs a kitchen knife to defend her husband against the hit squad.


Agron and D'Leo are hilarious as mob kids who are ready to follow in dad's shoes, but they can also flip the dramatic switch when needed. If you loved the surly Jones in Captain America, you'll find him happily dour here as well. Shockingly, this is the first time that he and De Niro have been in a film together, but their chemistry would make you think otherwise. All the pieces are here and while Besson doesn't have to do much, there's an unevenness to things that's hard to place. Maybe it's the constant switching between the comedy and violence, or the all-too-serious ending in which even the family dog gets injured. Besson and Co-Writer Michael Caleo should have penned more of a slapstick mob hit instead of the unnecessary bloodbath we're given. It's not that the path they took was terrible, it just doesn't match the rest of the film. Whether moviegoers can look past that error is anyone's guess, but there's still plenty to like here. The Manzonis are the most dangerous family around, and Besson lets their terror run nearly free to our delight.

The Family won't win my award for best comedy of 2013, but it's right up there. With enough mob violence and comedy to fill a pasta dish, De Niro and company deliver the goods, even if the third act gets way too dark for our tastes. Even if the idea of severed fingers and random violence isn't your glass of red table wine, look the other way: The Family is worth your time. It's rated R for violence, language and brief sexuality and has a runtime of 110 minutes.

Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.

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Insidious: Chapter 2 Review. Here's Why You Should Watch It

Insidious: Chapter 2 Review
By: MattInRC

Insidious: Chapter 2 is a fun, well-built horror machine.


As a person not inclined to view horror films with any frequency, I've been amazed by the genre's recent renaissance. What was a boring gore-fest of blood and severed body parts has been replaced with a growing list of quality character-driven films surrounded by excellent actors. Insidious: Chapter 2 is another example of this rebirth, a seat-clenching and highly enjoyable sequel to Director James Wan's low-budget smash hit from 2011.


Having survived the events of the first film, Renai (Rose Byrne) and Josh (Patrick Wilson) have moved in with Josh's mother Lorainne (Barbara Hershey), hoping their family can make a fresh start. Unfortunately, the first rule of possession movies soon becomes abundantly clear: the spirit haunts the person, not the home. As murder follows the family, we learn that the Josh is still the target, who is now inhabited by a demon responsible for the murder of countless women years ago. The clairvoyant father is stuck in a kind of purgatory, while the Earth-bound Josh soon starts terrorizing Renai and their son Dalton (Ty Simpkins). As Renai and Lorainne search for answers, they are joined by old ghosthunter friends who will need every ounce of their experience to tackle this dangerous enemy.


Co-writer/Director Wan weaves a white-knuckled affair, but never needs to employ the generic tools of terror in gore and blood baths. Instead, he drops bits of well-placed humor to lighten the mood while telling a story filled with twists and plenty of ghoulish moments to terrify the audience. Chapter 2 is just a good ghost story that never needs to dive into a remake of The Shining, with Wilson doing his best Jack Torrance. At first glance, the ingredients seem all-too familiar: mix a psychotic mother only Norman Bates could love, stir in a mass-murdering son, and add a dash of odd-time travel for color. But where most flicks would suffer from this obvious sort of pandering, Wan turns it into something fresh and unexpected. Wilson and Byrne are two exceptional actors in their own rights, so adding their talents here merely legitimizes the whole affair. The gorgeous Byrne can also act, while Wilson has become the go-to guy for the intelligent father who's either been tracking ghosts (the equally good The Conjuring), or who's become the hunted. Our supporting cast, including returning 'heroes' Specks (Co-Writer Leigh Whannell) and Tucker (Angus Sampson) bumble their way effortless through scenes while the serious investigator Carl (Steve Coulter) warns them, "Don't break the circle!" Seeing Hershey assume a more robust role is also welcomed as the grandmother who's got her own burden to bear that comes through in a solid second act.

If this new wave of intelligent horror films is the new trend, count me in. Insidious: Chapter 2 sacrifices none of the fright, elevating itself above the din of lesser slasher flicks with terrific casting and a solid re-inventing of old cliches. Add this to your theater To-Do list and amaze your friends as sit confidently through this early Fall entry. Insidious: Chapter 2 is rated a surprising PG-13 for intense sequences of terror and violence, and thematic elements and has a runtime of 105 minutes.

Discuss this review with fellow SJF fans on Facebook. On Twitter, follow us at @SandwichJohnFilms, and follow author Matt Cummings at @mfc90125.

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Friday, September 13, 2013

Homefront Trailer Starring Statham & Franco

The first trailer for Homefront has dropped today. Homefront is an upcoming action-thriller directed by Gary Fleder. The film is based on the novel of the same name by Chuck Logan and was adapted into a screenplay by Sylvester Stallone. It stars Jason Statham, James Franco, Winona Ryder and Kate Bosworth.

Phil Broker (Statham), a low level DEA agent sees his quiet family life turned upside down when his path crosses with a band of drug traffickers, led by Gator (Franco), a meth kingpin.

Watch the trailer after the Jump...



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Batfleck Will BeTired, Weary & Seasoned

Warner Bros. were also present, represented by CEO Kevin Tsujihara, and he dropped a few more hints about what we can expect from Ben Affleck's Batman in the Man Of Steel follow-up.

Batfleck will be "tired, weary and seasoned" having been doing the no-powers superhero thing "for a while" says Tsujihara. That chimes neatly with the story that Josh Brolin was approached for the role at one point, and with director Zack Snyder's own original announcement that Affleck's will be "a layered portrayal of a man who is older and wiser than Clark Kent and bears the scars of a seasoned crime fighter". While the film won't be an adaptation of The Dark Knight Returns (which already exists as an animation), Frank Miller's grizzled, beaten-up, worn-in Batman is clearly something like the vibe intended.

Of the absurd casting controversy, Tsujihara allows only that the response from fans has been "passionate": a testament, he says, to Batman's enduring appeal. He insists, however, that Affleck is "perfect for the vision Zack has for that character". He also told investors that, despite not reaching the magic billion, Warners "could not be happier" with Man Of Steel's worldwide box office haul of $660m. "It's the perfect springboard for Batman and Superman," he said, telling everyone to prime themselves for further big announcements in the near future.

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Source-Empire
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Star Wars Standalone Films Will Be Origin Stories

Disney's chief financial officer Jay Rasulo gave a presentation to an investor conference at the Bank Of America yesterday. While much of it - as you'd expect given the context - is dispiriting marketing speak about branding, merchandising and licensing opportunities, there was also one small but significant piece of intel about the new Star Wars films. We've known for some time that standalone films about famous supporting characters are in development alongside the trilogy beginning with Star Wars Episode VII. Now Rasulo reveals that those standalone films will be origin stories.

Reaffirming that we can expect a Star Wars every year from 2015 on, Rasulo's wording (only paraphrased by Variety) was that Disney will be alternating a trilogy film and "an origin story" annually. If you were an investor, you'd be reassured that that strategy sits alongside two Marvels, a Disney animation, and one or two Pixars.

Following The Lone Ranger debacle he says that budgets for each year's "one or two, maybe three" tentpole Disney live-action originals will likely be capped in future. But "of all our worries," he promises, "Star Wars is not one of them".

"The sky's the limit," says Rasulo of Star Wars. "There's incredible flexibility. It's an unbelievable palette to create from." And while he's talking there about licensing programmes that will "broker deals around the world" and encompass toys, "housewares" and huge new undertakings in Disney's theme parks, he does take a moment to insist that "the overall strategy is to put out a great film first".

Fox's attempt at its own Origins franchise with Marvel's X-Men collapsed at the first hurdle with the 2009 Wolverine movie. But with Star Wars veteran Lawrence Kasdan and producer Simon Kinberg developing their spin-off, Disney clearly have confidence in the plan.

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DON JON Premiere Photos

Relativity Media has provide me with pictures from the premiere of  DON JON.


Jon Martello (Joseph Gordon-Levitt) is a strong, handsome, good old fashioned guy. His buddies call him Don Jon due to his ability to "pull" a different woman every weekend, but even the finest fling doesn't compare to the bliss he finds alone in front of the computer watching pornography. Barbara Sugarman (Scarlett Johansson) is a bright, beautiful, good old fashioned girl. Raised on romantic Hollywood movies, she's determined to find her Prince Charming and ride off into the sunset. Wrestling with good old fashioned expectations of the opposite sex, Jon and Barbara struggle against a media culture full of false fantasies to try and find true intimacy in this unexpected comedy written and directed by Joseph Gordon-Levitt.

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New Poster For Jackass Presents: Bad Grandpa

Today we got our hands on the new poster for Jackass Presents: Bad Grandpa.

86 year-old Irving Zisman is on a journey across America with the most unlikely companions, his 8 year-old Grandson Billy in "Jackass Presents: Bad Grandpa”. This October, the signature Jackass character Irving Zisman (Johnny Knoxville) and Billy (Jackson Nicholl) will take movie audiences along for the most insane hidden camera road trip ever captured on camera.

Along the way Irving will introduce the young and impressionable Billy to people, places and situations that give new meaning to the term childrearing. The duo will encounter male strippers, disgruntled child beauty pageant contestants (and their equally disgruntled mothers), funeral home mourners, biker bar patrons and a whole lot of unsuspecting citizens.

Real people in unreal situations, making for one really messed up comedy

In theaters everywhere October 25th

Create your own Bad Grandpa GIF on the official site:
www.BadGrandpa.com

Jackass Facebook: Facebook.com/Jackass
Jackass Twitter: Twitter.com/Jackassworld

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Djimon Hounsou Joins Fast 7

The cast already includes Ronda Rousey, Kurt Russell and Jason Statham.

Most of the franchise’s top talent are returning for “Fast & Furious 7,″ including Vin Diesel, Paul Walker, producer Neal H. Moritz and writer Chris Morgan, with James Wan directing.

Moritz and Diesel return as producers.

No plot details have been unveiled yet, except that the film will return to Los Angeles after the previous six films were set in other locations. Co-president of production Jeff Kirschenbaum and creative executive Jay Polidoro will oversee the project.

This May’s “Fast & Furious 6″ was the highest-grossing pic in the series, with $788 million worldwide.

Hounsou can be seen next in Fox Searchlight’s “Baggage Claim” and follows that up with a busy 2014 that includes Legendary’s “Seventh Son,” Marvel’s “Guardians of the Galaxy” and “How to Train Your Dragon 2.”

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Thursday, September 12, 2013

Doctor Who’s 50th Anniversary Poster

As we creep ever closer to the November 23 airdate for Doctor Who’s 50th Anniversary episode – which we now know is called The Day Of The Doctor – the BBC is setting the hoopla levels to high. To kick things off properly, the first poster for the project is online, featuring current TARDIS occupant Matt Smith, previous, er, tenant David Tennant and mysterious “Doctor” figure John Hurt.

Hurt, you’ll recall, was introduced at the end of last series' The Name Of The Doctor, and the exact nature of his identity, and how it connects to the Doctor’s own, will be cleared up in the special episode. At least, we hope it will: you know how Steven Moffat likes to keep us all guessing. The special will also feature current companion Clara (Jenna Coleman) and the return of Billie Piper’s Rose Tyler, and will be 75 minutes long.

“The Day Of The Doctor is nearly here! Hope you all enjoy,” says Smith in the official press release. “There’s lots more coming your way, as the countdown to the 50th begins now.”

He’s not wrong about there being lots more: various BBC channels will be broadcasting a number of shows including scientific lectures led by Professor Brian Cox, Matthew Sweet hosting a show about the series’ cultural significance and Mark Gatiss’ new drama An Adventure In Space And Time, which chronicles the birth of the show. Tied to that, BBC Four is rebroadcasting William Hartnell’s first story in a restored format. And that’s just the tip of the Dalek-shaped iceberg.

“Fifty years has turned Doctor Who from a television show into a cultural landmark,” says show boss Steven Moffat. “Personally I can't wait to see what it becomes after a hundred." In the near future, at least – Christmas to be exact - we know what it’ll look like, as Peter Capaldi will take charge of the TARDIS…

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THE FIFTH ESTATE BENEDICT CUMBERBATCH Interview

THE FIFTH ESTATE BENEDICT CUMBERBATCH Interview
By: John Meneghetti

Here is the interview with BENEDICT CUMBERBATCH from the Toronto international film festival. He sat down and talked about his upcoming film THE FIFTH ESTATE and so much more.


Triggering our age of high-stakes secrecy, explosive news leaks and the trafficking of classified information, WikiLeaks forever changed the game. Now, in a dramatic thriller based on real events, “The Fifth Estate” reveals the quest to expose the deceptions and corruptions of power that turned an Internet upstart into the 21st century’s most fiercely debated organization. The story begins as WikiLeaks founder Julian Assange (Benedict Cumberbatch) and his colleague Daniel Domscheit-Berg (Daniel Brühl) team up to become underground watchdogs of the privileged and powerful. On a shoestring, they create a platform that allows whistleblowers to anonymously leak covert data, shining a light on the dark recesses of government secrets and corporate crimes. Soon, they are breaking more hard news than the world’s most legendary media organizations combined. But when Assange and Berg gain access to the biggest trove of confidential intelligence documents in U.S. history, they battle each other and a defining question of our time: what are the costs of keeping secrets in a free society—and what are the costs of exposing them?"



PRESS: So, Benedict, we heard you were described by Daniel as a real Sherlock. He would see you in the morning, you would sit there and say all of these things you managed to observe that were totally accurate. So you’ve taken the role to heart or the role was just something that was inevitable in your life because you are Sherlock Holmes.


BENEDICT CUMBERBATCH: He’s very flattering, but no, I’m a far way off his brilliance.

PRESS: Okay. And you’ve got so much this fall coming out.

BENEDICT CUMBERBATCH: It’s really exciting.

PRESS: [OVERLAPPING] [Yeah.], this movie, the Sherlock new series, and The Hobbit.

BENEDICT CUMBERBATCH: And The Hobbit.

PRESS: Have you stopped working? Have you had a week off in the past year?

BENEDICT CUMBERBATCH: Apparently I had ten days in the summer, but they went by in a bit of a blur. It’s been a very, very busy year, but it’s an embarrassment, the riches. I’m loathe to complain about them, I’m really enjoying it, and you know, as my erstwhile character Sherlock says, you know, a new job is as good as a change, or change is as good as a rest even. I think that’s what he says. He says it in signafore, so you guys can look it up and see how badly I can misquote him, let alone behave like him. But yeah, it’s been an amazing – it is an amazing time at the moment, and I’m really enjoying it.

PRESS: How did you enjoy the hair in this movie?

BENEDICT CUMBERBATCH: I kind of did, I kind of did, and they eyes were a little bit more arduous. I quite liked, I had a kind of skunky badger thing with white run hair my normal sort dark hair on top – I did love the fact that for about six months last year, both in August: Osage and in 12 Years a Slave, I had my own color hair, which is great. But I really, I quite enjoyed it, I quite enjoyed putting the wigs on.

Enjoy the rest of the interview after the Jump...

PRESS: Does it take you there?

BENEDICT CUMBERBATCH: It does a bit. Yeah, of course it does. I think the first time I put it on, and I kind of came into the room, people were like “Oh, wow!” And that’s a great thrill when you think, okay, well, something’s working. I mean, I think he’s got softer features, and I mean, I think I’m a little more angular, which sometimes makes me look a little weird and creepy with some of the wigs, and that’s not the intention at all. I just think that’s just the way I look and that’s not, you know, we weren’t trying to do that, but that’s just the different bone structure. I’ve got a longer face, he’s got a rounder face, so you know, it was a challenge. The harder thing was the contact lenses because I’ve never worn them before. They’re brilliant at it now –

PRESS: What color are your eyes?

BENEDICT CUMBERBATCH: It’s just when you get to – brown eyes? No, blue. Well, I’ve got light aquamarine, greeny kind of things. It changes, whatever kind of light, I guess, is stronger, or color is stronger. But mine are lighter, that’s the thing, much, much lighter than his, and in certain lights his are just this really deep, rich kind of blue, and in other lights, they’re kind of slatey gray or dark, and so I wanted to kind of tone down my eyes a little bit, so that, as well as the teeth here, as well, I had a new set of kind of prosthetic teeth and a slightly bigger lip here to kind of push that forwards ‘cause I’ve got a very big bottom lip and it’s just we have a slightly different structure to our faces, so I wanted to try and experiment with that a little bit.

PRESS: He’s such an arrogant, brilliant person. I mean, he knows he’s smart, but you know, he doesn’t care about other people.

BENEDICT CUMBERBATCH: That’s your opinion.

PRESS: Did you talk to Bill about making Julian Assange somebody that the audience, if they couldn’t quite identify with him, they wouldn’t hate him?

BENEDICT CUMBERBATCH: It was important to me to portray him as a three-dimensional human being and not get into a slagging match about whether he was good or bad. I wanted to portray human characteristics about a man at the forefront of an incredible media revolution, with incredible ideas, whose controversy was borne out of that primarily and not get bogged down in character assassinations which is so easy to come by, because people want a headline, they want to grab something and run with a two-dimensional story. And I like the way the film tackles that and I like the way that Julian talks about his appraisal in The New York Times as getting equal bidding for the state of his socks, as for collateral murder, kind of highlights that idiocy. So it was important to me to portray him in a balanced way.

PRESS: I read that you communicated with Julian and at one point he attempted to dissuade you from doing the project. Can you describe your communications with him and what ways those informed you?

BENEDICT CUMBERBATCH: I tried to justify my reasons for doing the project and that was where that ended.

PRESS: You weren’t going to step out because Julian asked you not to?

BENEDICT CUMBERBATCH: It mattered to me a lot that he felt so passionately, but I wanted to persuade him that it wasn’t necessarily going to be as bad as he feared it would be, both from the script he’d had leaked to him, which is a very old draft, I don’t even think I ever saw that draft, but yeah.

PRESS: Was your comunication via email?

BENEDICT CUMBERBATCH: Yeah.

PRESS: That was my question. So was it just a couple exchanges back and forth?

BENEDICT CUMBERBATCH: Yeah. And private between us. Yeah.

PRESS: The film was very much from kind of Daniel’s perspective and through his filter.

BENEDICT CUMBERBATCH: Yes.

PRESS: How challenging was that to you as you were kind of pulling together Assange and how you wanted to balance that?

BENEDICT CUMBERBATCH: From the perspective of the film, none, because you concentrate how you are in the moment that you are in the film, so if people are commenting about your character or reacting to your character, that’s drama, you know, it’s not something you worry about. You get on with playing your intention in a given moment and when the action changes in the scene you think about what your characteristic is and how that will inform what tactics you use to therefore, you know, get what you want out of the scene as a character and that’s kind of how I go about my daily work.

PRESS: There’s so much  material that you could use to kind of pull together things for this. I mean, there’s interviews.

BENEDICT CUMBERBATCH: As much as I could. A lot, an awful lot. It was important to, you know, to concentrate on what we were doing, which is making a film, a dramatization of events. So while it was informative, it was important for me to always remember that this is a perspective, not the perspective. I think the film’s central message is there’s no such thing as objective truth, there’s always going to be a personal truth and you have to, I think, take the inspiration of this film is that it is about people journalism, it’s about something that’s powered by individuals, it’s not about a consensus, and I think that’s probably how the film will be greeted and reacted to, and I mean, that’s no bad thing.

PRESS: How do you see Julian’s relationship with Daniel? I mean, is it kind of like a master/slave, an S&M relationship.

BENEDICT CUMBERBATCH: No, neither of those things.

PRESS: He keeps coming back for more?

BENEDICT CUMBERBATCH: No.

PRESS: How would you describe it?

BENEDICT CUMBERBATCH: Have you seen the film?

PRESS: Yeah, yeah.

BENEDICT CUMBERBATCH: Well, how would you describe it? Neither of those things, for example. I don’t think it’s that extreme.

PRESS: Ah, okay.

BENEDICT CUMBERBATCH: You do?

PRESS: Well, I just think that there are many times in the film with what he says to him and how he demeans him and how he ridicules him, a normal person would get up and walk out and say, “Fuck you, goodbye.” And he doesn’t.

BENEDICT CUMBERBATCH: Yeah.

PRESS: I think Julian’s intoxicating. I think that someone who has power like that, an interpreted power, is intoxicating.

BENEDICT CUMBERBATCH: Yeah.

PRESS: What do you think about that?

BENEDICT CUMBERBATCH: I think it’s really complicated and it’s really for those two to disseminate it, not me as an actor outside of it. I think, you know, but in a moment of drama, you have empathy for your character, so I see his perspective as strongly as I can as now as an audience see both perspectives. It’s a very complex relationship, and two very complex characters. Daniel is no stooge, you know, he’s not this follower, he’s a smart guy, he’s an activist, he’s incredibly, you know, pragmatic. He’s not just a sort of blind acolyte. I think Julian has a magnetic hold over people and I think he’s an incredible spokesperson for an extraordinary idea that was borne out of his realization of it. And you know, he has very complex relationships with people because of that.

PRESS: We see flashes when he mentions things about his past. “I have a 19 year old son.”

BENEDICT CUMBERBATCH: Yeah.

PRESS: things like that. Did you see that as sort of letting the audience see another side of him.

BENEDICT CUMBERBATCH: On a level, yes, because, you know, I think the kind of banner headline, as I might have said in here, I’m beginning to get a bit blurred about what I’ve said in here or next door, but you know, the kind of perception of him in a tabloid sense is very two-dimensional. The character assassinations came hot on the foot of all the kind of shifting perspectives and press war and everything that went on at the time of the leak, so I think a lot of people’s perspective on him is very crude. So anything that flashes out who he is as a three-dimensional human being I think is to his benefit, and god knows what he’ll think of that, but as an audience I think you can understand more of someone when they are part of something that’s universal to all of us. And while, you know, I think it’s very clear he doesn’t want the message to get confused with the messenger, and that’s happened. We obsess about that, I think, in culture, all the time. We can’t just take an actor’s work, we need to know everything about their personality. We can’t just take a politician’s stance, again, we need to know what it is that relates us, and I’m not saying that’s a good or a bad thing, but sometimes I think it can corrupt what a heart is, you know, an extraordinary thing.

PRESS: Do you see a link between Julian, who is so brilliant, and as I said earlier, kind of arrogant, with Sherlock, who is also brilliant and perceived as arrogant and maybe some people have said he’s got Asperger’s. He doesn’t relate to people.

BENEDICT CUMBERBATCH: I think it’s a pretty obvious but slightly lazy association. I think they’re very, very different characters, for obvious reasons.
The film stars Benedict Cumberbatch, Daniel Brühl, Anthony Mackie, David Thewlis, Alicia Vikander, Peter Capaldi, Carice van Houten, Dan Stevens, with Stanley Tucci and Laura Linney and was directed by Bill Condon.


PRESS: Where do you stand –

BENEDICT CUMBERBATCH: You tell me, because what you’re saying is obvious, is the link, so I’m intrigued to know if you can spot any differences.

PRESS: Well, I didn’t think about it until [Okay.] just now, but you’re an actor in them and it’s, you know.

BENEDICT CUMBERBATCH: Yeah, but I don’t need to impact as an audience, do you know what I mean? I think it’s pretty obvious. I mean, if you’re saying that I conform to a type in my work, then yeah, there are crossovers, I’m sure, but have a look at “Little” Charles in August: Osage and William Ford as well, ‘cause they’re nothing like Julian or Sherlock. And that’s not me being defensive, that’s me explaining that I think there are subtle – well, huge differences, actually, between Sherlock and Julian.
PRESS: Talk a little bit about August: Osage. We can’t wait to see it.

BENEDICT CUMBERBATCH: Me neither. I still haven’t seen it, so I can’t talk to you much about it.

PRESS: Who do you play though?

BENEDICT CUMBERBATCH: I play “Little” Charles, who’s this adorable, really, lost soul who is trying to find a place in the world that’s sort of, ah, it kind of cuts him out. He’s in love with someone that’s very close to him and that has to remain a secret, and it kind of tears him apart, and he’s constantly being belittled by a sort of destructively loving and protective mother, because of the secret surrounding who he really is, and he’s a pretty tragic figure but rather a beautiful soul. He’s an alright singer and songwriter. You guys have seen it. You’ve seen it?

BENEDICT CUMBERBATCH: No? Okay. I thought you did ‘cause I do sing and play the piano in it. But yeah, I love that job. I mean, I loved the play. And when I heard they were doing it I said, I’ve got to audition this, but there’s only – I said, I’d kill to play that part, are you kidding me? And to sit round that table and watch Meryl, I mean all of us were just in awe. I mean, it’s an amazing table to sit round, but all of us just kind of forgot to act in character because were just in an audience going – astonishing. Astonishing.
PRESS: What was it like to work with Meryl?

BENEDICT CUMBERBATCH: Like that. I mean, it really was spectacularly – it was very, very inspiring. It was very inspiring. I know every actor says that that works with her, but it really was. It’s a trip, it’s an absolute trip.

PRESS: You asked her a question about acting, and you said something about –

BENEDICT CUMBERBATCH: Well, because you know, I was about to – what was I about to do? Assange, I think it was, I think Julian was the next project. So I said, you know, where do you start with – ‘cause obviously with Julian, I’m not Australian, I don’t have the same speech pattern as him, other physical attributes and differences, his withholding himself, his gestures, all that sort of thing. So I kind of said to her, ‘cause she was just doing this incredible delivery, she was playing someone with esophageal cancer, it was high on drugs, downers, it was getting drunk at her husband’s wake, it was turning vulnerable into attack into lost into knowing into sexy, vampy. The gear shifts were sublime. And I just wondered how she was playing this orchestra of a performance, you know, and I said, well, chicken and egg, cart and horse, what gives? And she went, “I don’t know. I don’t really, I mean, with this it was different, I mean, all of it came at once. How about you?” Oh, thank fuck for that, ‘cause I don’t have a method, I wasn’t schooled in a method necessarily. I mean, I’ve got tools that I carry around very gratefully from my time at drama school and also what I’ve learned by working with people like Meryl and great directors like Bill and Danny Boyle and Tomas Alfredson and Richard Daystrom, I been so spoiled with the roster of talent I’ve worked with. So and like we both agreed, if you have one way of approaching it, it kind of limits what you do and also what other people can do with you, so it was reassuring, it was really reassuring. It’s a really nice moment.

PRESS: And she said, “Do you know his fans are called Cumber [cut off]?

BENEDICT CUMBERBATCH: they’re actually changing themselves to Cumber-collectors, most of them now. I’ve gone down the route of reversing the sort of negative backlash of however many years of feminism, and it was a little bit worrying, and I didn’t ask for this sort of subservient demeaning collective noun, and they’ve very kindly said “Oh, no, it was only a joke.” Well, you know, it’s best to make a slightly more politically correct joke about it in my name. But I mean, it’s one of the least offensive nicknames I have on the internet, if you care to Google it, there’s all sorts of nonsense, but I have had that since high school so I’ve got quite a thick skin about that.

PRESS: How do you feel about this new sort of like level of success and celebrity you’ve obtained?

BENEDICT CUMBERBATCH: Wow, this is another interview. This is like a profile suddenly, isn’t it?

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J. K. Rowling Returning To The World Of Harry Potter

Abandon all cynicism those who enter here, because Warner Bros. has put the wizarding world back in motion. News is just in that J. K. Rowling is working on a new movie set in the world of Harry Potter, her first screenplay and a possible launchpad for a whole Potter-ish franchise.


The film, which will be based on Rowling's (officially, Magizoologist Newt Scamander's) universe-expanding Fantastic Beasts And Where To Find Them, will be set in the wizarding world. It will feature creatures and characters - some new, some already familiar to Potter fans - and, promises Rowling, will be "neither a prequel nor a sequel to the Harry Potter series, but an extension of the wizarding world" set 70 years before Harry Potter sets foot in Hogwarts. That puts it somewhere around 1921, when Scamander would have been about 24 according to in-world chronology.

"It all started when Warner Bros. came to me with the suggestion of turning Fantastic Beasts into a film," Rowling explained in a statement. "I thought it was a fun idea, but the idea of seeing Newt Scamander, the supposed author of Fantastic Beasts, realised by another writer was difficult. Having lived for so long in my fictional universe, I feel very protective of it and I already knew a lot about Newt. As hardcore Harry Potter fans will know, I liked him so much that I even married his grandson, Rolf, to one of my favourite characters from the Harry Potter series, Luna Lovegood."

Rowling continued: "As I considered Warners’ proposal, an idea took shape that I couldn't dislodge. Although it will be set in the worldwide community of witches and wizards where I was so happy for 17 years, Fantastic Beasts is neither a prequel nor a sequel to the Harry Potter series, but an extension of the wizarding world. The laws and customs of the hidden magical society will be familiar to anyone who has read the Harry Potter books or seen the films, but Newt's story will start in New York, seventy years before Harry's gets underway."

It was Warner Bros. Entertainment's CEO, Kevin Tsujihara, who made the announcement, so there's none of the usual scuttlebutt to wade through: this comes by official owl. The studio also confirmed a creative partnership across its video game and merchandising divisions, as well as additional content for Rowling's Pottermore.com website.

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Win Tickets To An Advance Screening For WE ARE WHAT WE ARE In San Francisco

Win Tickets To An Advance Screening For WE ARE WHAT WE ARE on Monday, September 23 @ 7:00PM  In San Francisco.


In WE ARE WHAT WE ARE, a seemingly wholesome and benevolent family, the Parkers have always kept to themselves, and for good reason. Behind closed doors, patriarch Frank (Bill Sage, “Boardwalk Empire”) rules his family with a rigorous fervor, determined to keep his ancestral customs intact at any cost. As a torrential rainstorm moves into the area, tragedy strikes and his daughters Iris (Ambyr Childers, THE MASTER) and Rose (Julia Garner, MARTHA MARCY MAY MARLENE, SIN CITY: A DAME TO KILL FOR) are forced to assume responsibilities that extend beyond those of a typical family. As the unrelenting downpour continues to flood their small town, the local authorities begin to uncover clues that bring them closer to the secret that the Parkers have held closely for so many years.


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Send an email to sandwichjohnfilmsscreenings@yahoo.com and in subject line WE ARE WHAT WE ARE. I will need your full name.

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DISCLAIMER: ARRIVE EARLY! SEATING IS FIRST-COME, FIRST-SERVED, EXCEPT FOR MEMBERS OF THE REVIEWING PRESS. THEATER IS OVERBOOKED TO ENSURE A FULL HOUSE. THEATRE IS NOT RESPONSIBLE FOR OVERBOOKING. THIS PASS DOES NOT GUARANTEE ADMISSION AND MUST BE SURRENDERED UPON DEMAND. NO ONE WILL BE ADMITTED WITHOUT A TICKET AND ONLY REVIEWING PRESS WILL BE ADMITTED AFTER THE SCREENING BEGINS. Duplicate passes will not be accepted. Screening passes are non transferable. This ticket is NOT for resale. Reselling of tickets is strictly prohibited and punishable by law. All those found in violation will be prosecuted to the fullest extent of the law. MPAA - No Recording This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio and/or visual recording device including laptop computers into the theater and you consent to physical search of have against you. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability (including damages up to $150,000). *This includes, by way of example only, smart phones and your belongings and person for such device. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device*, you consent to your Immediate removal from the theater and forfeiture of the device

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Rancho Obi-Wan In Guinness World Records® 2014

It's Official! Rancho Obi-Wan Houses The “Largest Collection of Star Wars Memorabilia” According to Guinness World Records® 2014

Rancho Obi-Wan, a Northern California non-profit museum, has officially been recognized by GUINNESS WORLD RECORDS as housing the “Largest Collection of Star Wars Memorabilia” in the galaxy. Steve Sansweet, the collection's owner, has amassed more than 300,000 unique Star Wars items since 1977. The just-released GUINNESS WORLD RECORDS 2014 Edition features an amazing two-page photograph of part of the collection.


“I’m delighted with the recognition from GUINNESS WORLD RECORDS, which for years has been the authority in these matters,” said Sansweet, president and CEO of Rancho Obi-Wan and Fan Relations Adviser for Lucasfilm Ltd. “We were really excited to work with them. Preparing the photo shoot set a record in my book for one of the most fun-filled days ever at the museum. We were especially happy to have Craig Glenday, editor-in-chief of GUINNESS WORLD RECORDS, with us to personally oversee the shoot. We kept adding so many great items that we don't even know how many individual ones can be counted in the photo.”



Sansweet started his Star Wars collection before the movie even premiered, plucking his first piece, a 20th Century Fox/Lucasfilm promotional booklet, from the wastebasket of a colleague at The Wall Street Journal. As a born collector who loves science fiction, Sansweet naturally picked up anything related to Star Wars, and over the course of time the collection grew to enormous proportions.

In 1998 Sansweet purchased a former chicken ranch on the outskirts of Petaluma, California with a large-enough space to store the collection, and named his new home Rancho Obi-Wan. Today Rancho Obi-Wan is a 9,000 square-foot non-profit museum. Star Wars fans can experience the magic of Rancho Obi-Wan first-hand by scheduling a tour, personally guided by Sansweet. For more information please visit www.RanchoObiWan.org.

About Rancho Obi-Wan, Inc.
Rancho Obi-Wan, Inc. is a California Nonprofit Public Benefit Corporation whose specific purpose is to serve the public through the collection, conservation, exhibition and interpretation of Star Wars memorabilia and artifacts, using the collection to provide meaningful educational, aesthetic, intellectual and cultural experiences for a wide array of audiences and to carry out other charitable and educational activities associated with this goal. Funds raised are used for insurance, utilities, professional services, maintenance on the buildings, and protection and preservation of the collection. None is used to acquire collectibles. Monies raised also enable Rancho Obi-Wan to perform public outreach to schools and other charitable organizations and community programs. Rancho Obi-Wan inspires with the Force of imagination!

About GUINNESS WORLD RECORDS®
GUINNESS WORLD RECORDS is the universally recognized global authority on record-breaking achievement. First published in 1955, the annual GUINNESS WORLD RECORDS book has gone on to become one of the biggest-selling copyrighted titles of all time, selling more than 2.7 million copies a year. Since its launch nearly 60 years ago, over 130 million copies—including 400,000 eBooks—have been sold in 20 languages and in more than 100 countries. The internationally recognized brand is also available across a number of platforms; GUINNESS WORLD RECORDS global television shows are watched by 750 million viewers annually, over 390,000 users subscribe to GWR’s two dedicated YouTube channels, the global website receives 12 million viewers annually and the brand has 1.25 million fans on Facebook. In 2013, OFFICIALLY AMAZING became a registered trademark of GUINNESS WORLD RECORDS Limited

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Wednesday, September 11, 2013

Win Tickets To An Advance Screening For DON JON In Sacramento

Win Tickets To A Screening For DON JON on Thursday, September 26 at 7:30 PM at Century Downtown In Sacramento.


In his directorial debut, writer-director Joseph Gordon-Levitt also stars as Jon Martello—a New Jersey guy who loves his family, his friends, his church… and his porn. When he meets Barbara Sugarman (Scarlett Johansson), a perfect “dime” with an infatuation with romantic Hollywood movies, they struggle to find happiness while wrestling with their respective ideals of what the opposite sex should be.


The film also stars Julianne Moore, Tony Danza, Glenne Headly and Brie Larson also star in this insightful and unexpected comedy about searching for true intimacy in a world full of unrealistic expectations.


Jon Martello is a modern day Don Juan who objectifies everything in his life, especially women. His friends call him Don Jon because of his ability to pull "10s" every weekend without fail. But his addiction to porn has made him dissatisfied with life and he sets out on a journey to find a more gratifying sex life.[6] He ends up seeing the bigger picture and learning more about life and love through two different women.


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Official Website-

See how to win tickets after the Jump...

Go to GOFOBO and enter code below

SAND6CKJ

DISCLAIMER: ARRIVE EARLY! SEATING IS FIRST-COME, FIRST-SERVED, EXCEPT FOR MEMBERS OF THE REVIEWING PRESS. THEATER IS OVERBOOKED TO ENSURE A FULL HOUSE. THEATRE IS NOT RESPONSIBLE FOR OVERBOOKING. THIS PASS DOES NOT GUARANTEE ADMISSION AND MUST BE SURRENDERED UPON DEMAND. NO ONE WILL BE ADMITTED WITHOUT A TICKET AND ONLY REVIEWING PRESS WILL BE ADMITTED AFTER THE SCREENING BEGINS. Duplicate passes will not be accepted. Screening passes are non transferable. This ticket is NOT for resale. Reselling of tickets is strictly prohibited and punishable by law. All those found in violation will be prosecuted to the fullest extent of the law. MPAA - No Recording This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio and/or visual recording device including laptop computers into the theater and you consent to physical search of have against you. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability (including damages up to $150,000). *This includes, by way of example only, smart phones and your belongings and person for such device. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device*, you consent to your Immediate removal from the theater and forfeiture of the device

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Win Tickets To An Advance Screening For ENOUGH SAID In Sacramento

Win Tickets To A Screening For ENOUGH SAID on Wednesday, September 25 at September 25 at 7:00 PM in at Century Roseville.


ENOUGH SAID is an upcoming American comedy film directed and written by Nicole Holofcener. The film stars James Gandolfini (in one of his final film roles), Toni Collette, Catherine Keener, Ben Falcone, Julia Louis-Dreyfus and Toby Huss.


A divorced and single parent, Eva (Julia Louis Dreyfus) spends her days enjoying work as a masseuse but dreading her daughter's impending departure for college. She meets Albert (James Gandolfini) - a sweet, funny and like-minded man also facing an empty nest. As their romance quickly blossoms, Eva befriends Marianne (Catherine Keener), her new massage client. Marianne is a beautiful poet who seems "almost perfect" except for one prominent quality: she rags on her ex-husband way too much. Suddenly, Eva finds herself doubting her own relationship with Albert as she learns the truth about Marianne's Ex. ENOUGH SAID is a sharp, insightful comedy that humorously explores the mess that often comes with getting involved again.


Make sure to LIKE SandwichJohnFilms on Facebook and follow us on Twitter.



Official Website-


See how to win tickets after the Jump...

Go to GOFOBO and enter code below

SANDV8PT

DISCLAIMER: ARRIVE EARLY! SEATING IS FIRST-COME, FIRST-SERVED, EXCEPT FOR MEMBERS OF THE REVIEWING PRESS. THEATER IS OVERBOOKED TO ENSURE A FULL HOUSE. THEATRE IS NOT RESPONSIBLE FOR OVERBOOKING. THIS PASS DOES NOT GUARANTEE ADMISSION AND MUST BE SURRENDERED UPON DEMAND. NO ONE WILL BE ADMITTED WITHOUT A TICKET AND ONLY REVIEWING PRESS WILL BE ADMITTED AFTER THE SCREENING BEGINS. Duplicate passes will not be accepted. Screening passes are non transferable. This ticket is NOT for resale. Reselling of tickets is strictly prohibited and punishable by law. All those found in violation will be prosecuted to the fullest extent of the law. MPAA - No Recording This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio and/or visual recording device including laptop computers into the theater and you consent to physical search of have against you. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability (including damages up to $150,000). *This includes, by way of example only, smart phones and your belongings and person for such device. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device*, you consent to your Immediate removal from the theater and forfeiture of the device

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Mortal Instruments Sequel Put On Hold

After a disappointing B.O. opening for “Mortal Instruments: City of Bones,” Constantin Films has delayed the production of the next installment “Mortal Instruments: City of Ashes.”

Principal photography was expected to start later this year and Constantin said in a statement that the reason for the delay is to “analyze the results to date and reposition the franchise in order to maximize the results for future installments.”

Since opening on Aug. 21, the $60 million dollar adaptation of the Cassandra Clare tome has grossed more than $70 million worldwide but only $28 million domestically.

Helmer Harald Zwart was expected to return, as were stars Lily Collins and Jamie Campbell Bower.

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