Today's News: not a very busy week for news

The end of the year is nigh, the slow flow of news is a telling sign of that. Good thing too, since I got plenty of work to do in these last few weeks of 2014.

http://www.moviescene.nl/p/158349/vijf_regisseurs_op_shortlist_star_trek_3

Well, that's just nice! Five eligible directors and the one I trust most to save Star Trek from going down the drain immediately says he's not interested. A damn shame, since intelligent Sci-Fi is exactly what Trek is in dire need of to once again differentiate it from the action oriented likes of Star Wars, and intelligent Sci-Fi is just Duncan Jones' forte. Justin Lin and Daniel Espinosa are mostly mindless action directors (no offense, guys!), so not the types Trek needs. I haven't seen The Imitation Game (yet), nor have I sampled any of Morten Tyldum's domestic fare, so I can't speak of his suitability for Trek 3. Considering his first overseas film stars Benedict Cumberbatch, who previously played a character I so do not want to see again in the next Trek film, I'm inclined not to give Tyldum the benefit of the doubt, though I agree that is rather narrow minded of me. That leaves Rupert Wyatt. His Rise of the Planet of the Apes indicated a compatibility with smarter science fiction, but once again, his oeuvre isn't particularly elaborate and I don't feel like judging a director's capacities for Trek on just the one film. Duncan Jones was just what the franchise needed, in my mind. Very disappointing to know he won't be involved. And if such bad news isn't enough of a downer, the news reached the Internet this week that Paramount is eager to incorporate witty sidekick characters á la Rocket & Groot into the next film because of the success of Guardians of the Galaxy. Which once again goes to show that studio execs, at least the ones working at this studio, only follow what's hot and trending, rather than appreciate 50 years of Trek history that did pretty well without such blatant attempts to make the franchise resemble other popular properties. I truly fear for the future of Trek, it increasingly doesn't seem to have one that's worthy of the lore that came before...

http://www.moviescene.nl/p/158377/viola_davis_gecast_in_suicide_squad

Wow, Suicide Squad really seems to have a thing for casting Oscar nominees. Guess DC's strategy to differentiate itself from Marvel is to cast mostly actors with past Oscar buzz. The majority of the main Marvel actors are well suited at what they do, but, with a few exceptions, Oscar material they are not. Director David Ayer seems to have his job cut out for him managing all this movie's talent and the unavoidable egos that come with it. I'm glad they casted Davis rather than Oprah Winfrey. That latter choice just seemed to much like the stuff of 'silly Internet rumour', even if Winfrey is serious about a solid action career. Davis is known to excel at heavily dramatic roles, but has co-starred in plenty of action movies that don't take themselves overly seriously. Suicide Squad definitely falls into that category and so does the role of Amanda Waller, the government liaison tasked with overseeing all the villainous egos in the Squad itself. Seems like she and Ayer have that much in common, hopefully they'll be able to teach each other a thing or two.

http://www.moviescene.nl/p/158395/nieuwe_poster_marvels_agent_carter

Hayley Atwell is also one of those actresses who's in all regards skilled at her job, but not someone likely to get nabbed for an Academy Award anytime soon. Especially in her return to the small screen for Agent Carter (maybe she'll win an Emmy though, you never know). So far, I like what I've seen of this new show, and I always like seeing Hayley anyway. Nevertheless, with this series the Marvel Universe once again emphasizes its spy stuff, something which I feel it's overdoing. We already have Agents of S.H.I.E.L.D. running and that titular organization, though it took a blow recently on the big screen, is still very active in the Marvel movies as well. Now we get a show which spends a lot of its time exploring the origins of S.H.I.E.L.D. Too much espionage for my taste. Granted, the Marvel Universe is not just about superhumans, but it is hard to deny that's its most appealing aspect, so I would call for more superheroes and less shady spy organizations. Of course, with five upcoming Netflix series dealing with that subject, the future looks bright enough in that regard. And at least Agent Carter has the charming historical Fourties period to distinguish itself from the later S.H.I.E.L.D. shenanigans. So it's not just all repetition of the same thing, just variation.

http://www.moviescene.nl/p/158406/nieuwe_beelden_daredevil

Speaking of those upcoming Marvel titles, here's a closer look at one. After Agent Carter, Daredevil is the next Marvel series planned for 2015. And this one is a bit more super, though much more grounded in reality than his contemporaries on the big screen. He's not fighting aliens or gods, just busting criminal asses on the streets of New York. Something a bit more relatable. His outfit also isn't nearly as fancy as we're used to from superheroes. However, word is ths suit above is just an initial garment, and not the familiar final red garb, which will make its appearance later. Hopefully they'll manage to find a careful balance between fancy and gritty, the way the 2003 movie just didn't. At least Charlie Cox, like Atwell, is one of those reliable actors you can fully trust to make things work, without his demanding an Oscar in return.

http://www.moviescene.nl/p/158403/nieuwe_trailer_american_sniper

Bradley Cooper, however, does have his eyes fixed on an Academy Award. And he's also a part of the Marvel Universe, though not as visible as most (he's responsible for that funny raccoon from that recent space movie, remember?). Third time may prove the charm, having been snubbed for an Oscar twice already, but clearly taking a precise aim for one again in Clint Eastwood's American Sniper. Eastwood being a sort of Oscar magnet also helps his cause no doubt. Seems both director and star made a strong dramatic movie, if the trailer is to be believed. Very American too, and not just in regards to the title. Eastwood is not one to sugarcoat his country, and it apears American Sniper will make no secrets of the negative effects of American actions abroad against those citizens taking said actions. Nor will it need to defend itself from showcasing such actions, as the need for them is not without cause. Or maybe the trailer is dead wrong and the film is actually a ideologically black & white patriottic puff piece, who knows. Hopefully the movie will do this fine trailer justice.

Today's News: loads of it

The haul of news from the last week:

http://www.moviescene.nl/p/157156/nieuwe_trailer_oorlogsfilm_fury_met_brad_pitt

Last trailer focused on the action, this one's more about the drama. Can't say it looks any better when given more substance. Rookie soldiers faced with the moral burdens of battle has been done since time immemorial. Same goes for small bands of soldiers stuck behind enemy lines on suicide missions (Saving Private Ryan is just the tip of the iceberg there, you know). Heck, even Brad Pitt has dabbled in that before with Inglourious Basterds. Big change here is that particular persona of his didn't seem to mind his hard times as much as this one, even though in terms of character there don't seem to be that many differences between Wardaddy and Lt. Aldo Raine. I really hope there's more to the movie that what the trailers are showing us. Though if we're comparing notes, that certainly was the case with Inglourious Basterds, which turned out to incorporate a whole lot more to the plot than just the bloody retributions exacted on Nazis we were promised (though that element surely was also retained, to a lesser extent). On the other thand, there's the example to the opposite, in which the trailer promised more than the actual film delivered, like on the recent forgetabble The Monuments Men. Let's just say this tank can still roll either way.

http://www.moviescene.nl/p/157184/23_jump_street_aangekondigd

As the end credits for 22 Jump Street revealed, there's at least twenty more scenarios for the franchise's protagonists to get involved in. Of course the studio feels like trying out at least one more considering the success of that sequel. Will it be one of the outrageous possibilities offered by those end titles? Probably not, most of them seem a little too farfetched for any "serious" comedy flick. Doesn't mean there aren't enough possibilities for infiltrations taking zany turns left. Not that I need to see them. I have learned long ago that the number of sequels to successful comedies worth our while is pretty low indeed. Blatant regurgitation is their usual motto, a point the first film, 21 Jump Street (see the numerical pattern here?), already made both hilariously and painfully clear when the angry black police captain gave his poignant and speech about law enforcement officials just recycling old ideas ad nauseam, which was the movie at its most self-aware note. And here we have the prove studio execs do the same. Like we needed any proof...

http://www.moviescene.nl/p/157183/eerste_fotos_batmobile_uit_batman_v_superman

I approve of this Batmobile. Not too realistic, not too unrealistic. Not too tacky, not too slick. Fits right into Zack Snyder's new DC-verse, while containing many a nod to past works, most notable Nolan's Tumbler design from the Dark Knight movies. The bat motif is not too obvious or overt, but definitely there. This basically is exactly the badass type of vehicle an angry billionaire would patrol the streets at night with to punish the guilty and protect the innocent, rather than doing drugs, banging scores of prostitutes and not giving a damn about the rest of the world because he is loaded, like real world billionaires prefer to do instead. Of course, we have yet to see it in action and discover its various funky gadgets - does it, too, feature a built-in escape vehicle and a self-destruct option, for example? - but in terms of looks and style this is right up Gotham's alleys. Good thing Hans Zimmer is still doing the music for the epic DC movies. Just add his stormy, percussive Dark Knight theme and this car is good to go.

http://www.moviescene.nl/p/157209/eerste_trailer_serena

Why change a winning team, the casting director of Serena must have thought? Cooper & Lawrence together have been the stuff of Oscars so far, and this movie clearly shows Academy Award aspirations, if the trailer is any indication. However, this movie is not directed by David O'Russell. Guess we'll find out whether it was the director that got the best out of his actors on Silver Linings Playbook and American Hustle both, or whether it may have been the material after all. Susanne Bier certainly isn't a stranger in terms of character, since her movies often border on character studies, which equally seems to be the case on Serena. The language barrier doesn't seem to be present, as this is hardly her first English spoken film. This trailer definitely reaffirms the third time remains the charm.

http://www.moviescene.nl/p/157208/robert_downey_jr_mogelijk_in_assassins_creed

I'm starting to get a sort of 'Johnny Depp vibe' whenever Robert Downey Jr.'s latest project is mentioned. As Depp revels in playing quirky oddball types, Downey Jr. now seems to stick predominantly to playing witty, scienctifically considerate charmers (e.g. Sherlock Holmes and Tony Stark/Iron Man) when it comes to big budget Hollywood movies. He does that well, so the part of Leonardo da Vinci seems perfectly suited to him. However, as has been the case with Depp for quite a while, it's getting a routine, which may lead to typecasting (though I bet Downey Jr.'s hefty pay grade will halt such thoughts on studio execs' minds). Of course, there's many other types of characters Downey Jr. plays in smaller films in-between blockbusters (the Oscar buzzing The Judge would be a current example), but those are not the ones most audiences will get to see so they'll learn to appreciate the diversity inherent in his talent. Considering he's now the highest paid actor in Hollywood, it is interesting to see him accepting a sidekick part for a change. Unless Da Vinci is actually the assassin, which I have a hard time believing, though there is some logic to that notion. But then, I never played the games so what do I know? Don't have time for games, too busy watching and loving movies. Like those starring Downey Jr., for example.

Today's (Semi)Review: American Hustle

Wrote this one as an informative piece for Filmhuis Alkmaar, but since at this point it's the question whether this title will make it for release in that arthouse-theater for various reasons, I might as well post it here on my blog, and save me the effort of writing it again in English (though in that case it would have been longer and more detailed). Considering it's kind of a puff piece and there's no room for exploring the movie's downsides - you want to entice people to go see the movie by pretending there's nothing to hold against it after all; you're basically performing a con yourself, so to speak - I can't honestly describe it as the most balanced of reviews. That said, I found little to be wrong with this movie, save for the ending which, like most movies dealing with hustles and con artists, typically leaves something to be desired in terms of credibility. We're led to believe the situation is what it is, until it suddenly makes a 180 degree turn and things happen to fit together quite differently, stretching the limits of how much we're willing to swallow. However, the strong personalities and terrific performances of the cast, coupled with delicious production design and gorgeous costumes and make-up, make it all the more acceptable for us to be conned as hard as we turn out to be. American Hustle is worth checking out on those accounts alone.

American Hustle: ****/*****, or 8/10

'Sommige van het volgende is echt gebeurd', is de boodschap waarmee American Hustle opent. Het is zoveel eerlijkheid als je gaat krijgen van regisseur David O'Russell (The Fighter, Silver Linings Playbook), die geen overdreven historisch accurate pretenties koestert in deze bewerking van de FBI's Abscam-operatie aan het einde van de jaren zeventig. Voor dit luchtige misdaad-drama bewijst O'Russell eens te meer een uiterst bekwaam acteursregisseur te zijn, die het beste uit zijn hoofdrolspelers haalt om zijn verhaal over de oplichterspraktijken van hun personages te vertellen. Zijn alle acteurs immers niet bedriegers?

American Hustle vertelt over het duo 'con artists' Irving Rosenfeld (Christian Bale) en Sydney Prosser (Amy Adams) die na een mislukte poging tot fraude door FBI-agent Richie DiMaso (Bradley Cooper) ingezet worden in een heimelijke operatie om mogelijk corrupte politici uit de tent te lokken. Een neppe zakendeal met een Arabische sjeik die wil investeren in Amerikaanse projecten moet beelden vastleggen van burgemeesters en senatoren die smeergeld aannemen en zo als omkoopbaar aan de kaak gesteld kunnen worden. Het is een gewaagd plan dat Irving en Sydney slechts onder dreiging met een gevangenisstraf kunnen aannemen. Onder druk van het onvoorspelbare gedrag van Irvings vrouw Rosalyn (Jennifer Lawrence) en zijn onverwachte vriendschap met hun eerste slachtoffer, de energieke burgemeester Polito (Jeremy Renner) van Atlantic City, wordt de zwendel steeds uitgebreider en moeilijker in toom te houden. Als vervolgens ook nog de maffia bij het stiekeme schandaal betrokken raakt heeft de operatie zo'n grootscheepse omvang aangenomen dat het onmogelijk lijkt het geheel nog tot een goed einde te brengen. Kunnen Irving en Sydney zich het vege lijf nog redden in deze schijnbaar totaal uit de hand gelopen situatie?

O'Russell begreep wel dat hij een sterk staaltje geschiedenis in handen had dat door zijn publiek met een flinke korrel zout genomen zou worden. Het maakte hem er slechts vastberadener op American Hustle te serveren als een sterk verhaal dat de kijker diverse keren op het verkeerde been zet, met een juiste balans tussen drama en humor om de bizarre aspecten van de Abscam-zeepbel te onderstrepen. Zijn grootste troef blijkt echter zijn fabuleuze acteursensemble dat elkaar bijkans van het scherm af probeert te spelen in veelal geïmproviseerde scènes, waarin ze het meer van hun gevoel als begenadigde acteurs moesten hebben dan van een script dat hun dialoog netjes op een rijtje zette. De acteurs en hun personages vullen elkaar uitstekend aan, met Bale als de ervaren maar voorzichtige oplichter met overgewicht; Adams als zijn partner-in-crime en stiekeme liefde van zijn leven; Lawrence als het secreet van een echtgenote, volstrekt egocentrisch en onverantwoordelijk: Cooper als de gedreven maar overambitieuze FBI-agent; en Renner als de sympathieke en gepassioneerde burgemeester met maffiabanden. Dat Bale, Adams, Lawrence en Cooper allen beloond werden met een Oscarnominatie blijkt geheel terecht en bewijst dat ze O'Russells beproeving moeiteloos doorstaan hebben. Het sublieme acteerwerk maakt de film een feest om naar te kijken.

Het sterke spel van zijn acteurs is niet het enige dat American Hustle tot een valse maar toch geslaagde cinematische vertelling van het Abscam-schandaal maakt. O'Russell doet de late jaren zeventig ook voortreffelijk herleven dankzij het visueel schitterende productiedesign. Ook hier vormen de acteurs het stralend middelpunt dankzij de nauwgezette reconstructie van de uitgebreide mode en weelderige haarstijl uit die periode. Maar ook de tijdsgeest waarin zij vertoeven, de auto's en technologie van weleer, wordt met de nodige flair nieuw leven ingeblazen, en weet zich daarbij gesteund door een hippe soundtrack die met een vette knipoog naar het Amerika van destijds refereert. Het geheel sleurt de kijker volledig mee in de deceptie, maar de relativerende humor die het absurdistische van het schandaal onderschrijft zorgt er doeltreffend voor dat de toeschouwer gepaste afstand houdt met het wel en wee van de oneerlijke personages als hun zwendel op een gevaarlijk kookpunt dreigt af te stevenen. Hoe grotesker de uitkomst, hoe leuker voor ons.

O'Russell maakt er geen groot geheim van dat hij ons diverse keren op het verkeerde spoor zet en ons bedriegt door het niet zo nauw te nemen met de historische feiten. Zijn hervertelling van de Abscam-operatie is letterlijk zowel te bizar als te mooi om waar te zijn, maar met een prachtig eindresultaat als American Hustle maken we daar geen enkel moment bezwaar tegen.

Today's Trailer: Guardians of the Galaxy unleashed at last

Posted the teaser above on MovieScene yesterday, but everybody will agree the video below is much more interesting:

http://www.moviescene.nl/p/153859/eerste_teaser_guardians_of_the_galaxy

This movie is looking better and better. There's a delightful 'space opera' vibe about the whole project, a seemingly highly entertaining blend between wild adventure, quirky humour and explosive action in a fabulously otherworldly Sci-Fi setting, suppported by an enthusiastic cast that seems to thoroughly enjoy their zany characters. I even look forward to seeing that talking raccoon in action now. Nevertheless, the last movie that gave me this feeling was John Carter, which I ended up loving while most others sadly did not, as it flopped mercilessly. Maybe this type of movie is just passé, over and done with, too retro for its own good? Maybe people these days are too cynical, so it's too difficult to visually entrance them as they're being transporting to extraterrestrial sights and sounds. Call it 'Star Wars prequel trilogy backlash' if you must, you wouldn't be wrong. I'm just hopeful the Marvel logo breeds certain expectations about what audiences can look forward to - i.e., superheroes - that may not fall in line with reality, as this is not really a superhero movie. In most other respects however, this movie appears to fit right in with Marvels canon of films in tone and atmosphere. However, if the Disney logo wasn't enough to draw audiences to go and see John Carter, would the Marvel logo be enough to ensure Guardians of the Galaxy fares better at the boxoffice? Especially with the knowledge (though probably not something general audiences will ever consider) that Disney and Marvel are now sleeping in the same bed. If these Guardians succeed in winning spectators over, as I sincerely hope they will, maybe space opera will be rewarded a new life as well.