Today's News: back on schedule!

Finally managed to catch up with commenting on my own news today, thanks to a drought of news this first half of the week:

http://www.moviescene.nl/p/157621/eerste_poster_tim_burtons_big_eyes

Excellent poster and tagline to match, precisely portraying Big Eyes' narrative issue at hand while indicating a humourous, even whimsical tone. Not as Gothic as we're used to from Burton, which could be a nice reprief, since most of his films in that vein from recent years (Dark Shadows, Alice in Wonderland) failed to capture our imagination. Still, biopics are not new territory to the man, as he already made one of the finest I've ever seen with 1994's Ed Wood. Seems he has a thing for underdogs in the visual arts, though the exact finesse of that term is debatable when it comes to Wood's excessively amateuristic works. However, as that film illustarted and tBig Eyes might underscore yet again, it's all about the love and enthusiasm you put into the act of creation. Talent comes second, or sometimes sinply not at all. Burton also doesn't seem to rely on his usual actors this time, instead opting for new company (but fortunately for us, still delightfully watchable talented actors). Big Eyes in many ways seems like a change of pace for the director, though he's still not entirely leaving his comfort zone given the subject matter. I hope the film will reaffirm Burton is still one of the most unique and worthwhile directors in Hollywood.

http://www.moviescene.nl/p/157620/tom_hardy_beoogd_voor_x-men_en_suicide_squad

I'm not familiar with Suicide Squad. Sorry, I'm just a Marvel guy, while DC never really did grab my attention (aside from Batman, naturally). Such as it is, I am quite familiar with X-Men baddie Apocalypse. And I think Hardy is a fine choice to portray that ancient genocidal genius. Of course he looks nothing like Apocalypse does in the comics, but that's what computers are for. With Hardy, you may not even need those. After all, the Bane from the comics is as much of a hulking behemoth as Apocalypse, but Hardy's portrayal in The Dark Knight Rises, both physical and intellectual, made us forget all about the source material. Hardy definitely possesses the necessary gravitas and determination to make Apocalypse work on screen, as he did Bane. Though not in the same vein as Ian McKellen's Magneto (no, no no sir! That's the very top level of acting!), Hardy's Apocalypse could surely be a tour-de-force in supervillain acting, if he does opt for Marvel of course. Maybe his prior experience working for DC, though unrelated in terms of the DC Cinematic Universe which does not inculde Nolan's Dark Knight trilogy, will entice him to choose Suicide Squad after all. Marvel's loss would definitely be DC's gain. And I'm sure he would make for a formidable foe to whatever poor DC superhero crosses his path in that film (if any), but it would be a great loss for X-Men: Apocalypse. And that movie already has a few things going against it, what with Channing Tatum performing Gambit... Hardy would be a fine choice to balance the acting scales in that regard.

http://www.moviescene.nl/p/157667/james_wan_terug_voor_conjuring_2

I'm generally not fond of the concept of horror sequels, particularly to movies that made a valuable contribution to the genre. But if you gotta cash in by repeating a concept, you damn well better get the man behind the concept itself. Especially if that man could be held responsible for revitalizing the horror genre - at least in terms of popularity and audience attendance - over the last decade. James Wan sure can be said to have done so with Saw and Insidious, though particularly in the case of the former franchise, all the money spent on its many redundant sequels could have been put to better, more creative use. Now history is sort of repeating itself with The Conjuring, except that its success had already spawned a spin-off - Annabelle, currently in theaters and reportedly not all that bad - prior to a direct successor. Wan understands horror in its various incarnations, and if any genre director is capable of making this blatant cash grab work for audiences as well as for money hungry studio suits, it's him. Is his heart in it? It just might, since time has proven that he keeps returning to his horror roots despite the occasional break in that routine. Such a break is currently in progress as he's finishing Fast & Furious 7, so after all the tedious car chrashes and chase sequences, he'll probably be up for a few more oldfashioned scare tactics. And if he does finally miss the horror mark this time around, there's always the possibility of an Annabelle 2.

Today's Mini-Review: The Conjuring

The Conjuring: ****/*****, or 7/10

James Wan merrily continues to reinvigorate the horror genre to great effect in this spooky possession type scary flick. Though 'reinvigorate' may be said too much, as The Conjuring is driven by trite but true scare effects that have literally been employed thousands of times already. Nevertheless, Wan makes them work as if there's still a sense of novelty to them. Supposedly based on true events – with the end credits providing the necessary pictures to back up that statement – The Conjuring follows the married Warren couple specialized in demonology and paranormal investigations, which is confronted by the most shocking case of their already illustrious career. The Perron family recently moved to an old provincial house on Rhode Island, where they have been plagued by bizarre occurrences ever since their arrival, which swiftly seem to take increasingly aggressive turns. Doors slam shut on their own accord, unexplained sounds are heard everywhere, the dog died a mysterious death (even though it never even dared to enter the house) and their daughters are harassed and assaulted by unseen assailants all night long. With the balanced help of both hard science and religious ritualism, the Warrens discover the presence of several ghosts of folks that have died horrible deaths in the house over time (some of them actually sympathetic), the cause of which is a satanic presence with an appetite for child murder that won't let go of the Perrons until the blood of their girls has been shed. To put an end to this terror the Warrens must call on all their experience and lots of luck to get everyone involved, including themselves and their own kid, out of this gruesome mess alive. Naturally the evil spirit won't make it so easy for them. A synopsis like this reads like a repetition of narrative elements and age old horror themes that have been done to death. It cannot be denied that it is just that, and so are the effects Wan utilizes to scare the bejesus out of his audience. Surprisingly, it all works great nonetheless. Maybe it's his sense of timing (there's many a moment of small shocks followed by silence, which itself is shattered by a big shock), his careful employment of efficient, mood setting lighting and editing techniques, or maybe it's the convincing performances delivered by his cast, with Vera Farmiga and Patrick Wilson making ghostbusting exorcists feel plausible and compelling. It's probably the whole. Despite this movie's failure to come up with wholly new concepts to the horror genre, instead embracing all the clichés people have come to associate withe the genre, The Conjuring proves a genuine scarefest from beginning to end, guaranteed to oblige both regular viewers out for an evening of thrills and die-hard horror lovers who gave up on Hollywood's tactics ages ago. Hopefully this movie will stay a standalone film, instead of soon being the victim of rapid enfranchisement as happened all too easily to Wan's Saw – to detrimental plot effects, though unfortunately not so much in terms of box office– which currently also seems to be the case with Insidious, to which Wan just released a sequel as well (it's a fruitful year for him apparently). The Conjuring is a good old-fashioned horror film which brings to mind all the similarly themed classics of old (though of course not getting anywhere near the shock level of, say, The Exorcist), but shouldn't be exploited ad infinitum as some of Wan's other movies have been, for its own benefit. You can only be reminded of how creepy a door can be so many times before the feeling of dread is getting stale.