Marvel Studios had a big week with the premiere of ‘Captain America: Civil War’ and the release of the ‘Doctor Strange’ trailer, AMC kept the zombie genre alive with the season two premiere of ‘Fear the Walking Dead,’ and Jon Favreau looks to remind you why you love him with ‘Jungle Book.’
EJ Moreno and Matt Sardo have different opinions on all the subjects above; the duo tries to figure out how the casual movie goer will interpret the Marvel’s ‘Doctor Strange.’
Do you have a question that you would like answered during the show?
Email your questions to matt@popaxiom.com.
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Never heard of Matt Sardo?
For starters, he made the Kessel Run in less than 11 parsecs. Prior to that, he gave Doc Brown the idea for the flux capacitor and led the Resistance to victory over SkyNet – all while sipping a finely crafted IPA. As a radio host, he’s interviewed celebrities, athletes and everyone in between. He’s covered everything from the Super Bowl to Comic-Con.
Who is EJ Moreno?
Is he a trained physician? No. Is a he a former Miss Universe contestant? Possibly. But what we know for sure is he’s a writer, filmmaker, and pop culture enthusiast. Since film school, EJ has written & directed several short films. He’s used his passion of filmmaking to become a movie critic for MonkeysFightingRobots.com.
Everybody Wants Some!! finds Richard Linklater working in his comfortable zone. His follow-up to the 12-years-in-the-making coming-of-age epic Boyhood, it’s dubbed the “spiritual sequel” to his 1993 cult classic Dazed and Confused, and for damn good reason. This first weekend of college ’80s time-capsule of a movie shares the same DNA as the day-in-the-life high school ensemble piece, spit and all, and it proves the filmmaker hasn’t lost his touch throughout these past two decades. The latest from the Texas-based writer/director is just as boisterous, attentive and fun-loving as his claim-to-fame, if not more so. And it proves, without a shadow of a doubt, that Linklater is truly a one-of-a-kind at his easygoing, meditative craft. While never without its faults, producing superstar Megan Ellison’s newest effort is also never short on positive energy and fast-loving entertainment, and everyone should find something to enjoy this hangout session on film — especially if, like our lead gang of hormonal young athletic stallions, they want nothing more than some good old fashion fun.
The most remarkable quality about Linklater’s latest is how inviting it is from the very start. From the minute it begins, and we follow our scrappy young hunky freshman lead Jake (Blake Jenner) ride into his first weekend of college with nothing more than some tattered clothes and a box of records in the backseat — all while The Knack’s “My Sharona” blares loud and proud out of the stereos — we’re instantly whisked into this time and place. It’s August 1980. The first classes of the semester don’t start for another 72 hours. The sun is beaming. Hot young girls are seemingly everywhere. Lone Star beer might as well be flowing from water foundations or sold on the street. Everything is positively glorious for a hot young 19-year-old like Jake as he strolls into this small Texas university during the final dog days of summer.
As soon as Jake drives his 442 muscle car up to his new lodging, a baseball team fraternity house just a smidge off-campus, it doesn’t take long before he buddies up with the rest of the team. There’s Finnegan (Glenn Howell), the smoothest ladies man of the group; McReynolds (Tyler Hoechlin), a cocky, thick-mustached heavy-hitter; Willoughby (Wyatt Russell), a philosophical hippie stoner and well-respected pitcher; Dale (J. Quinton Johnson), a smooth talker and the team’s only black player; Plummer (Temple Baker), a kinda-slow fellow freshman; and that’s only naming a few. There’s also Roper (Ryan Guzman), a fellow upperclassman ladies man; Billy Autry (Will Brittain), Jake’s no-fun roommate; Jay Niles (Juston Street), a hot-headed, loose-cannon outliner among his peers; and I hope I’m not forgetting anyone. It’s a scampering of hot-shot, sex-crazed, fun-loving men, a couple guys who want little more than to chug a few brews, bed a few women and live the night to the fullest. They’re young, dumb and full of cum, and in a matter of two hours, I felt like I gained nine new friends out of this experience.
Beyond my age and gender, I probably couldn’t be farther removed from these baseball studs. These confident-to-the-nines, prone-to-arrogance jocks with nothing but women and baseball on the mind are pretty much the exact opposite of the type of guys I’d hang out with during these formative years. They couldn’t give one lick about their grades, and they view ladies as little more than a challenge or obstacle to overcome — like everything in the early lives. But under Linklater’s gentle eye, that doesn’t matter. It’s evident the writer/director holds a clear love, a deep affection and a brotherly love for these party-hardy characters, and he makes their optimism shine, their cocksure attitudes endearing and their fun infectious in a completely organic manner. Linklater does a wonderful job of letting us join their friendship in the moment, and making us believe we’re right there with them as they hop from one bar to the next, or work their way from one house party to another, throughout these hormone-heavy nights of debauchery. You can practically smell the aroma of sweat, beer and weed sweeping through the air, and it’s absolutely intoxicating. Everybody Wants Some!! runs for less than two hours, but by the end of the night, I feel like I spend the whole weekend by their side — and I mean that in the best, sincerest way possible. Like Jake, we come to adore and admire each of these hard-headed numbskulls long before the film calls it quits.
Linklater does a wonderful job of letting us feel as though we’re watching these guys in real time. His direction, as patient and open-minded as ever, invites a remarkably palpable sense of place and time. Like the Before series or the aforementioned Dazed and Confused, Everybody Wants Some!! feels breathed-in and wholehearted present. It’s fertile with charm and good vibrations, and it wants nothing more than for everyone to enjoy themselves for the ride. The film’s never afraid to let these guys spring to life on their own terms. And as their actions grow lewder and their behavior more brash, Linklater somehow makes them seem even more sweet and charming than they did initially.
The greatest feather in its cap, however, comes from exceptional ensemble, along with their honest chemistry together. While Linklater’s writing is always on-point, with more golden one-liners than one can count showered throughout, the cast ultimately makes-or-breaks this one. And, thankfully, they never let the veteran Austin filmmaker down for a second. It’s clear everyone on-screen is having an absolute blast, and that flows directly into the viewing experience. There are no weak links in this bunch, but Powell, Russell, Baker and Zoey Deutch, as Jake’s theater-major love interest Beverly, are the standouts. Powell wields a swagger and maturity well beyond his years, while Russell inherits and fits into the scene-stealing charisma of his father, Kurt Russell, like a glove. I think they’re both going places after this. Baker’s deadpan delivery never fails to sell a hard laugh, and Deutch plays a much-needed female presence in these proceedings — posing an affability and wit that makes her easy to like and quick to love.
Any sense of conflict is completely absent here, and the plot is practically non-existent. But you don’t care for a second. The mood is never less than agreeable and the fun times are shared by all. And have I mentioned the killer soundtrack yet? More than merely a nostalgic well-fulfillment time trip or a collection of greatest cinematic hits for the dialogue-heavy filmmaker, Everybody Wants Some!! is Linklater working entirely in his element. It finds the filmmaker completely mastering the art of his Zen, combining all the best aspects of his work into one righteous alive, completely attentive masterwork that’s completely comfortable in its own skin and never afraid to become itself. It’s practically destined to be among the cinema’s most well-tuned, vigorously passionate contributions, and I can’t say enough positive things about it.
There are more than a few shortcomings I’m neglecting to mention here. The watchful male gaze of its fifty-year-old director on these scantly-clad women half his age grows a little too creepy for its own good, and some of the cast members, including our lead, are perhaps just a little too indistinguishable from one another at times. But it’s easy to shrug off these concerns because of how much it gets right. Everybody Wants Some!! is a beautiful return-to-form for Linklater and a graceful transition from his coming-of-age small-scale epic Boyhood. There’s a lot to love about this one, and if you’re willing to have a good time, it’ll only leave you wanting more.
James Cameron has found his three sequels to Avatar a little too confining for his ultimate vision, so he’s decided to make four sequels.
Four!
And “no less than four,” he said when he dropped this news at CinemaCon. He also said Avatar is getting the theme park treatment, comics, spin-offs… basically, James Cameron has now staked the rest of his entire directorial career to the Avatar wagon. “It’s going to be a true epic saga that’s told in this rich and complex world,” Cameron told the audience.
Good luck getting any new original content from Cameron, who certainly seems to be losing his mind with this Avatar business. The dates for these sequels (aside from being as tentative as hell) are 2018, 2020, 2022, and 2023. Cameron turns 62 this year, and he will be 69 when the final Avatar hits theaters. Of course, that isn’t the end of the road for many directors, but churning out four sequels to a movie nobody is clamoring to see more of sure seems like a strange time to spend the twilight of your career.
And that’s the issue here. Who is eager to jump back into the world of the Na’vi? The only time these Avatar sequels find the news cycle is when Cameron announces he’s adding a sequel or delaying the FIRST SEQUEL again. It made all the money, it was great looking in 3D, but in between the 2009 release and today, the imitators diluted the 3D market. 3D is on its way out steadily, and I don’t personally know anyone who uses it voluntarily. Avatar’s gimmickry has already run its course in pop culture, so what we’re left with is a movie.
That movie beneath all the pomp and circumstance is middling to say the least. Without re-treading all the Dances With Wolves comparisons and stale arguments, let’s just say the demand for more of this doesn’t appear to match the intensity of Cameron’s dedication.
Nicolas Winding Refn’s The Neon Demon has an intense new trailer, and it looks as if Refn is slowly morphing into some New Wave combination of David Cronenberg and David Lynch.
Here is the trailer:
And the synopsis, as if that’ll do any good when it comes to actually watching The Neon Demon:
When aspiring model Jesse moves to Los Angeles, her youth and vitality are devoured by a group of beauty-obsessed women who will take any means necessary to get what she has.
The cast includes Elle Fanning, Christina Hendricks, and Keanu Reeves, who I didn’t spot anywhere in the trailer. Interesting. Reeves has top billing as a character named Hank, so I imagine his role is something pretty threatening.
The Neon Demon is being produced by Amazon Studios and will hit theaters this June.
Maz Kanata. She’s run a Mos Eisley cantina-like “watering hole” for a thousand years. She can tell a lot from your eyes. She’s force-sensitive but is not a Jedi or a Sith. She fills the role in The Force Awakens that (younger character?) Yoda did in the original trilogy, that of wisdom and imparting Force knowledge. She has a crush on Chewbacca. And she reminds you of every older woman you’ve ever known who wore thick glasses, be it teacher or grandmother.
Like Yoda, not much is known about her race. Or is there? Look at her face closely again. Is there a race in the Star Wars universe that she might be a member of? Maybe one that was briefly nodded to in an Easter Egg from The Phantom Menace? One that was originally introduced in a 1982 Spielberg movie?
You’re probably thinking about all of the differences between Maz and Elliot’s best buddy E.T. Maz doesn’t have the same body frame. She doesn’t waddle in the same way that E.T. (and all the others on his rescue ship) did. Her neck doesn’t extend. She wouldn’t need the Force if she had a natural ability to heal people with her elongated, glowing finger.
Well, maybe the elongated neck and other features of E.T. are something that only males have (like an Adam’s apple for humans). And, maybe only males are allowed to get involved in politics, which is why there were only waddling E.T.’s in the Galactic Senate Chamber in TPM. Maybe Maz is so much older that she had either evolved to adapt to her environment or maybe all of the aliens that you see in the E.T. movie are kids from that planet. Maybe they become more humanoid like Maz when they get older. And maybe E.T. could heal people because he already had some knowledge of the Force like Maz does. Or maybe Maz is from a sister planet, which is why her face is so similar to everyone’s favorite Reese’s loving/Jesus metaphor alien bike flyer. Not so far-fetched, considering this review from Time magazine, in which Maz Kanata is described as looking like “the love child of E.T. and Lena Horne”.
What do you think? Since we don’t know that much about E.T.’s race except that they are in the Star Wars universe, could Maz Kanata be related to E.T.? Comment below.
With less than a month before release, Captain America: Civil War is shaping up to be the best Marvel movie. Anthony and Joe Russo have a tough act to follow after their last effort, Captain America: The Winter Soldier. So far, critics have given the flick high marks and positive feedback.
The heart of the film focuses on Steve Rogers/Cap and Tony Stark/Iron Man’s opposing views. While not directly adapting the comic, the plot does give each man valid reasons for his actions, so their motives are not in black and white. In fact, actors Chris Evans and Robert Downey Jr have fans supporting #teamcap and #teamStark on Twitter. Needless to say, theatregoers will feel conflict over who to root for.
Tom Holland’s portrayal of Spider-Man is one of the movie’s big scene stealers. Eric Eisenberg chose Spider-Man, Paul Rudd’s Ant-Man, and Chadwick Boseman’s Black Panther as major highlights. He also praised the dynamic of the Vision and Scarlet Witch.
Civil War‘s action is a major source of praise. Germain Lussier said it was “a complex mystery posing as a big, fun superhero film.” He cited the airport scene as “the best superhero action scene ever”. Others have focused on how each of the characters is given a moment to stand out on their own, similar to Joss Whedon’s approach for 2012’s The Avengers.
This deft balance is in stark contrast to past MCU flicks. Iron Man 2, Thor: The Dark World and Age of Ultron struggled with characters and the right tone. Yet Civil War appears to balance its characters with the story. Since there are several MCU players, it looks like this flick just might avoid the trap of past films.
Spider-Man is making waves again thanks to the upcoming film, Captain America Civil War. Early reviews are stating that the character’s return is welcome and invigorating, Tom Holland has breathed new life into the performance. So much so, that the people at Marvel were kind enough to push back Black Panther and Captain Marvel for ANOTHER Spider-Man movie. Thanks Marvel, we definitely needed to see Spidey get another solo film again. I’m kidding of course, but I was looking forward to seeing T’Challa’s and Carol Danvers’ respective solo outings, before seeing good old Peter Parker again. That being said, I am looking forward to the upcoming Spider-Man movie. I’m sure Marvel will put out a good film like they usually do.
But, did they have to pick such a crappy title? Spider-Man: Homecoming may be the worst title for a superhero movie ever. Worse than Fan4stic. Worse than Thor: The Dark World. Even worse than Batman v Superman: Dawn of Justice. Yeah. I just said that, get ready to send me all the hate mail you can, because I ain’t stopping there. Because, at the very least, Batman v Superman: Dawn of Justice sounds big. Melodramatic? Absolutely. But, it has a sense of epicness to it that features two titans about to fight. Spider-Man: Homecoming sounds lame.
“But, Peter, You can’t bring your webshooters to the school dance!”
Now, I know what you’re all thinking, “How can you judge this movie based on a title? That’s really obnoxious ya jerk.” Well you are right, I am a jerk, but I swear on all that is holy I am not judging the movie based on the title. The movie could be called “Arahcnid Puking Teenager Number One Super Happy Time” and I would be first in line to see it. Marvel has turned out enough good films that I’m always going to see whatever movie they churn out. Even the bad ones. And this could be the worst, or greatest Spider-Man movie ever. I have no idea, I will wait and see it before I make a judgement on the movie.
I am judging this movie’s title. It’s a really bad title. And this matters, because contrary to what we all learned in kindergarten, everyone judges a book by its cover. Presentation is key for any artistic medium. Titles are the epitome of presentation; a great title should resonate a certain mood with its potential audience. Think of some of your favorite movies, comics, books, and stories, and think of what they were called. I’ll list some of mine as an example: The Judas Contract, Fahrenheit 451, Mad Max Fury Road, The Killing Joke, The Last Unicorn, Rocky, A Farewell To Arms, Ghostbusters, Monty Python and the Holy Grail, Devil in the White City, and of course, Snakes on a Plane.
Admit it, when you saw this title, you wanted to see this movie.
All of those stories, regardless of quality, have objectively great titles. Each one creates a mood that the audience can latch on to. Some are goofy and over the top, some are intriguing and mysterious, and some are dramatic. They give you so much about what the tone of the product. The established mood it portrays make me want to read/see it. So, based on what we’ve discussed about tone, what can we establish based off of the title Spider-Man: Homecoming?
Well, let’s look at the first word. What do you think of when you think of”Spider-Man?” Funny, over the top, crime fighting, fan favorite superhero. Peter Parker, the man who everyone can relate to. The average Joe who got super powers and kept all of the problems. One of the most enduring protagonists ever created. Now what do you think of when you think of the word, “homecoming?” High school, dances, prom, bullies, geeks, cheerleaders, tests, teachers, and the forever infamous lunch room. In other words, it’s something we’ve all endured, are about to endure, or at the very least have heard about. This title implies a setting. A boring setting. One that contains petty conflicts, dull personal drama, and usually is full of bad memories for most people.
Why would anyone market a superhero adventure film by reminding the audience of their high school experience? Even if it was a great time, people moved on from their high school life.
The title is forcing something from the fantastical with the mundane. And I’m not saying that high school student superheroes are a bad concept (any fan of Jaime Reyes Blue Beetle can disprove that theory), but Spider-Man: Homecoming has a title that’s reminiscent of a generic high school comedy. I think American Pie when I hear this title. I can’t help but think one of the main plot threads will be about Peter trying to make it to the prom in time after battling Doc Ock.
It is, for lack of a better term, insistently juvenile in its context.
Now some have pointed out that the name has a double meaning. Spider-Man is coming home to Marvel. “Homecoming” implies a return, which is why homecoming dances are usually at the beginning of the year. The students are back to the school year. But, in this context it doesn’t really make any sense. Spider-Man’s film rights were never owned by Marvel, so wouldn’t a more accurate title be “Spider-Man: Arrival?” Or “Spider-Man: Finally.” Or “Spider-Man: Look This Is The Best We Can Do Right Now, But Until We Get The Full Rights Back From Sony We’re Going To Have To Do This Weird Joint Ownership Thing. Just Be Glad Iron Man And Spider-Man Finally Get To Interact.”
Will I see this movie? Of course. Will this title deter anyone from seeing this movie? Probably not. Will it be good or bad? I have no idea, I’m going to have to wait until it’s out to make a judgement. But, the title of a movie is usually the first interaction the audience has with it. So, a lot of thought needs to be put into it, so that being said, it feels like the writers and creators picked a lazy, uninteresting title for a movie. This is Spider-Man’s first real solo introduction into the Marvel Universe. They could keep the high school setting, but they should have implied a sense of epicness with what they called it.
“The Spectacular Spider-Man,” “Spider-Man: Kraven’s Last Hunt,” “Ultimate Spider-Man,” “Spider-Man: Power and Responsibility,” “Web of the Spider-Man,” any of these would have been better titles for the upcoming movie. You can try and justify this title all you want, but it still sounds terrible.
But, hey Michael Keaton might be in it, so that means it could be pretty coo- oh God, he’s going to play the principal isn’t he?!
BABYMETAL? All girl? Dancing on stage? Japanese? Positivity!?
HEY THAT’S NOT METAL! It doesn’t promote sweaty dudes breaking beer bottles in small local bars with screaming vocals depicting the endless struggles of being unemployed, living in their parent’s garage and how everything is mainstream. Although some of the greatest metal songs were inspired from such matters, the kawaii metal band Babymetal has packed a shocking, powerful punch with their sophomore release ‘Metal Resistance‘.
Initially, I was a fellow skeptic upon hearing the idea of combining J-Pop clean vocals and metal together, especially with teeny booper front kids. However with such a diverse array of metal influences in each song, fun lyrical content and overall great album production, I found it incredibly hard not to fall in love with this band. Alongside the Kami band‘s terrific musicianship, the eldest singer Suzuka Nakamoto delivers some undeniable compelling lead vocals that has you reminiscing that familiar Ron Burgandy quote of “I’m not even mad, I’m impressed.”
Here is a breakdown of each track, along with some genres and artists that follow similar suit if you aren’t too familiar with metal or on the flipside if you are familiar with more than one aspect of metal here are some elements to consider upon listening to the album!
1. Road of Resistance – A hefty instrumental introduction with guest work from the guitarists Herman Li and Sam Totman of Dragonforce. Contains some minor screaming vocals in the background to set the metal tone from the start. A perfect crowd boosting, feel good, fan aimed anthem to keep fighting for what Babymetal is bringing to the table. You can’t forget about the overall awesome musicality and strong vocal work from Suzuka. Holy crap.
2. Karate – One of the more popular songs on the album. It brings back the 2010-2013 era of Austrailian djent inspired bands such as Twelve Foot Ninja and Circles. With the j-pop-inspired vocals on top of the heavier sounding grooves, it delivers a familiar flashback that that even more Americanized Djent fan bases like Peripherhy can appreciate. Lyrics emphasizes empowering others and to never give up.
3. Awadama Fever – If Rob Zombie and Drum&bass with a hint of cyberpunk were to have a love child. Also very comparable to Skindred’s 2007 ‘Roots Rock Riot‘ sound in the Nu Metal/Alternative Metal genre. Something you could see Deacon Frost in the movie Blade listening to while steadily trying to decode the ancient vampire writings. A super upbeat and fun song literally about bubble gum.
4. Yava! – This song made me think immediately of the LA-based Goblin themed Melodic Death Metal band, Nekrogoblikon with their random dance influenced 2012 track “No One Survives”, but with more Djent inspired breakdowns. The song basically is depicts how people care too much about differences that don’t even matter.
5. Amore – Holy through the fire and flames! If this doesn’t scream Dragonforce I don’t know what does. Perfect combo of melodic vocals and power metal. Lyrics appearing to be about an ever longing love but was too busy getting my face unexpectedly shredded to find exact translations.
6. Meta Taro – Apart from the sing-song intro, you immediately transcend to the Viking metal elements with both Scandanavian folk metal influences as well as overall melodic death metal atmosphere. The subject matter of this track pays tribute to a hero named Ultraman Taro in the 70s Japanese “Ultraman” series. How cool is that?
7. From Dusk Til Dawn – Atmospheric vocals with metalcore styled musical work somewhat reminding me of the peaceful track “Wormholes” from Volumes, as well as the band Erra.
8. GJ! – More NuMetal with a hint of hardcore elements and metalcore breakdowns from bands such as Obey the Brave and newer Parkway Drive. Lyrically the song speaks on moshing.
9. Sis. Anger – Hello chugs and drumming broots! Technical death metal influences rooted from bands such as Necrophagist, and early stages of TheFaceless, but also contains some deathcore feeling such as the infamous Job for a Cowboy in their early stages. Song is basically describing annoying guys that need to leave their presence.
10. No Rain, No Rainbow – From a brutal song to mood changing hair metal ballad. This track brings us back to 80’s artist such as Skid row, Cinderella, and Lita Ford. Contains heartbreak subject matter and “never wanting to go on without you again” lyrics to match.
11. Tales of Destinies – Progressive metal hinting reminding us of terrific bands such as Between the Buried and Me, Protest the Hero and Dream Theater. Another track lyrically centering encouragement.
12. The One – A melodic, power metal anthem wrapping up the album in a lovely warm fuzzy feeling of togetherness and Suzuka Nakamoto’s beautiful voice.
Days after the first ‘Doctor Strange‘ trailer is released, we now have news Benedict Cumberbatch will be starring in a new film. This time he will be going to Who-ville as he will be playing The Grinch in a 2017 animated movie.
‘How The Grinch Stole Christmas‘ is a classic Dr. Seuss book debuting in 1957. Since then, we have had two Christmas specials; one being the 1966 animated TV-movie & a 2000 live-action film starring Jim Carrey.
How will Cumberbatch fare as the titular Grinch? His voice acting as Smaug was out of this world so I hope he can bring a little of that to this Christmas classic. Also, how will the paper-thin story of The Grinch who stole Christmas translate to a feature animated film. Carrey’s marvelous Grinch padded the live-action run time but will Benedict Cumberbatch be able to do that?
‘How the Grinch Stole Christmas‘ is set to hit theaters on Nov. 10, 2017. Will you be seeing it?
The lineup for Cannes 2016 was released this morning, and it’s absolutely loaded with talent. From legends to newbies and everything in between, anyone attending the Festival will certainly see some of the most anticipated films of the year (that are not tied to existing comic properties).
Let’s start with the big dogs: Steven Spielberg’s The BFG will debut out of competition, alongside Jodie Foster’s Money Monster – which is steadily growing more intriguing to me – and Shane Black’s noir comedy The Nice Guys. The opening film is yet another Woody Allen ensemble, Cafe Society, starring Kristen Stewart, Jesse Eisenberg (trying to wash the stink of BvS off him), Blake Lively, Steve Carell, Parker Posey, Judy Davis… you get the idea.
The competition section of Cannes 2016 includes a fascinating cross section of eccentric directors, newcomers, and seasoned vets. There is a new Pedro Almodovar film, Julieta, another one of his explorations into a woman on the verge of a breakdown. French-Canadian director Xavier Dolan has a new picture, It’s Only the End of The World (Juste La Fin du Monde). On the heels of Midnight Special, Jeff Nichols has another film, Loving, with Michael Shannon and Joel Edgerton in starring roles. Loving focuses on an interracial couple in 1958 Virginia who are persecuted for their marriage, quite a departure from Midnight Special.
Then there is Nicolas Winding Refn’s The Neon Demon, starring Keanu Reeves, Jena Malone, Christina Hendricks, and Elle Fanning. The story: “When aspiring model Jesse moves to Los Angeles, her youth and vitality are devoured by a group of beauty-obsessed women who will take any means necessary to get what she has.” Ref is a fascinating director, compelling even when his films don’t entirely work (Only God Forgives). This promises to be the divisive entry at Cannes 2016.
And Paul Verhoeven has emerged from the depths to enter the Cannes 2016 competition with Elle, and judging from this synopsis he appears to be channeling Brian DePalma:
Michèle seems indestructible. Head of a successful video game company, she brings the same ruthless attitude to her love life as to business. Being attacked in her home by an unknown assailant changes Michèle’s life forever. When she resolutely tracks the man down, they are both drawn into a curious and thrilling game-a game that may, at any moment, spiral out of control.
Other highlights include Sean Penn’s next directorial effort, The Last Face, starring Charlize Theron and Javier Bardem, a midnight screening of Kim Jarmusch’s Gimme Danger, and Agassi, the latest from Oldboy director Chan-wook Park (I doubt it has anything to do with tennis).
Linklater does a wonderful job of letting us join their friendship in the moment, and making us believe we’re right there with them as they hop from one bar to the next, or work their way from one house party to another, throughout these hormone-heavy nights of debauchery. You can practically smell the aroma of sweat, beer and weed sweeping through the air, and it’s absolutely intoxicating. Everybody Wants Some!! runs for less than two hours, but by the end of the night, I feel like I spend the whole weekend by their side — and I mean that in the best, sincerest way possible. Like Jake, we come to adore and admire each of these hard-headed numbskulls long before the film calls it quits.
