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Undisputed Collection of Greatest Filmmakers: Coen Brothers Edition

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Joel and Ethan Coen, aka The Coen Brothers, have maybe the most distinct crucial characteristic which makes one a Great Filmmaker: voice. Being able to dazzle with technique and wordplay isn’t necessarily enough to enter this pantheon. The Greatest Filmmakers create universes within which their characters operate and are easily distinguishable from any world another director might create. The extended beauty of The Coens’ works is that while their contributions to the pop vernacular are obvious even to the neophyte, they have equally great work which extends beyond what is their accepted realm of genius.

While the Coens are the second entrants breathing this particular Monkeys Fighting Robots rarefied air, our first entry, Michael Bay, might have asphyxiated directly out of the womb if it weren’t for Joel and Ethan Coen. The most interesting characteristics of Mr. Bay’s work are when he’s attempting to ape the notions of what it means to make a “Coen Brothers’ Movie” (Mr. Bay’s films take such a hard left turn from actual Coen aesthetic that it’s unfair to call him a ripoff but credit must be given where it’s due). Idiosyncratic collections of characters put through the wood-chipper of mundane, yet extraordinary life are the meat and potatoes of Coen Universes.

[Caution! Clip contains NSFW language!]

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Each Coen Universe is immediately recognizable whether it be through the weekly bowling league you and your buddies enjoy (The Big Lebowski), your pregnant wife going about her job because she believes in duty and keeping busy (Fargo), trying to come to terms with the fact your art is passing you by without asking permission (Inside Llewyn Davis) or stealing a baby to raise as your own whilst running from a biker maniac who might actually be a demonic minion of Satan (Raising Arizona — ok maybe not that last one). The people living these lives aren’t that far removed from ourselves. They might be the hyperreality of what it means to have PTSD or a song in your heart but their plights are the same as ours. The extents of the circumstances in The Big Lebowski or Inside Llewyn Davis help to illuminate the truth of what it means to be looked upon as an outcast or a talent who is being overlooked.

The Coens have become known for their humor and for excellent reason with FargoThe Big LebowskiBurn After Reading and Oh Brother, Where Art Thou? being prime examples. Their genius has garnered even more critical acclaim when they look into the deeper and darker recesses of the human condition. No Country For Old Men secured the Coens much Oscar gold (if you take that sort of thing as credence) but, more importantly, placed a populist, consumable sheen on material that isn’t easy and never lets the audience off the hook. The Coens previous work also tells us this (Donny’s ashes being blown back into The Dude’s face in TBL is funny but also darkly realistic) but when placed within this realm of true evil and not giving us easy answers of what that evil actually is or how, if even at all, you can actually defeat it resonated deeply with audiences. The fact that No Country probably isn’t even their greatest film is another testament toward the longevity of the Coens’ relevance.

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Outside of the Coen Brothers’ typical directorial work, they’ve turned in some interesting scripts for movies you might never recognize as their work. Did you by chance realize the Coens are nominated for an Oscar this year? They helped pen Steven Spielberg’s latest work, Bridge of Spies and I would dare anyone to point out to me a blatantly traditional Coen tic in that film. I’d love to also see the list of films they’ve worked on without credit.

Essays and dissertations and think pieces galore could be made from any single one of the Coens’ films including their “lesser” work (Intolerable Cruelty and The Ladykillers being fair, yet still interesting examples). Delving deep into why things go where and how the camera acts as perverse instigator and what the plight of the unwilling hero truly means and blahblahmetaphorblahbiddyblahblah isn’t what makes Joel and Ethan Coen’s films important works of human art. It’s Nicolas Cage loving a baby he can’t possibly take care of in Raising Arizona. It’s the lovable simplicity of Brad Pitt in Burn After Reading. It’s Rooster Cogburn’s (Jeff Bridges) unwilling paternal instinct in True Grit. It’s the MUSIC of Oh Brother, Where Art Thou? It’s the hideous absurdity of Barton Fink. Joel and Ethan Coen create skewed windows into our own lives with their films and it is a beautifully joyous ride each and every time.

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The Coen Brothers’ latest film, the comedy Hail, Caesar! opens this weekend. I can’t wait to add a Channing Tatum performance into the Coens’ pantheon of great characters.

”Undisputed Collection of Greatest Filmmakers” is a semi-regular column that attempts to place today’s working directors into a pantheon of greats, only surrounded in fellowship by talent of equally unparalleled measure. This collection is non-refundable.

Check out the previous directors enshrined in this collection (with more to come!):

Michael Bay

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Looks Like Steven Soderbergh May Be Ending the Worst Retirement Ever

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Steven Soderbergh has been retired from filmmaking since the Liberace docudrama Behind the Candelabra aired on HBO way back in 2013. Since his retirement – where he clearly decided to take a break from filmmaking – Soderbergh directed 25 episodes of his incredible period drama on Cinemax, The Knick. He also executive produced Magic Mike XXL and has a new series, the adaptation of his film The Girlfriend Experience, coming to Starz.

Last night and this morning, a whole mess of reports came out saying Soderbergh was getting back behind the camera to direct either Logan Lucky or Hillbilly Heist, and that Channing Tatum would star. Other names like Matt Damon and Michael Shannon were thrown out too. Some say Soderbergh is flat out denying the claim, others say his denial is involving casting rumors, and around and around we go. Soderbergh is definitely being coy with the news on his own Twitter feed:

https://twitter.com/Bitchuation/status/695111199042699266

So news that Steven Soderbergh is possibly coming out of retirement to direct one of two new films needs to be tweaked a little bit. If it happens, this is Soderbergh’s next project… not some triumphant return to filmmaking after a decades long hiatus. This guy ain’t Terrence Malick. He’s prolific, always moving and viewing and thinking and creating. Hell, he’s probably been busier in his retirement than he was for decades behind the camera.

This idea he retired is an insult to retirement. I kid of course, I never wanted Soderbergh to walk away from filmmaking to begin with just like every other movie fan. He is easily one of the most curious, inventive, and unique voices to have emerged in the early 90s. Even when he misses, it’s never boring. Hopefully this news comes to fruition and he does come out of “retirement” to direct one of these films.

If not, I guess I’ll just wait for his next project…

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‘Supergirl’ and ‘The Flash’ To Crossover – Who Will Be Next?

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Yesterday it was confirmed that The Flash will be appearing on the March 28th episode of Supergirl.

As a fan of both shows, this was very exciting news indeed. It opens up a few questions about what the story line will be and why Barry will appear. For me, the most important question I could think of was “Does this mean that Arrow will crossover at some point?”

The logistics of this happening are quite complicated due to schedules, but it could be so good if they make it happen.

They would need to make sure the storyline was right something the fans can get behind. I’m not thinking that it would happen this year, I think next season would be more effective. Especially if at the end of the Supergirl/Flash crossover, there could be a hint of a possible big bad on the horizon.

This is just my geeky side taking over, but picture a team up next year that sees Supergirl, Flash, Arrow and Legends of Tomorrow all working together.

Arrow would be on its fifth season next year, which would be the end of the flashbacks showing how Oliver became the vigilante we met in the first season. There is something quite fitting about the idea of it going out with a big finish and that could be a super cross over event.

A two-hour special should just about do it and the man who has a large say in all this is Greg Berlanti. Berlanti is the writer/producer behind the shows I’ve mentioned, and probably has some surprises for fans in upcoming episodes.

For now I will wait with to see how the Supergirl/Flash crossover happens. We have been given a sneak peek at what the episode title is. Take a look at this.

Worlds Finest

This picture was released yesterday just after the crossover announcement. People were talking about the fact it could mean we are going to see more versions of Earth in the near future.

I really like the idea of Supergirl being from Earth Three and that’s why no-one has mentioned her yet. Ultimately, that is pure speculation, so far now I will happily wait to see what comes up in “Worlds Finest.”

What are your thoughts on what could happen?

How would you like to see the crossover take place?

Let me know in the comments.

That’s all for now, see you soon.

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Review: ‘Hail, Caesar!’ is a Slog of Identity Crises

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Hitting theaters nationwide this weekend, Universal Pictures brings us Hail, Caesar!, a comedy written/directed by Joel and Ethan Coen that’s both laborious and utterly confusing thanks to a poorly constructed premise.

The Coens will bring butts to the seats this weekend, but so will the all-star cast. The cast led by Josh Brolin, George Clooney, Ralph Fiennes, Jonah Hill, Scarlett Johansson, Coen staple (and wife of Ethan) Frances McDormand, Tilda Swinton, and Channing Tatum. It reads like a slam dunk on paper but translates into a mess on screen.

Hail, Caesar! depicts 30 hours or so in the life of Eddie Mannix (Brolin) and on this day, he has some problems. The studio boss wants Mannix to promote singing cowboy Hobie Doyle (Alden Ehrenreich) from B-western star to romantic comedy leading man, much to the confusion of Hobie himself. The aquatic musical star DeeAnna Moran (Scarlett Johansson) is newly pregnant, which is making her mermaid costume painful to wear, and on top of that, she’s not sure if she’s interested in marrying the father of her child. This sort of refusal would result in a PR nightmare for a studio that prides itself on its All-American image. A pair of twin gossip columnists (both played by Tilda Swinton) are demanding answers to very sensitive questions about the studio’s biggest star Baird Whitlock (George Clooney). Finally, and most crucially, Whitlock himself has been kidnapped from the set of his Biblical epic, by a group of disgruntled Communist screenwriters who call themselves “The Future” in their terse ransom note.

What works in ‘Hail, Caesar!’ are those moments where the focus was on the screwball happenings transpiring on the set at Capitol Pictures. Tatum’s dance number in the sailor outfit is the type of humor that resonates. The number, reminiscent of Gene Kelly, is a well-manicured mixture of pelvic thrusts and lively dance moves, the kind of offbeat comedy we’ve come to expect from the Coen comedies. But for every moment like Channing’s dance number, there is a handful that falls flat. An example of this was Tilda Swinton’s character (the twin gossip columnists) which were meant to be a play on the sensationalist media that was running rampant in Hollywood but instead her moments on screen were only awkward, tedious, and rather pointless.The Coen brothers are sending up 1950’s Hollywood, but they’ve made a collection of parts that don’t make a cohesive picture.

What doesn’t work are the numerous character arcs. Between Tatum, Clooney, Brolin, and Swinton, we get upwards of five or more stories going on at the same time. On top of this, ‘Hail, Caesar!’ also attempts to tackle the topic of communism with a character arc involving the screenwriters being disgruntled communists. When a film has so many different characters all involved at the same time in ends up diluting the connection that the audience has with the movie. It just ended up being too much, and the slowly the film fizzled into white noise. An oddball sense of comedy and strange characters have long been the Coens’ trademarks, but the movie takes itself so painfully seriously at times that it stifles the laughter.

Hail, Caesar! could not decide what sort of movie it wanted to be. At times it seemed the Coens were making a film noir while at other points it veered toward the slapstick. Between the in-jokes, the numerous characters and storylines, and the inconsistent tone of the movie, Hail, Caesar! is suffering from an identity crisis.

HCarticle

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Review: The Flash ‘Fast Lane’ – Just Not Fast Enough

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With the second half of The Flash season 2 underway, it’s about that time that we see the story ramp up, inevitably leading to a whirlwind climax that is sure to excite many.

That first step was taken in this weeks episode, with “Fast Lane” beginning to create more drama for the entire cast and crew. In what looked to be the first three dimensional conflict for each and every character, we saw distress and rejuvenation throughout Central City.

Following the departure of Patty, Barry seems closer to becoming a true hero than ever. He is quick, strong and ready for the next task, be it another meta-human or a run in with Zoom. He’s ready, he’s waiting and he is growing.

To be honest, this was the most excited I have been to see Grant Gustin fully develop his role as Barry Allen. While he isn’t the prime Flash that doesn’t get shaken up week after week, he was close to a competent and confident hero that Central City has groomed. Without his best girl in the same city, he seems as focused as ever to defeat Zoom and close the breaches that litter Central City.

*Cue Heath Ledger’s Joker voice* “And it’s all part of the plan.

Obviously the lying undertone is the fact that Zoom wants this. He patiently waits for his powerful adversary to reach his peak in order to rip it all away from him.

Secretly contracting the help from Harrison Wells through the use of Harry’s daughter, Wells begins to show his true face, and it bears a striking resemblance to the former Harrison Wells (nee Eobard Thawne). Designing a device that taps into the Speed Force through Barry, Wells is able to sap the pure energy out of Barry and harness it in a jet injector. In keeping with Newton’s Third Law, “for every action, there is an equal and opposite reaction,” when he takes away just a small fraction of the Speed Force, Barry seemingly slows down. When Wells meets up with Zoom, we see him hand the injector over and Zoom take this newfound speed and add to his power. Like that first cup of coffee in the morning, you can see a stronger Zoom replenished from the Speed Force.

The first time he noticed, was against his newest foe – Tar Pit.

In a flashback of two years ago, we see a criminal known as Joey Monteleone get into an argument with some thugs, who end up dropping him into a vat of tar at the same moment of the explosion at S.T.A.R. Labs. As we have learned, if you were basically alive and touching some sort of particle within the blast radius, you were likely mutated into a meta.

Flash forward to the present, when the same tar is unearthed, a tar covered arm materializes, as well as the revenge plot.

The ability to wield tar came as an easy thing for Monteleone, as he had no issues with his first victim in Daniel Burge. Encasing him in a tar tomb, Burge was basically cooked alive, whilst suffocating in the process. If that doesn’t double as an extremely successful anti-smoking campaign, I don’t know what will.

Following the introduction of the newest villain, we turn the tables back to Barry. In an effort to crack this whole Zoom and the breaches dilemma wide open, he goes into hyper-work mode. Much to Harry’s dismay, he reluctantly agrees to letting Barry help. It is now that we see an all-too-familiar Harry, who makes his intentions known, that he will betray Barry when the time comes. Little did Barry know, his plan was already in action.

Amongst the drama, no one has more than the West family. Francine has passed away, Wally is still a wild card of emotions, Joe is doing everything he can to earn Wally’s trust and Iris is sticking her nose in Wally’s business. Desperately wanting Wally to open up and stop his moonlight street races, she opens up an exposé on the street racing scene, targeting the head of everything – Clark Bronwen. She even goes as far as showing up to Bronwen’s office and letting him know that if he doesn’t shut everything down, that she will release it and let the whole world in on his night life.

As far as drama goes, that was basically the gist of everything going down with all the main guys.

What I really liked from this episode was that for once, it seemed that Barry came out on top no matter what. Usually, the first one or two face offs result in the baddie-of-the-week is just a little too strong for the Flash. However, Barry really took the whole hero thing to a new level and holding strong against someone he really didn’t know. His first encounter was mainly just Barry saving Clay Stanley from suffering the same fate as Burge, and Monteleone just running away.

It was after this “fight” that Cisco noticed that Barry was slightly slower than before, and by 2% as confirmed by Caitlin. Clearly with no idea what was going on, the team begins to question each and every possibility, even though their answer lurks around S.T.A.R.

The third encounter was with Wally in a race, with Joe and Iris there to try and stop him. In a drag race, Tar Pit surfaces, attempting to go after Bronwen. With Wally’s life in danger as his car climbs a wall of tar, Iris quickly calls Barry, who races over just quickly enough to pull him out of the car. Barry then watched as Wally’s car tumbled backwards, with the car and shards of glass hurling towards Iris. Despite never having trouble with speeding over and saving the damsel in distress, his lagging speed throttled him, not allowing him to reach his peak. In the flurry, a shard of glass just out of Barry reach plunged into Iris’ chest.

With a nearly lifeless Iris in Barry’s arms, Joe yelled to get her to the hospital. This was a dynamic moment for the entire West family. Outside of Iris’ pleas for Wally to stop the racing, he finally saw the ramifications of just how deadly it can be. And all it took was his sister hanging on to life at that moment to finally get it through. Later on, you can see the impact and his ability to finally open up to Iris, staying at her bedside in the hospital.

Reeling from his diminished speed, Barry, Cisco and Caitlin began shooting ideas for why he is slowing down. Sickness, tiredness, all these ideas and yet no definitive answer. That was, until, Wells showed his true nature.

To be completely honest, I did not expect Wells to come forward as early as he did with his secret motives. His disdain for wanting to work with Barry, despite his constant effort to learn and help; his secret meetings with Zoom and most importantly, his want to have his daughter back, I really figured that he would keep his lips shut for at least a few more episodes. Instead, he came right out and revealed everything.

The timing was nearly perfect, however, as Joe walked into the lab right as show and tell was happening, and burst right up to Wells and delivered a hook to the jaw that cleared him off of his feet. Tearing him off the floor, Joe threw Wells into one of the cells, striking a deja vu scene from last season. Wells pleaded his case, asking to be sent home back to Earth-2 and stating that it was his battle to fight.

In the long run, they could have just as easily sent him back and called it a day, but a remarkable thing happened. Barry showed a sense of sympathy and understanding, which in my eyes was a major step in his good character. Obviously he is upset at what has gone down over the past few months, but he knows that if it were anyone else in this situation, that they would be doing the exact same thing with no second thoughts about it. So he does what he knows is right, he forgives him.

Like I said, this was a shocking thing. It was only a few episodes ago we saw Barry pouring his heart out from the other side of a window, forgiving Wells for all that his doppelgänger did wrong. It seemed like the show was set up to just constantly leave Barry’s trust in ruins, which is why I was pleasantly surprised when he took a human route to this. He instilled a sense of family that has been strained between them all, determined to solve this as a team and save Jessie from Zoom.

With that, they went right to work. Problem one, defeat Tar Pit. Problem two, figure out a working solution to the breaches.

The first problem came easily for the group, as really they just needed a way to draw Tar Pit out so they can ice him over and defeat him that way. It was simple, use Stanley as bait, wait for Tar Pit to show his face and blast him. Problem one, check. Problem two require some pages being turned, several hundred in several seconds, to be honest. Ignoring his constant annoyance with his rapid reading, Barry was set on catching up and figuring out a way to create a particle that has yet to be solved. But it would take an already discovered solution, figured out by a familiar face (Earth-1 Dr. Wells) to do it.

Thus, we have our first breach bomb. Causing an implosion within the breaches, Barry and Harry successfully recreate the research and close one of many breaches that are scattered across Central City.

This was one of the most exciting episodes to have watched in the short two seasons this show has been running. It drove home a, what I think, missing concept that is the whole teamwork thing. For once, they are all on the same page, and that page has them heading to Earth-2 in next weeks episode! For once, Earth-1 seems to be on the right track, so it is time for the team to tackle Earth-2 Team Flash-style.

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Spider-Man #1 Review: Miles Morales Swings Into the Marvel U

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Though he has been a member of the All-New, All-Different Avengers since #1 (November 2015), we would like to formally welcome Miles Morales, the Ultimate Spider-Man, to the Marvel Universe! Though he will always be “Ultimate”, Miles is here and bringing his own special version of spidey-justice to Earth-616.Miles Morales: Spider-Man #1

With the Ultimate Universe gone and Earth restored from what was Battleworld, Miles is slowly adjusting to his new life. But being a teenage superhero is not always what it is cracked up to be. There is dating, homework and the occasional super villain who shoots electricity from his face. It can all be hard to juggle. But whoever said being the Spider-Man would ever be a walk in the park? All Miles can do is take it one ditched English class or frustrated phone call from his parents at a time.

This issue was incredibly introductory, giving us only a basic view into the daily life of Miles Morales. Yet it is still a huge deal. Not only is Miles now part of the main Marvel Universe and, eventually, taking up the gauntlet as THE Spider-Man but his original creative team of Brian Michael Bendis (Powers, AKA Jessica Jones, House of M) and Sara Pichelli (Spider-Men) have come back to tell his story!

Miles’s time in comics has been short, only introduced to us in Ultimate Comics Fallout #4 (August 2011), but his audience appeal is vast. Bendis, who said he found the design for the African American and Hispanic born character while watching Donald Glover, wearing Spider-Man pajamas, on the television comedy Community, has since seen his creation on Television (Marvel’s Ultimate Spider-Man: Web Warriors). In video and cellular phone games (Marvel’s Contest of Champions). And, for a brief moment, in Silver Screen driven rumors. Yet, he does not have to cross time and space with Peter Parker on DisneyXD for Miles to have one of the largest and most excited fan-bases in all of Marvel.

Miles Morales: Spider-Man #1 Hip Hop VARBendis has kept his original concept in mind while writing this new world for the Ultimate Spider-man. Miles still has the same difficulties: love troubles, issues with his secret identity and hardships in school. But now it is… Here! In a world where Peter Parker is not dead and he does not have to bare the Spider alone. But with great power comes taking responsibility for your actions! Especially when there is a battlefield full of fallen Avengers and only one figure left standing above them. Bendis is setting the stage for Miles to officially take up the mantle of the “Spider-man” but making sure that he learns all the most difficult and challenging questions along the way. And, of course, with the most important teacher guiding him: The Amazing Spider-Man!

When it comes to the visuals it almost does not seem far to harp on Sara Pichelli, after all she was the first! Sara has a talent for defined musculature yet understanding of the human form. Not overdoing Miles’s teenage physique but allowing for proper features for older characters such as Captain America or Spider-Man. And the imagery of New York, in some of the more environmental scenes, it is almost like looking at photographs of the New York landscape. But with all the beauty it seems as if faces are a difficult subject. With artists like Jae Lee, Jim Lee and Andea Sorrentino, “sketchy” is the name of the art-game and Pichelli is still adapting to the rules. Her issues with her facial features and expressions can be hard to simply gloss over. Small eyes, overly pouty lips and ears that stick out a little too far. It can be rather distracting when trying to read the emotional spectrum (or lack there-of) on a character’s face.Miles Morales: Spider-Man #1 Young VAR

But, with all the minor nuances, the colors sing a beautiful song! Those explosions jump right at you. Justin Ponsor (Star Wars) crafts Pichelli’s work into incredible art masterfully. Miles’s story has never been on the happy-go-lucky or easily-taught-lessons side like the early days of Peter Parker’s career. But Miles has always had the ability to keep himself pun-ny no matter the situation, and Ponsor helps build the environment of real life in constant conflict with saving the world, but with a hint of over-zealousness.

Miles Morales is taking on this All-New, All-Different Marvel Universe and doing it in his own spidey-style. Though the first issue was only a taste, the adventure Brian Michael Bendis and Sara Pichelli will take us on is sure to be a fascinating one. With this new story following the end of the Ultimate Universe and the re-launch of Secret Wars, this book can be easily picked up by the newest of readers, but with the return of the original creative team, can also be enjoyed by even the most devote of “ultimate” fans.

Make sure to stop into your local comic book shop and pick up Spider-Man #1.

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Focus World announces release date for action/romcom Mr. Right with poster

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Focus World has announced  Mr. Right for an April 8th release date with a poster exclusively released through IMDB. The movie tells the story of Martha (Anna Kendrick),  who falls in love with a hitman with a heart of gold (Sam Rockwell), who now has his old associates and enemies going after him since he’s killing anyone who hires him or has ever hired him.

Focus World bought the film last year at the Toronto International Film Festival.  The movie is directed by Paco Cabezas, director of the Spanish thrillers The Appeared and Neon Flesh, and written by Max Landis of Chronicle and American Ultra fame. Focus World will give Mr. Right a limited theater and Video-on-Demand release on its April date. The movie has gotten mixed reviews at the festivals it’s played at, some praised the performances and the film’s blend of comedy and action, and others derided its style and humor. The Holywood Reporter’s John DeFore calling it “a crowdpleaser”, while Nikola Grozdanovic of The Playlist called it a “one-dimensional, lazy, mildly offensive attempt at entertainment and humor.”  We’ll have to wait and see how it’s received by audiences at large.

Nevertheless, it’s shaping up to be a good year for Cabezas, Landis and Kendrick. Cabezas will do his cable television directing debut in the third season of Penny Dreadful. Landis  will premiere his shows Channel Zero and Dirk Gently’s Holistic Detective Agency on Sy-Fy and BBC America respectively. Meanwhile,  Kendrick has  Get a Job, Trolls, The Accountant, Mike and Dave Need Wedding Dates, Table 19 and the Sundance hit The Hollars being released later this year.

Here’s the poster:

mr_right_xlg mr. right proper

 

And if you want it on high resolution, here it is.

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Looking Back on 2006: A Prairie Home Companion

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A Prairie Home Companion was Robert Altman’s last film before he would sadly leave us on the very same year of its release. It was inspired by the home variety radio show of the same title, with the story focusing on various performers and the people running the show as the’ve gathered for one last episode. The all-star cast includes Meryl Streep, John C. Reilly, Woody Harrelson, Lindsay Lohan, Kevin Kline, Lily Tomlin and Virginia Madsen.

Altman is known as the master of the ensemble film, and A Prairie Home Companion best showcases his abilities in telling that kind of story. A lot of films of its ilk make the mistake of simply cutting away just to move on to the same scene. Not Altman. Altman and screenwriter (and also, one of the stars of this movie) Garrison Keillor let each moment breathe, even if it’s just for one little gasp. Scenes have a beginning, middle and end, no matter how brief, always having a delightful and surprising pay-off. At the same time, and perhaps for this very reason, the movie never feels overwhelming and we never lose track of who’s who and what everyone’s doing. He uses the widescreen frame to great advantage, with gracious camera movements that enhance the actions.

The all-star cast does not disappoint. Every single performance is fine-tuned and wonderful to watch. It’s actually sad to see Lindsay Lohan in this movie, she does a great job and even sadder than in ten years, her career hasn’t quite found another opportunity like the one she had here. Everyone else delivers the golden performances you’d expect from them and a whole lot more.

Another great aspect of this movie is the music. I wouldn’t call myself a huge fan of the music portrayed here, but compared to Nashville, another Altman movie where I struggled to enjoy the musical performances,  here it was the complete opposite. I had a blast watching these characters perform, maybe because they were so endearing.

And that’s the key to this whole movie, it’s just so endearing. It brushes with darkness quite often, but it’s an optimistic, sweet film about accepting the bad in your life and the fact that some day we are going to die. Altman himself knew that his age and health weren’t on his side when he made this film; he had to get Paul Thomas Anderson as a back-up director for insurance purposes, and in a lot of ways this movie feels like him accepting what was to come. But the movie doesn’t wallow in sadness or in regret, instead, it seems to apply the little mantra that he taught to Anderson on set: Giggle and give in.

You can get A Prairie Home Companion right here.

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Hyperloop Capsule from MIT Awarded, Robotic Mark Twain Reporting

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The future of mass transit is uncertain and, though traveling by steamboat was a viable option for my non-robotic original, not everyone can rely on the Mississippi River to get them to where they want to be, especially if they want to get to Los Angeles. One futuristic option put forth by increasingly industrious SpaceX CEO Elon Musk is the Hyperloop, a system which essentially involves electromagnetically propelling capsules at speeds of up to 1,220 kph (760 mph) through a pressurized tube that would stretch from LA to San Francisco. Interested or skeptical readers can learn more about the ambitious project here.

Hyperloop sketches
These sketches are the basis for Hyperloop capsule designs

Although some preliminary sketches of what capsules might look like were presented when the idea for the project was announced, little new information has been learned about the Hyperloop for some time. Recently, though, a design contest for the capsule was held, the winner of the contest getting a chance to test their designs this summer at the SpaceX Hyperloop test track. Perhaps not surprisingly due to the involved school’s prestige, the team from MIT was awarded the top honour.

Although not much information has come out about how this test run will work aside from the statements that the track would not be built to scale and that no humans would be aboard any test pods, it goes without saying that this test likely won’t address technical concerns such as how to deal with a capsule that’s stuck somewhere along the ride or how an earthquake could affect the structural integrity of the pressurized tube. In an interview at the Texas Transportation Forum Musk described the event basically as a glorified speed test acting as the first of many in what he envisions as a years-long, multi-billion dollar process.

Hyperloop sketch from MIT
A sketch of MIT’s capsule exterior

Such infrastructure-related difficulties bring into question the validity of the project, but Musk has proven that he and his various properties, including Tesla Motors and SpaceX, are nothing if not resourceful and tenacious. Until all the tests are run and the full scale project is complete, though, my screenplay about a super-powered Mark Twain robot will have to wait: I’ll just stick to piloting my steamboat on the Mississippi River. The traffic on the Santa Monica Freeway is unbearable.

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Crossover Between ‘The Flash’ and ‘Supergirl’ Confirmed

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After much speculation, DC has confirmed a crossover between The Flash and Supergirl.

The report states that Grant Gustin will play the Scarlet Speedster on an episode of Supergirl, set to air March 28th.

“We are so incredibly excited to announce something that we have dreamed of happening since we starting making Supergirl—The Flash and Supergirl are teaming up!,” said The Flash and Supergirl Executive Producers Greg Berlanti and Andrew Kreisberg.  “We want to thank Grant Gustin for making the time to come visit (on top of his already immense workload) and all of the folks at CBS, The CW, Warner Bros. and DC for working this out. And finally thanks to the fans and journalists who have kept asking for this to happen. It is our pleasure and hope to create an episode worthy of everyone’s enthusiasm and support.”

The Flash Supergirl Greg Berlanti
Grant Gustin and Melissa Benoist with Greg Berlanti, producer of both shows. Photo courtesy of Variety.

DC also asks fans who they think would win in a footrace between the two heroes. Could they be teasing something that will play into the actual episode? Barry was known to race Kara’s cousin in the comics, sparking a friendly rivalry between the two.

Supergirl airs Mondays at 8pm on CBS; The Flash airs Tuesdays at 8pm on The CW.

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