Cast: Bradley Cooper, Lady Gaga, Sam Elliott, Dave Chappelle, Andrew Dice Clay, and Anthony Ramos.
Synopsis: Seasoned musician Jackson Maine discovers — and falls in love with — struggling artist Ally. She has just about given up on her dream to make it big as a singer until Jackson coaxes her into the spotlight. But even as Ally’s career takes off, the personal side of their relationship is breaking down, as Jackson fights an ongoing battle with his own internal demons.
Some might say that four versions of the same movie is a few too many, but when the latest attempt is as remarkably powerful and utterly raw as Bradley Cooper’s, you’ve just got to shut up, sit back and enjoy the ride.
Cooper, who worked as a director, co-writer, actor, songwriter, and producer on the film, absolutely dominates all areas of filmmaking, reaching heights that one rarely reaches with a directorial debut. Cooper shows excellent skill behind the camera, creating a unique visual style for A Star Is Born, while simultaneously telling a compelling story and giving the actors enough material and freedom to deliver some genuinely breathtaking performances. While some story beats will feel familiar to anyone that’s seen the previous versions, Cooper differentiates his remake by making necessary changes to the material and exploring the characters in more depth.
More than any of the others, this telling of A Star Is Bornspends more time and focuses more heavily on the personal journey that the two characters are on. The script, which Cooper wrote with Eric Roth and Will Fetters, delves further into Jackson and Ally as individuals and explores the relationship between them more intimately and compellingly. These two characters are on two very different paths, as one rises into the spotlight and the other falls from it, but the script does a brilliant job of bringing those two stories together and maintaining a tight focus on the love between Jackson and Ally. The script should also be recognized and applauded for making the relationship more two-sided, with Jackson and Ally working together as equal partners in both their relationship and their professional lives.
The most significant difference between Cooper’s A Star Is Born, , and any other version is undoubtedly the way that Ally (Lady Gaga) is represented and it’s that very difference that makes this the definitive telling of the Hollywood tale. Gaga’s version of the character takes a more active role in the story, and instead of being handed everything on a silver platter, Ally creates her path and achieves success for herself, with only a small nudge from Cooper’s character. On more than one occasion we see Ally refuse to be made a fool of or be mistreated.
Gaga delivers a phenomenal and utterly breathtaking performance as Ally, proving herself to be not only a brilliant vocalist but also an extraordinary actor. It couldn’t have been easy to follow legends like Judy Garland or Barbra Streisand, but Gaga makes the role her own and unquestionably nails her performance. As for Cooper, the writer/director’s work in front of the camera is every bit as impressive as his work behind it. While as an actor Cooper has racked up his fair share of memorable roles, he delivers a career-best performance here, and the fact that he has an excellent singing voice (god really does give with two hands) also helps. Watching the film, it’s evident in every frame, and every passing second that both Cooper and Gaga care deeply about the story they’re telling and the characters that they’re portraying, which makes it easier to believe and fall in love with what they have created. It’s always thrilling to watch a movie knowing that everyone involved worked their absolute hardest to deliver a unique experience.
Another advantage that Cooper’s remake has over the other versions is the more profound message and the underlying theme about what it means to be a musician/artist and staying true to who you are, no matter what the world throws at you. Instead of merely giving us an entertaining story with great music and stopping there, Cooper ensured that his film had something to say and by implanting that theme within his story, the director has guaranteed his film will stand the test of time.
A Star Is Born does run into some minor issues when it comes to pacing, as the story seems to lose a bit of the momentum in the third act. However, the two great performances and the remarkable soundtrack (I’d recommend downloading) help to give the film a boost and thanks to some of those truly brilliant original tracks, the film never reaches a point where it feels too long or boring.
OVERALL
Not only is A Star Is Born an outstanding directorial debut for Cooper, it’s a brilliantly acted re-telling of the classic Hollywood story, and despite some minor pacing issues, the film never fails to bring a smile or tear. I will be astonished if we’re not talking more about this film, its performances, and its soundtrack when it comes to the Academy Awards.
The trailer for Look Away follows the lonely Maria played India Eisley and quickly reveals it’s a film with a sinister, supernatural twist as Maria’s reflection, her dark side, has a mind of its own. Look Away will hit U.S. Theaters on October 12, 2018.
About Look Away
Official Description: A lonely 18-year-old high schooler opens up to her reflection because of the lack of support she has from family or friends. However, when she switches places with her reflection, the new-found freedom unleashes suppressed feelings and a sinister dark side.
The trailer forLook Away impressively sets up the entire movie in just the opening two seconds. When Maria (India Eisley) looks down into the sink, but instead her reflection looks up, viewers now know a lot with very little. The rest of the trailer sets up the bullies that Maria faces at school, the emotional, and perhaps physical abuse she endures at home, and what her dark side starts doing about it.
Look Away features a cast that includes …
Jason Isaacs as Dan
Mira Sorvino as Amy
India Eisley as Maria / Airam
Harrison Gilbertson as Sean
Penelope Mitchell as Lily
Adam Hurtig as English Teacher
Kristen Harris as Naomi
John C. MacDonald as Mark
Connor Peterson as younger brother
Cristina Segovia as (voice)
Burt Lancon as Coach
Tyson Wagner as Student
Jordan Butterill as Jordan, the Posse Member
Look Away appears to be some love-child of Carrie and BlackSwan which is not a bad thing at all. Both films delve into the darker side of humanity, one focused on female adolescence and the other on a female’s drive and passion consuming her. It’s a cinematic baby with a lot of potential. Look Away has us all looking closely at where this thriller will go.
Did this trailer get you excited for Look Away? Leave your comments below!
Composer Jeff Morrow knows science fiction with work on films like Ant-Man, and the longtime music maker turns his talents on a documentary film called Science Fair that centers around the best of the best science students in the world. Science Fair is popping up all over the world at festivals in a slow rollout this Fall.
Monkeys Fighting Robots snuck into Jeff’s musical laboratory (not really, we talked on the phone) to ask him about his career, working with Marvel, and Science Fair.
From Jazz to Composing
Everyday life is a giant pool musicians sample from “I’m always listening to find different kinds of sounds.”
Jeff’s early career includes a lot of Canadian TV shows and indie films “I was a jazz trombonist for the beginning of my musical career. I went to school for classical and jazz. I dropped off my jazz trombone demo CD at a music production company in Toronto … they were looking for someone to write music for TV shows. Two weeks later I was writing the score to my first TV show. It was an amazing opportunity.”
Looking back on his road to becoming a composer “It was one of those things I thought was impossible because I didn’t know anyone who did it. I was always really into film music. I remember as a kid listening to Hans Zimmer soundtracks and being blown away. Of course, the usuals like John Williams and I’m also into Bernard Herman. It became possible, and I’ve been doing it ever since.”
Jeff’s filmography reveals his versatility. What’s the secret to switching thematic gears? “It’s important to learn how to find your way into a film. Get behind the story; try to figure out a through-line. It’s the real skill. That applies to any genre; it’s the same skillset, but now you have to find your way into a story.”
How did Jeff end up as part of the MCU family? “I moved to Los Angeles I was fortunate to work under the mentorship of Christophe Beck. Ant-Man and Ant-Man and the Wasp are enormous projects. It’s a team working to produce Christophe’s vision and create this 100-minute, cohesive score.”
About Science Fair
Science Fair follows nine students from around the world who converge at an event known as the “Olympics of science fairs.” Naturally, Jeff wants people to watch the doc, and you can hear the bit of joy the film brings him when he says “It’s pretty special.”
“The way the movie starts … you can’t help but smile.” Watch the trailer (below) to understand precisely what Jeff is talking about.
The process to create the soundtrack to Science Fair was a bit of a science project in and of itself “In the case of Science Fair, my idea was ‘what if these kids had science fair projects to create synthesizers’ and that became the sound of the score. I bought these synths that are very DIY and lo-fi; spent a lot of time mashing buttons and switching wires to see what sounds these things would spit out. I sampled that and built the score around that.”
Wrapping Up
Now that the science fair is over, what’s next? “In the new year, I’ll be working on a film … called Hammer. It’s shooting right now. I just finished a short directed by Gillian Jacobs, a thriller. We worked on the Netflix film Ibiza and got connected by the director for this short. It’s online now.”
My last question begins like so: Except for John Williams and Hans Zimmer, “This is already a good question,” name a composer working today whose work you admire? “Oh, man, Micah Levy, I’m a huge fan of hers. The score for both Under the Skin and Jackie are really amazing. The scores are so creative, sound so different, and are so evocative. I’m also a huge fan of Trent Reznor and Atticus Ross. I feel like they kind of jumped into this film scoring thing and injected it with some new ideas.”
Thanks to Jeff Morrow and Impact24 PR for making this interview possible.
Will you be watching Science Fair? Leave your thoughts in the comments section below!
Devil Within is a new horror comic from Black Mask Studios that uses demons and possession to explore the scary side of relationships.
The series is written by Stephanie Phillips, drawn by Maan House, colored by Dee Cunniffe, and lettered by Troy Peteri. Phillips recently spoke with us about the series, her inspirations, what she hopes readers take away from the story, and more.
About the comic: Paranormal entities. Demonic possessions. Or is it madness? When newly engaged Michelle and Samantha move into an old house, Michelle starts experiencing disturbing events… rogue reflections in mirrors, strange apparitions, and an eerie voice only she can hear. Samantha doesn’t believe in ghosts, but the alternative might be even more terrifying in this hauntingly paranoid thriller from new writer Stephanie Phillips and artist Mann House (Witchblade).
Devil Within is the best kind of horror story – the kind that scares you while still telling an interesting story with compelling characters. Michelle and Sam feel like real people; they’re relatable. This creates an instant sympathy in the reader when shit starts to go down for the couple. The fact that this story is based on a true story from one of Phillips’ best friends doubles down on the authenticity.
What sets Devil Within apart from other horror stories is that it’s actually about something. It’s not just scary for the sake of being scary. It’s about relationships, and the fears and insecurities that go along with them. Instead of just trying to scary you, Phillips is looking to explore “the concept of living in fear of the person sleeping next to you.” It’s based on a true story, but it’s largely metaphorical in the way that some of the best horror stories are. Plus, there are actual demons too, so it’s like the best of both worlds.
While Phillips’ script ratchets up the tension, Maan House executes it to perfection, especially with his use of shadows. As Phillips said in our interview, “Sometimes the scariest thing is the thing you can’t see, or can’t see clearly. We wanted to leave some things to the reader’s imagination, so the book has an overall dark, shadowy tone to it.” House’s work is grim and edgy. Just one look and you know what kind of story you’re in for; it unnerves you without you having to read a word.
But again – and contrary to everything just said – he draws the couple in a softer, more innocent way that draws the reader to them and makes the scares that come later even scarier.
Horror – in any medium – relies heavily on tone and pacing, and in comics that’s where coloring and lettering come in. Cunniffe’s muted color palette plays well with House’s shadows, creating a creepy atmosphere without going full on dark. He also jumps from page to page from purples to blues to pinks to yellows, and each choice works for its respective scene and helps differentiate time and place, but more importantly the constant changing prevents the reader from settling in and getting comfortable. It’s just another way to keep you on edge while reading.
Lettering, on the other hand, is more subtle, quietly managing the pace at which you read. In horror, that means speeding things up or slowing them down in order to build and release tension, and Peteri excels at this. He’s proving how integral good lettering is to generate scares in a medium that can’t rely on the same tactics as film or TV.
Devil Within is a must-read for horror fans. If you’re in a relationship, if you’ve ever been in a relationship, or if you just like scary shit, pick it up when it hits shelves next Wednesday, October 10th.
The new trailer for Star Wars Resistance dropped today and so did Racheal Butera’s career. During one of the most important days in the #MeToo movement, Butera (voice of Leia in Star Wars Resistance) posted a video mocking the voice of Dr. Ford. While she may claim it’s a joke, nobody is laughing.
You can delete that tweet all you want but there’s a thing called screen recording pic.twitter.com/o3MjxaaFAR
Carrie Fisher is a symbol of justice for many fans, due to her personal and professional opinions regarding women’s rights. If she could reappear right now as a Force Ghost, she’d surely kick Racheal Butera’s ass.
Professor Christine Blasey Ford is testifying before the Senate Judiciary Committee regarding her allegations against Supreme Court nominee Brett Kavanaugh. Since Dr. Ford’s initial allegations, several other women have also stepped forward with similar declarations.
The events surrounding Dr. Ford’s testimony aren’t a laughing matter, but apparently, Racheal Butera thought it was a good time to make fun of Professor Ford’s voice on the day of testimony.
Racheal Butera’s Response
With hundreds of Star Wars fans and offended individuals lashing out, Racheal Butera responded to her video.
“I was by no means mocking a rape victim I am 100% on Christine Blasey Ford’s side! I’m just a vocal impressionist and decided to imitate her voice but it was a mistake. I apologize for and I believe ALl women.”
Racheal Butera recently joined the Lucasfilm and Disney team for Star Wars Resistance. After her tweeted video today, however, her role as General Organa will likely be short-lived. Star Wars fans are outraged, and rightly so.
Butera deleted her original tweet with the video and her tweet announcing her voicing the part of Leia in Star Wars Resistance.
Neither Bob Iger or Kathleen Kennedy has made a statement regarding Racheal Butera’s clear lack of judgment. But if Iger’s stance on poor tweets holds true, Butera will likely be out of a job before tomorrow. And we doubt anyone will be complaining about it.
If you weren’t excited about Star Wars Resistance before, watching the newly extended version trailer just mind change a few minds. Created by Lucasfilm Director of Animation Dave Filoni and directed by Amy Beth Christenson, the Star Wars series launching on the Disney Channel is aiming for new heights while exceeding the expectations of critics and fans.
Why Star Wars Resistance Has Us Nerding Out
Image via Lucasfilm and Disney Channel
Star Wars Resistance is a show for kids, and yet, it resonates along the same lines as Filoni’s previous works with Star Wars Rebels and Star Wars: The Clone Wars. The series follows a new protagonist to the franchise named Kazuda Xiono (Kaz), who is enlisted by Poe Dameron on a secret mission. Kaz (an X-Wing pilot) is assigned to an outer rim water-base stronghold Colossus where he’s introduced to a group of pilots known as The Aces.
The series takes place just months before the events of The Force Awakens. And with it comes with the return of fan-favorites like General Organa, Captain Phasma, Poe Dameron, and possibly Kylo Ren.
Full of bright color schemes, humor, and espionage — Star Wars Resistance is breaking the mold normally found in traditional Western animation. With Filoni at the helm as creator, however, fans can rest assured he won’t be retconning what fandom loves about Star Wars. The series is full of depth, proper pacing, and traditional Star Wars themes mashed together with daring and innovative storytelling concepts.
The First Order has its sights on taking over the galaxy, but the Resistance isn’t going to let them take it without a fight. While providing depth leading up to the events of The Force Awakens, we have a funny feeling the events of Star Wars Resistance will also contain clues towards the direction of Episode IX.
With a Top Gun meets Cowboy Bebop look and feel, Resistance might be the biggest sleeper of the fall 2018 season, yet.
What are your thoughts about the new trailer for Star Wars Resistance? Let us know in the comments below!
Star Wars Resistance will air at 10 pm EST on October 7, 2018. The new animated series airs on the Disney Channel, Disney XD, and other Disney platforms.
We are gathered here today to say our farewells to an American treasure. More than just a mustache, more than just a tough-as-hell, Trans-Am driving bootlegger – Burt Reynolds was truly one of the last of a dying breed. With an undeniable charm and charisma, infectious laugh and an aura of cool the likes of which are rarely seen these days, Burt Reynolds was a man who could do it all.
Need a fill-in host for The Tonight Show? Call Burt Reynolds. It’s the late 1970’s or early 80’s, and you need a leading man for your upcoming car chase movie or romantic comedy – or both? You’d be an idiot not to give the role to Burt Reynolds (and most likely out of a job).
Reynolds interviewing Gene Hackman as guest host of The Tonight Show in 1976.
By now I’m sure you’ve had a chance to read one or two of the countless articles on Burt’s passing, all pretty much the same variation of the same biographical story with a rundown of his filmography and some sort of Smokey and The Bandit pun or two. Don’t get me wrong, Bandit is a legendary character in pop culture lore, but defining a man on just one performance alone is a quick grab at the low-hanging fruit in a bountiful orchard of nourishing entertainment.
The string of Southern-themed car-chase comedy classics, romantic comedies, memorable TV cameos (Golden Girls, Archer, etc.), Evening Shade, (I guess, if that’s your thing). Burt even branched off into video games (as the voice of real estate mogul Avery Carrington in 2002’s GTA: Vice City) and animation (most notably for his frequent reference and subsequent guest appearance on Archer in 2012).
We also know the hits – like the aforementioned Bandit, The Longest Yard, Boogie Nights in the later years and of course, 1972’s Deliverance – with its uncannily accurate and still true to this day stereotype of mountain people (probably).
Whenever Burt was on screen, your attention couldn’t help but gravitate toward his character. Every scene he was in felt important – even if he didn’t have lines. His reach went well beyond the screen and up to the highest altitudes of the pop culture stratosphere. Before McConaughey was philosophically peddling Lincolns, Burt Reynolds was helping Pontiac Trans-Am topple the Chevy Camaro as America’s favorite fast car.
It’s All About The Name
Apart from being a major auto sales influencer and the greatest gum-chewer who ever lived, Burt was also the benefactor of some of the greatest character names in the history of cinema. I mean, you can’t really give a guy like Burt Reynolds the name “Bob Smith” (which ironically, is my grandfather’s name).
Quick sidebar: Growing up, my grandfather always reminded me a lot of Burt Reynolds. Both had strong, wavy hair, legendary mustaches, an intense, smoldering gaze, cool nicknames (Bandit and Smitty, respectively) and ridiculous modes of transportation. Burt, of course, with the Pontiac Trans-Am and Bob with the Ford Mustang Cobra. Grandpa could drive the hell out of a car, dabbled in racing and always had a pack of cigarettes rolled up his sleeve ready to tell a story to anyone who would listen. If the Midwest had their own Burt Reynolds, Bob Smith was it.
Burt Reynolds as “Stroker Ace”
Back to those character names.
There is no way anyone other than Burt came up with these gems. There had to be a contract clause in which he was given carte blanche over the beyond cool nomenclature that could also be mistaken for a list of adult film stars.
Just a few of my favorites – Sam Whiskey, Gator McClusky, Paul “Wrecking” Crewe, Bo “Bandit” Darville, Sonny Hooper, Stroker Ace, Stick Stickley, Mex Escalante, Charlie B. Barkin, Jack Horner and of course, Turd Ferguson. (Oh wait, that was Norm MacDonald playing Burt Reynolds on SNL back in the day). Maybe this will refresh your memory…
A Fitting Tribute
It’s only fitting then, a larger-than-life pop culture icon such as Burt Reynolds be given the ultimate tribute in the inaugural edition of our larger-than-life pop culture in memoriam column, How To Eulogize In 10 Days.
I’m one who unironically celebrates the entire Burt Reynolds catalog, so I could think of no other way than to spend a week-and-a-half than by watching the man perform his craft, taking notes and putting together this farewell together.
As I was coming up with my list, I tried to mix in the hits with a few deep cuts (Not too deep, though. Let’s just say The Man Who Loved Cat Dancing was definitely not what I thought it would be). After some time, I was able to finally whittle down to a list I was happy with – all offerings from the big screen, in chronological order.
10 movies.
10 nights.
All Reynolds.
Day 1: Deliverance (1972)
Time to kick things off with a little backwoods banjo playin’ – and that’s pretty much it for this one. Nothing else happened in those Deliverance woods. Nothing. I forgot how shredded and facially smooth Burt Reynolds is in this movie, which was released right around the same time the infamous Cosmo photoshoot dropped.
Burt posing au naturale for Cosmo magazine in 1972.
The success of Deliverance made Hollywood take notice of Burt’s acting chops, while the women of the world were focusing on his “other” chops. His legit acting skills coupled with the risqué photoshoot of a rugged man sporting the greatest mustache alive while lying on a bearskin rug created the perfect recipe for a Hollywood megastar. The Burt Reynolds era had begun.
Day 2: White Lightning (1973)
The first entry in the Gator McClusky (such a great name) saga, White Lightning kicked off a string of Southern car chase comedies that would be become Burt’s bread and butter, helping him ascend to his rightful place on the Hollywood throne. Burt called it “the beginning of a whole series of films made in the South, about the South, and for the South… you could make back the cost of the negative just in Memphis alone. Anything outside of that was just gravy.”
Fun movie to watch, with tons of action, a nearly 12-minute car chase scene and some hilariously snappy dialogue (see below). Burt would go on to direct his first film, Gator (the sequel to White Lightning) a few years later, but White Lightning was always my favorite between the two. It’s just a shame we’ll never be able to see Sterling Archer’s proposed sequel, Gator 2.
Day 3: Longest Yard (1974)
Only Burt Reynolds could make an audience root for convicts to beat the hell out of prison guards on a football field. Burt stars as former all-everything quarterback Paul Crewe, who is tossed in the slammer for 18 months after a wild, drunken police chase. The warden of the prison wants him to coach his semi-pro team of prison guards (not sure why every prison doesn’t do this), but Crewe refuses. After being beaten something fierce, Crewe gains respect in the yard and decides to form an all-inmate team to take on the guards.
Of course, hilarity and ass-kicking ensue.
Fun Fact:Not too much of a stretch here, as Burt played real-life football at Florida State and was an All-American athlete in high school. (Yes, ladies and gents, the legend of the Bandit began in Tallahassee, where he carried the pigskin for the Seminoles and undoubtedly romanced his king’s bounty of FSU coeds).
Fun Fact:Burt also makes an appearance in the underappreciated and pretty hilarious 2005 Adam Sandler near-shot-for-shot-remake, donning the pads for one last crack at gridiron glory. Sure, 1974 Burt Reynolds was way more believable as a former NFL QB than Sandler, but the laughs are there and the nostalgia factor is a nice touch. Memberberries are delicious.
Day 4: Smokey and The Bandit (1977)
This is peak Burt Reynolds. The one film which perfectly encapsulates everything the world loved about him. When SkyNet eventually takes over and enslaves humanity, I hope this movie is one of the few they spare to play on a constant loop in our holding cells. Comedy, action, great storyline, even better theme song and late 1970’s-era Sally Field. I forgot how much fun this movie was to watch and can’t help but think how much fun the cast and crew had making it.
Bandit kicked off a five-year run of Burt Reynolds box office dominance, being Hollywood’s top star from 1978 through 1982.
Day 5: Hooper (1978)
A rocket-powered Trans-Am jumps over a 300-foot gorge while smokeshow Sally Field (hello, again) looks on. What else needs to be said? Think Smokey and The Bandit minus the bootlegging and throw in a thousand more explosions in this romp of a tribute to the stunt performer industry. Hooper also features the best Burt Reynolds laugh track you can find. Try not to smile.
Day 6: Cannonball Run (1981)
Released the night before I was born in 1981, Cannonball Run is one of the most memorable films in the Burt Reynolds catalog. (Partly because of the great gag reel at the end of the film). Burt plays racer J.J. McClure and teams-up with his real-life buddy Dom DeLuise (a.k.a Victor Prinzi, a.k.a Captain Chaos), to pilot a souped-up ambulance in a transcontinental road race filled with hi-jinks aplenty.
But wait, it gets better.
Sammy Davis Jr. and Dean Martin show up as con-men dressed as Catholic priests (insert joke here) and bring the Rat Pack vibe, while James Bond himself – well, Roger Moore, shows up, too. To recap – you have Burt Reynolds, half the Rat Pack and James Bond in the same movie. My VCR almost melted from so much machismo being on the screen at once.
Fun Fact:The film is based on the 1979 running of the Cannonball Baker “Sea-To-Shining-Sea” Memorial Trophy Dash, an actual cross-country outlaw road race which was held four times in the 1970s, starting at the Red Ball Garage on 31st Street in New York City (later the Lock, Stock and Barrel Restaurant in Darien, Connecticut) and ending at the Portofino Inn in Redondo Beach, California, just south of Los Angeles.
Day 7: Stroker Ace (1983)
Again with the amazing “could also be a porn star” character name. Stroker Ace? Really? The only name better than Stroker Ace is Dirk Diggler – but we’ll get to that later. Try and guess what Burt Reynolds is doing in this movie. If you’ve learned anything by now, this should be easy. Driving fast cars (this time as a champion NASCAR driver), cracking jokes and bedding beautiful women (WKRP In Cincinnati star and eventual Mrs. Burt Reynolds, Lonnie Anderson). It’s really just a way cooler version of Talladega Nights. Before Ricky Bobby and Buddy Thunderstruck (great Netflix show, by the way), there was Stroker Ace.
We’re one week into our tribute, and we’ve already watched five Southern-themed car chase movies and another car chase to open The Longest Yard. You have to hand it to him, Burt definitely knew his wheelhouse – and his audience. Nobody in the world did it better.
Day 8: The Man Who Loved Women (1983)
If you’ve ever had some weird fantasy which involved Burt Reynolds giving Mary Poppins the business, this flick is for you. “A simple story of one man’s pursuit of a meaningful relationship – with half the human race.” I’m pretty sure you could never get away with half of this stuff in 2018 due to the faux outrage epidemic brought on by social media, but right or wrong, this type of movie was par for the course back in 1983 (Besides, no one in their right mind would ever get behind #BoycottBurtReynolds).
I love this description of the movie, with a few added edits of my own: “David Fowler (Reynolds) is a successful sculptor whose fast and loose love life (a real stretch) slams him head-on into a mid-life crisis when his insatiable hunger for women begins to render him socially, artistically, and “romantically” impotent (probably not the impotent part, The Bandit always stood strong). His quest to end his losing streak (Burt Reynolds doesn’t have losing streaks) leads him to the couch of attractive psychiatrist Marianna (Julie Andrews, a.k.a. Mary Poppins), to whom David must explain everything in an attempt to regain control of his life.”
This is a definite change of pace from fast cars and explosions, but I’m assuming a Burt biopic was in the studio contract somewhere, and this movie is pretty much it. Rather than the cool, beer swiggin’, Southern-fried bootlegger Burt Reynolds, we get the smooth, big-city, sweater-wearing ladies’ man. This version of L.A. Burt almost certainly drinks the finest wines and has a vast collection of neatly categorized Yacht Rock vinyl to impress his plethora of conquests.
Favorite Line:Woman in Car: “I better leave before one of us gets pregnant.” Classic Burt: “Well, I’m not that fast.”
Day 9: Cop and a Half (1993)
Perhaps the greatest grizzled-veteran-police-officer-being-teamed-up-with-an-inner-city-kid buddy comedy released in 1993 (or ever, to be honest), Cop and a Half – like so many other Burt Reynolds joints, brings the funny and the action. Yes, the premise is absolutely ridiculous, but it was directed by The Fonz, and he just won an Emmy, which automatically bumps up this film’s value. It’s science.
Fun Fact: The “and a half” in this movie (Norman D. Golden II) is now a rapper by the name of Enormus. Surprisingly, the dude has a pretty nice Outkast-esque flow. Check it out.
Day 10: Boogie Nights (1997)
We close out our tribute with my favorite Burt Reynolds role of all-time – as adult film producer extraordinaire Jack Horner in Paul Thomas Anderson’s 1997 masterpiece, Boogie Nights (which happens to be in my Top 5 favorites list, don’t @ me).
A common theme throughout everything we have watched up to this point seems to be Burt playing slightly modified versions of himself while clearly having a blast on set, which naturally transferred over to the screen. The guy was out there living his best life, having fun, making movies with his friends and beautiful women, and being the absolute definition of cool.
Boogie Nights was a different story.
You have to remember, at the time Boogie Nights was being cast, Burt Reynolds had fallen off the radar somewhat. Sure, there was the Evening Shade run in the early 90’s that garnered him an Emmy for “Outstanding Lead Actor in a Comedy Series,” but the well had pretty much dried up in terms of big-time success. Hell, even his dinner theater in Florida went under after he filed for bankruptcy in the mid-90’s. Burt Reynolds “the man” never really lost his cool factor, but the brand, mystique and Hollywood clout was all but a distant memory.
Much has been reported about Burt’s disdain for Boogie Nights and how even months before his death, he claimed he still has never seen the film, which is a shame. He puts on such a masterclass performance in a role which saw him take home a Golden Globe for Best Supporting Actor in a Motion Picture (He was robbed of the Oscar at the 1998 Academy Awards, which went to Robin Williams for Good Will Hunting).
Playing porn producer Jack Horner in Boogie Nights was such a departure from the typical Burt Reynolds role and definitely uncharted territory for the grizzled vet. He was stepping out of his comfort zone at a crossroads in his long and impressive career, and Boogie Nights offered a shot in the arm Burt desperately needed – even if he went kicking and screaming, which he did (literally).
It’s a fairly well-known fun fact of an on-set altercation between Burt and director Paul Thomas Anderson, with it nearly coming to fisticuffs. Tensions were high, Burt seemingly wanted no part of the film, and all hell was breaking loose. It seems there was a method to PTA’s brilliant madness, though, according to first assistant director John Wildermuth.
From Grantland’s “A Livin’ Thing,” which is an absolute must-read for any Boogie Nights fan: “The reason I [think] that Paul baited Burt is that the next day we shot the scene in the backyard by the pool where Jack tells Dirk to do the scene, and Dirk says, “It’s my big cock, I wanna do whatever the fuck I want,” and the two of them get into a shoving match. And all of that energy between those characters was real energy that had been building and manifesting over the weeks prior. And then it exploded all in that scene on camera.”
Let’s just say; shit got real.
In retrospect, there was no one else who could play this role. Once again, like so many other times throughout his career, Burt Reynolds was the perfect choice. He brought an old school father-figure feel to Jack, with such real compassion and gravitas that you couldn’t help but respect the man. Much like any father worth his salt, he commanded your respect without demanding it. Burt Reynolds was the moral compass and anchor of his unconventional and dysfunctional surrogate family, both on and off the screen.
Jack Horner cared about the art, about the beauty of the film he was shooting, much like the real man behind the character. It’s a very meta role in a sense, with both Jack and Burt being old Hollywood guys in the twilight of their careers, on the verge of desperation for one last great run. Much like Jack finds his resurgence in Dirk Diggler, Burt found his with Boogie Nights.
There’s a great line where Jack and his editor are putting the final touches on Dirk’s Angel’s Live In My Town, and Jack turns to him with a proud gleam in his eye and says “You know, this is a film I want them to remember me by.”
Regardless of the reports of Burt not liking the script, subject matter or director Paul Thomas Anderson, I think deep down he knew how great this character (and film) really was. His performance was so honest, so real – heavy and loving and everything else in between. My favorite Burt Reynolds role by a mile.
This is the film I will remember him by.
Epilogue
Burt Reynolds will certainly be missed, but what may be missed more is the idea of a guy like Burt Reynolds. The archetype of Burt Reynolds, if you will. He wasn’t just a tired cliche of a “guy’s guy” or simply a “ladies man” – he was both and everything in between. America loved him because he was one of us – and let’s be honest for a second – that mustache was an irresistible force for us all. He worked hard, paid his dues and was fortunate enough to live his life doing what he loved, and damned if he didn’t have fun doing it.
So fast, so cool, so iconic. There will never be another one quite like him.
Burning is a new film from Korean writer/director Lee Chang-dong from a story by the legendary Japanese author Haruki Murakami that looks like the perfect, nail-biting thriller to enjoy this upcoming month of spooky things. Burning is set for release on October 26, 2018.
About Burning
Official Description: Jong-su bumps into Hae-mi, an old classmate. The pair shares a passionate night before Hae-mi leaves for Africa. The young woman returns with Ben, a mysterious man who confesses a secret hobby.
From the looks of the trailer, Burning gives a sense of why the tense drama has been praised so often this year in the film festival circuit. Every minute here is dripping with an unnerving gravitas. The soundtrack pulsates, making it penetrate the soul and heart even more than the ears. Fans of The Walking Dead will notice that Ben is played by Steven Yeun and the few moments that capture Yeun’s disaffected pseudo-Gatsby-like character look wonderful.
Yoo Ah-in as Lee Jong-su
Steven Yeun as Ben
Jeon Jong-seo as Shin Hae-mi
Seung-ho Choias as Lee Yong-seok
Seong-kun Mun Seong-kun Mun as Lawyer (as Sung-Keun Moon)
Bok-gi Min Bok-gi Min as Judge
Soo-Jeong Lee Soo-Jeong Lee as Prosecutor
Hye-ra Ban Hye-ra Ban as Jong-su’s Mom
Mi-Kyung Cha Mi-Kyung Cha as Hae-mi’s Mom
Bong-ryeon Lee Bong-ryeon Lee as Hae-mi’s Sister
Burning is based on “Barn Burning” by Haruki Murakami with Lee Chang-dong doing the writing for the film as well as the directing. Lee always writes the movies he directs, but it’s been eight years since his last foray with the tragically beautiful Poetry. The director seems to like this sort of twist on the beautiful and Burning looks to have that sort of signature stamp on it too.
Did this trailer get you excited for Burning? Leave your comments below!
Michael Conelly is a Hollywood visual effects creator turned director of Caliban Below, a VR experience that’s searching for a new paradigm that’ll exist somewhere between video game and movie.
Monkeys Fighting Robots talked with Michael about Caliban Below, storytelling, and what’s inspired him as a VFX professional and storyteller.
Emerging VR
Virtual Reality is in the public consciousness now as a viable form of entertainment. It’s been a long road, especially if you remember the VR of the 90s. Yeesh. But today projects like Caliban Below present slick, immersive worlds. However, there’s still no understanding in the biz about how long, interactive or not interactive VR stories need to be. “We’re really trying to figure out a recipe for this to work going forward into the future. I want people to feel like they’re part passenger and part pilot.”
VR is in a stage much like film in the early 20th century. People know what’s possible but “It’s the design language of a new medium. Movies emerged out of pure technology and eventually turned into what we know today. It borrowed ideas from theatre but then slowly learned other things they could do with the camera.”
Fellow Star Trek fans will enjoy Michael’s next statement “Sometimes we joke and say what we’re trying to do is go full holodeck.” Then, like the heady Caliban Below, we wonder, “What if we’re already in the holodeck?”
Ultimately, Michael wants one thing “My hope is that Caliban Below is an early example of the VR medium standing on its own two feet as a distinct narrative experience of the not-to-distant future.” The push is well underway, and Michael is helping to give it a lot of steam.
About Caliban Below
Caliban Below puts players in the body of Caliban, a scion of a broken lineage. As Caliban, players will explore a ruined estate while searching for clues to piece together the past. “There’s not a happy ending to be had … but I hope people will feel they embodied this character in this story.” Caliban Below is about the immersion “There’s definitely moments of surprise that’s part of the character’s story, but there are also surprises for the audience.”
As in film, it seems horror is leading the way in turning new technology into a storytelling device “I wanted Caliban to feel like Alien but in Renaissance Italy. I wanted it to feel Lovecraftian, dark but also a study of how families break.”
The Recipe for VR
What is VR? That’s not entirely understood. Michael sees it like this “I’m eager to try and find a path from releasing a ‘game’ to releasing a new story that’s told through VR.”
To tell a good story, in any medium “You need some kind of connection between the audience and the characters.” In the VR world, where there’s more interaction “You want people to have control but also tell your story as the creator. You want people to feel like they own it; it’s their story.” B
Creators, though, want to tell their own story too. VR is on the verge of finding the space between “It’s a neat problem to try to solve. You want this bond between creator, writer, director, and audience.”
Wrapping Up
Michael is a massive fan of movies, and no statement explains this better than “World’s best double-feature: The Road Warrior and Blade Runner.”
As VFX creator behind films likeHunger Games, Life of Pi, and The Matrix Trilogy, who inspired Michael growing up? “You have to go back to the original ILM team. That era that eventually worked its way to stuff like Young Sherlock Holmes.”
VR is in the early stages of a medium that’s going to take over the world. For now, Michael says it’s “… flying a kite and looking for lightning. We’re trying to get the world to pay more attention to this emerging way of telling stories.”
Thanks to Michael Conelly and Impact 24PR for making this interview possible.
Are you excited for Caliban Below and more VR projects? Leave your thoughts in the comments section below!
In this episode of Kieran’s Movie Space, Kieran discusses and reviews the first official trailer for the next instalment of the X-Men franchise, DARK PHOENIX. Does this look like the X-Men move we’ve waited for? Listen to my review of the trailer below!
If you like what you hear, it would be awesome if you hit the like/subscribe buttons and drop a comment in the appropriate section.
Kieran’s Movie Space is an insightful, fun and reliable new podcast for fans of all things cinema. Host Kieran McLean delivers in-depth reviews of the latest movie releases, from small indie movies to massive blockbusters. New episodes weekly…or whenever I feel like posting.
Read the official synopsis for Dark Phoenix below:
In Dark Phoenix, the X-Men face their most formidable and powerful foe: one of their own, Jean Grey. During a rescue mission in space, Jean is nearly killed when she is hit by a mysterious cosmic force. Once she returns home, this force not only makes her infinitely more powerful, but far more unstable. Wrestling with this entity inside her, Jean unleashes her powers in ways she can neither comprehend nor contain. With Jean spiralling out of control, and hurting the ones she loves most, she begins to unravel the very fabric that holds the X-Men together. Now, with this family falling apart, they must find a way to unite — not only to save Jean’s soul, but to save our very planet from aliens who wish to weaponize this force and rule the galaxy.
Directed by Simon Kinberg, Dark Phoenix stars Sophie Turner (Jean Grey), James McAvoy (Professor X), Michael Fassbender (Magneto), Jessica Chastain (Smith), Tye Sheridan (Cyclops), Nicholas Hoult (Beast), Alexandra Shipp (Storm), Kodi Smit-McPhee (Nightcrawler), Evan Peters (Quicksilver), Olivia Munn (Psylocke). The film will land in cinemas on February 14, 2018!
