(thanks amy!)

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Check out the deluxe flammable Flash poster and old school immobile version, after the cut.

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This one’s “official” though perhaps not entirely authorized. View it after the cut.

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Twitch catches the long-awaited trailer for Wong Kar Wai’s Wuxia biopic of Ip Man, The Grandmaster. Synopsis from The American Film Mart press release, manages to convey excitement in spite of the stiff translation:

With martial arts getting more popular in the Thirties, more people seek to learn them via the professionals at Foshan in Southern China. Some of the experienced masters like to challenge their counterparts and undergoing battles. To have their whole concentration, it is their practice to lock up the venues and no one is allowed to leave during battles. No food and no rest before reaching any results.

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(thanks Rudi!) Click to view.

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Roger Ebert: “This is how my memoir opens. Publication date is September 13, 2011.” Here’s a link to pre-order from Amazon.


I was born inside the movie of my life. The visuals were before me, the audio surrounded me, the plot unfolded inevitably but not necessarily. I don’t remember how I got into the movie, but it continues to entertain me. At first the frames flicker without connection, as they do in Bergman’s Persona after the film breaks and begins again…

We’ll jump ahead, past Ebert’s cascading slideshow of childhood moments, but you should click to his blog to read the whole thing.  Just want to borrow a few more sentences to bring back here:

One of the rewards of growing old is that you can truthfully say you lived in the past. I remember the day my father sat down next to me and said he had something he wanted to tell me. We had dropped an atomic bomb on the Japanese and that might mean the war was over. I asked him what an atomic bomb was. He said it was a bomb as big as a hundred other bombs. I said I hoped we dropped a hundred of them. My father said, “Don’t even say that, Roger. It’s a terrible thing.” My mother came in from the kitchen. “What’s terrible?” My father told her. “Oh, yes, honey,” she told me. “All those poor people burned up alive.”

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Click to view.

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Two nominations for Hot in Cleveland.  Zero nominations for Treme.  ’nuff said.

Outstanding Drama Series

  • Boardwalk Empire
  • Dexter
  • Friday Night Lights
  • Game of Thrones
  • The Good Wife
  • Mad Men

Outstanding Comedy Series

  • Big Bang Theory
  • Glee
  • Modern Family
  • The Office
  • Parks and Recreation
  • 30 Rock

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Or watch at iTunes.

Enhance the sensation of inverted vertigo, officially super-sized. (Thanks to Marshall & Kevin Klawitter)

(Thanks, Jun!)

I’ll put “Cuba’s first horror film” in quotes because that’s how it’s being sold. I find the claim hard to believe — but when I tried to find another Cuban horror film, I stumbled across this essay:

The Cuban horror film does not exist because it has been explicitly prohibited by the government. Genre films, which would include not only horror but also science fiction and fantasy, have been deemed as detrimental to the political leanings and the social program of the Cuban government. In fact, ICAIC would not consider it inappropriate to label these forms of mass entertainments as counter-revolutionary or even degenerate art…

Furthermore, since horror is essentially, at its core, the relation between one and a perilous and often transmogrified other, the only other that is deemed worthy of discussion in Cuba is the capitalist imperialism of the United States. The yanquís, the Castro government’s demonic appellation for the inhabitants of the country ninety miles west of Cuba, are the lone evil in the Cuban psyche. Since billboards about them are already everywhere on the island, making a film about their sinister intentions seems an utterly redundant act.

So there’s some sociological background for anyone who thinks this trailer isn’t worthy of attention on the merits of its awesomeness alone.

JED BROPHY as Nori, ADAM BROWN as Ori and MARK HADLOW as Dori in New Line Cinema’s and MGM’s fantasy adventure THE HOBBIT: AN UNEXPECTED JOURNEY, a Warner Bros. Pictures release. Photo by James Fisher.

These three brothers, all sons of the same mother, could not be more different from each other. Dori, the oldest, spends much of his time watching out for Ori, the youngest; making sure he’s not caught a chill or got himself killed by Wargs or Goblins. Nobody quite knows what Nori gets up to most of the time, except that it’s guaranteed to be dodgy and quite probably, illegal. Dori, Nori and Ori are intensely loyal to each other – and whilst they are perfectly happy fighting amongst themselves, woe-betide anyone who means harm to one of these brothers.

from The Hobbit Facebook page, via
after the cut, see the full-sized shot, as it were.
UPDATE: added photo of Oin and Gloin.

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Reviews from the L.A. trades and London papers come tumbling in tonight, and critics are overwhelming happy with the grand finale of Harry Potter and the Deathly Hallows, part 2.

Todd McCarthy, The Hollywood Reporter:

It ends well. After eight films in 10 years and a cumulative global box-office take of more than $6.3 billion, the most successful franchise in the history of movies comes to an obligatory — and quite satisfying — conclusion in Harry Potter and the Deathly Hallows Part 2. Fully justifying the decision, once thought purely mercenary, of splitting J.K. Rowling’s final book into two parts, this is an exciting and, to put it mildly, massively eventful finale that will grip and greatly please anyone who has been at all a fan of the series up to now…

Initially working in what seemed too straightforward and briskly efficient a manner, Yates has finally come into his own in this last installment, orchestrating a massive chessboard of events with impressive finesse and a stronger sense of dramatic composition than he has previously displayed.

But perhaps the key player all along has been screenwriter Steve Kloves, who made what must have been a vexing decision to put a promising directorial career on hold for more than a decade to write all but one of the Potter episodes (though confessing exhaustion and the need of a break, he later expressed regret over not adapting The Order of the Phoenix). Tricky in that so many characters, including quite a few from the past, needed to be shuffled into the dramatic deck without sacrificing forward momentum, this final chapter suggests an even greater-than-usual attention to narrative balance and refinement. Simply put, it’s clear the filmmakers felt the responsibility to do this job right, and that they have.

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Remember all the fun we had last year finding neat similarities between The Social Network and Citizen Kane? Good times! Get ready for more of that same sort of cordial debate now that Daniel Craig has compared The Girl with the Dragon Tattoo to classic adult thrillers of the ’70s like The Godfather. But hey, no pressure, Mr. Fincher! Craig’s complete interview with Tom Chirella can be found at Choice excerpts right here.

What is certain, however, is that Daniel Craig wants to make movies for adults. Did he actually say that?

Directly. Listen to him speak on The Girl with the Dragon Tattoo: “It’s as adult as you can possibly make it. This is adult drama. I grew up, as we fucking all did, watching The Godfather and that, movies that were made for adults. And this is a $100 million R-rated movie. Nobody makes those anymore. And Fincher, he’s not holding back. They’ve given him free rein. He showed me some scenes recently, and my hand was over my mouth, going, Are you fucking serious?”

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I don’t have a problem with Michael Bay borrowing a couple shots from his 2005 film The Island to fill in a gap or two in Transformers 3: Dark of the Moon. He could replace every scene featuring Shia LaBeouf with close-ups of Ewan McGregor for all I care. Not posting this duplicate footage as evidence of anything important. I’m more impressed that anyone would notice. Respect to the guy with an eye sharp enough to spot these shots and the skills to put this comparison together.

The Invention of Hugo Cabret is now to be called simply Hugo. Because god forbid anyone should be challenged with a vaguely socialist silent T or anything the least bit linguistically frou-frou or suspiciously out-of-the-ordinary in these uncertain times of jingoistic distress.

Transformers 3 screened today for movie writers and the takeaway message seems to be of you’re inclined to go at all then the 3D ticket is worth the price. Also that it’s better than first two installments, so there’s that.

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Narrative Award (for Best Narrative Feature)
Winner: Familiar Ground written & directed by Stéphane Lafleur
Producers: Luc Déry, Kim McCraw
Cast: Francis La Haye, Fanny Mallette, Sylvain Marcel, Michel Daigle, Suzanne Lemoine
Film Description: (Canada) This droll, deadpan comedy from snowbound Quebec features an unhappy brother and sister whose fates seem to be known by a mysterious Man From the Future. Not too far in the future though. Just next September.
The Narrative Award carries an unrestricted cash prize of $15,000 funded by Film Independent, offering the financial means to help filmmakers transfer their vision to the screen. The award recognizes the finest narrative film in competition, and is given to the director. A special jury selects the winner, and all narrative feature-length films screening in the Narrative Competition section were eligible. In bestowing Stéphane Lafleur with the Narrative Award, the Jury stated: “An entire tree sticking out of a fireplace…a beaten-up snowman…an operatically dancing inflatable blue dude…the anything but familiar images of Familiar Ground won’t soon be forgotten. In a strong narrative competition this year, this was the singular vision that stood out the most.” Continue reading…

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