Nearly two years have passed since FOX Searchlight shared the final trailer for Scott Cooper’s supernatural horror Antlers. Considering the time of its release, it’s no surprise the goings on of the world overshadowed the hubbub of a film that should absolutely be on your radar this Halloween.Continue reading “Reminder to Prepare Yourself for Scott Cooper’s ‘Antlers’ Arriving This Month”
The 39th Hawaii International Film Festival is currently underway in Honolulu, and the 11-day event began with a stellar opening night screening last Thursday of Taika Waititi’s latest film, Jojo Rabbit. Set in Nazi Europe, the dark comedy loosely based on the Christine Leunens novel, Caging Skies, follows a 10-year-old Hitler Youth (Roman Griffin Davis) who finds out his mother (Scarlett Johansson) is hiding a Jewish girl (Thomasin McKenzie) in their home. Through getting to know her, he comes to question his own beliefs, even in the midst of his imaginary friend, an idiotic version of Adolf Hitler played by Waititi himself, trying to tell him otherwise.
LA Times film reporter Jen Yamato is the special guest on Hard NOC Life as we break down the reaction to Wes Anderson’s Isle of Dogs.
Nate Parker stars in the Nat Turner biopic film, Birth of a Nation. While most true story adaptations include a few embellishments, don’t go into this expecting anything remotely accurate. After having done some research, very little of what is presented in this film can be found as historical fact. What Parker has created is a sloppy, amateurish, slavery pain-porn film, rife with Christianity overkill. It’s a mockumentary of Nat Turner’s legacy and tries to trick its audience into thinking this is an actual part of history.
I wrote about Birdman a couple weeks ago. It’s still my favorite movie of the Fall, and I hope it gets showered with accolades come Awards Season.
Anyway, over on Fox Searchlight’s official YouTube channel, they’ve posted this retro trailer for the fictitious 1992 epic Birdman Returns, and it is awesome. Check it out for yourself after the jump.
The superhero genre — as we know it — was first birthed over seven decades ago in the pulpy pages of the 10-cent comic books. Mint copies of which that are now worth thousands, if not millions, of dollars. Not only are the books themselves more valuable, many of those original heroes are even more popular today than they were at their inception. Even the heroes who weren’t popular then have been resurrected to much critical acclaim today. We call this period of superhero storytelling “the Golden Age” of comics, but we are currently living in a new golden age of superhero storytelling, except the heroes have migrated from the four-color page to the fourteen-screen multiplex.
The fact that we can count on a new comic book superhero movie (or three) every year until infinity and beyond is both a blessing and a curse for the nerd contingent. For every billion-dollar grossing blockbuster that stars men in tights saving the universe — and it is almost always men — there are critics from both within and without nerdom that bemoan the genre’s grasp on pop culture and predict its demise every year. “Superhero fatigue,” it’s called. Birdman or (The Unexpected Virtue of Ignorance) is the latest film from writer/director Alejandro González Iñárritu — best known for heavier, more melodramatic fare like Babel and 21 Grams — and it takes on the superhero genre, and the fatigue that may or may not come along with it, like no other film before it.