Wednesday, May 27, 2015
"Sony Pictures has responded to accusations that its Hawaii-set military-themed romance "Aloha" misappropriates indigenous culture and whitewashes its portrayal of the local population: "While some have been quick to judge a movie they haven't seen and a script they haven't read, the film 'Aloha' respectfully showcases the spirit and culture of the Hawaiian people." "Aloha, it's a gift of love, and you know aloha when you feel it," Crowe says in the video. "And you know when somebody's giving you that extra bit of compassion and understanding."
Blowback about the film's title came a week after the Media Action Network for Asian Americans issued a press release taking "Aloha" to task for featuring mostly white actors, including Rachel McAdams, Bill Murray and Alec Baldwin. (MANAA has not seen the film.) Source: www.latimes.com
Aloha Extended TV Spot - A Second Chance: Aloha was shot on location in Hawaii just before Cooper took on his role as Chris Kyle in “American Sniper.” Stone convinced Cooper to hold off on working out while they were on set. "I said, you’re gonna get huge… relax. He said, “Yeah, you’re right," so he relaxed.” Bradley Cooper and Emma Stone Talk New Film "Aloha" and their Favorite Guilty Pleasures.
I would wager a bet that Cooper and Stone’s chemistry in Aloha is going to be off the charts based on the movie’s trailer alone. This begs the question: could Stone end up being Cooper’s new “work wife”? Don’t get me wrong, I’m a certified shipper of Cooper and Jennifer Lawrence as the perfect “work spouses”, but we all know Hollywood A-listers don’t always have schedules that can sync up, i.e., we can’t constantly have Cooper and Lawrence sharing the same screen all the time. That’s where Stone comes in. Source: www.bustle.com
In 1931, another “Aloha” movie told of “a half-caste island girl” who “refuses to follow tradition and marry a fellow islander, instead falling in love with a white man and heir to an American fortune.” There also was “Aloha Summer” in 1988 and “Aloha, Bobby and Rose” in 1975.
The title doesn’t bother all Native Hawaiians. “If you look at what aloha means, how can it be bad no matter how it’s used?” said TV and radio personality Kimo Kahoano. “I think Hawaii is the best place in the world. And the reason is aloha.” Source: www.accesshollywood.com
Thursday, May 21, 2015
Wednesday, May 20, 2015
22nd MAY 8:00 PM - THE STRANGER (1946): A small-town schoolteacher suspects her new husband may be an escaped Nazi war criminal. Director: Orson Welles. Cast: Edward G. Robinson, Loretta Young, Orson Welles. BW-95 mins Source: www.tcm.com
When neo-noir flourished in the 1970s, the movement emerged--fully formed as a genre--from its black-and-white cocoon. According to filmmaker Paul Schrader, noir began with The Maltese Falcon and ended with Orson Welles's Touch of Evil. He'd add that it was largely an American movement that applied certain stylistic (high contrast lighting, voice over narration, non-linear storytelling) and thematic (existentialism, the cruel mechanizations of fate, amour fou) elements in genres ranging from melodramas to detective films. Another film scholar might add that directors like Fritz Lang and Billy Wilder never described their films as being "noir." They thought they were making thrillers. Film noir? That's a term the French critics applied retroactively. This video essay series takes the fairly provocative stance that film noir became a genre.
Ace In The Hole, Bob Le Flambeur, Breathless, Shoot The Piano Player, Chinatown, Who Framed Roger Rabbit, Pulp Fiction, Sin City, Drive. Source: blogs.indiewire.com
Tuesday, May 19, 2015
ET caught up with Aloha stars Bradley Cooper and Emma Stone at a special screening of in London, where Emma filled us in on the one place in the world she does not want to visit.
Monday, May 18, 2015
A lot of viewers find the allure of Mad Men to be the advertising conceit and the drinking, smoking, screwing around, the costumes/clothing, the midcentury furniture, etc. – and those are all wonderful elements of the series. But the backbone of the series has always been a far less sexy consideration of one man’s existential angst and his struggle with identity and purpose. Weiner’s intellectual curiosity and fascination with the deeper meaning of existence is precisely why Mad Men has so much gravitas; but his smartest move was also loving all the exterior passions that make life interesting and fun. Weiner simultaneously presented the “end” as open-ended, which could have easily been canceled out by the appearance of wrapping up those very stories.
By that I mean that on one level the stories the Mad Men characters live go on, even though we have resolution and closure on another level. I thought that’s how Weiner would end it, but of course had no idea how open he’d leave it. As an example, we are left to assume that Don goes back to New York, back to McCann-Erickson, and regains his old job and the Coca-Cola account, plus delivers a TV ad for the ages. Don is running from home, from all the broken relationships and the changes, the life not led, the dead-end decisions – even the empty victories of money and success. There’s no happiness, no fulfillment, in any of it – just more “is that all there is?” emptiness. In California, at the end of the earth, he’s lost and crushed. “I broke all my vows. I scandalized my child. I took another man’s name and made nothing of it,” he tells Peggy, the albatross still weighing him down after all these years. He hangs up soon after, and collapses from the weight of it all.
Don, almost comatose, is led back in to a group therapy session and hears another man describe his own inability to be loved or acknowledged. (I liked how Weiner didn’t have Don say any of this – that Don heard it and related to it on same level for himself.) The man said his wife and kids don’t really notice that he’s present or alive. “They should love me. Maybe they do. But I don’t even know what it is. You spend your whole life thinking you’re not getting it. People aren’t giving it to you. Then you realize, they’re trying. And you don’t even know what it is.”
Jon Hamm did a superb job, as he always does, portraying Don’s implosion prior to that turn of events. I bought into the creation of that final half hour or so knowing that it had to be truncated to tell it within the episode. But that’s also where the open-ended storytelling device Weiner employed was useful – we know that Don was meditating on the cliffs above the ocean when the idea came to him for the ad campaign, but we also understand that he didn’t just get up and run off the lawn. He took what he experienced at the communal retreat/Esalen as a transformative life experience and employed it, we are to assume, as a changed man back at his job.
Lastly, there was so much to love in storylines that had the most closure. Peggy’s touching and comic realization that Stan loves her and she also loves him. Pete and Trudy jetting off to their new life together. Roger, embracing his age and laughing with his new wife, Marie. Joan, dubbing her new company “Holloway-Harris” and fulfilling her need to make something herself, even if it meant losing a man in the process (and we’re able to imagine that if it’s necessary for her to be together with someone, that someone will come along). We get a sense of the optimistic in those relationships and scenes. Even Betty’s elegiac last scene, defiantly smoking and going out on her terms, was something to behold. Source: www.hollywoodreporter.com
Oscar nominee Bradley Cooper has revealed he has to hang upside down on an inversion table to straighten his back after playing Joseph Merrick on stage in The Elephant Man. Cooper plays the physically deformed Merrick by contorting his body rather than using prosthetics. He told BBC Radio 4's Front Row that twisting his features had left one side of his face bigger than the other."Right now my face twitches sometimes," he said.
The play is transferring to London after a successful run in New York, and Cooper said that having experienced back pain during the New York shows, he had brought his table with him. "It's all about illusion," he said of the play, written by Bernard Pomerance in 1977. "The physical challenge is having to twist body and hold it for two hours. It's brutal, we did 120 performances in New York and in the last two weeks of the play I started to feel it in my back and my mouth and my face, all the muscles got very strong."
"This side is bigger, I don't know what's going to happen [in London]. I do worry a little bit, I'm not going to lie," he laughed. The story of John Merrick also inspired David Lynch's Bafta-winning 1980 film, which starred John Hurt. "There was something about the way he lived his life, the curiosity, the levity he had. Given all of his physical afflictions, it was mesmerising to me in a cinematic form, in a physical form, and it made me think 'I want to tell stories like this,' " he said. US critics have raved about Cooper's performance as Merrick, following on from his three Oscar nominations for American Sniper (2014), American Hustle (2013) and Silver Linings Playbook (2012). Source: www.bbc.com
Thursday, May 14, 2015
"Limitless" - CBS - Trailer 2015. A man gains the ability to use the full extent of his brain's capabilities. A television adaptation of the 2011 film 'Limitless'. Directed by Neil Burger and Marc Webb.
Deadline who broke the news.
Wednesday, May 13, 2015
Mad Men went full '70s with its trailer for Sunday's series finale – and we're digging it. The preview, set to Paul Anka's mellow "Times of Your Life," takes Don Draper (Jon Hamm) on a trip down memory lane, focusing mostly the women in his life: daughter Sally (Kiernan Shipka), ex-wives Betty (January Jones) and Megan (Jessica Paré), and colleagues Peggy (Elisabeth Moss) and Joan (Christina Hendricks). Don's agency partners Roger (John Slattery) and Bert (Robert Morse) also make cameos. Sadly, the video offers up as many clues as the "clip" creator Matthew Weiner aired on Conan: It's just a mashup of vintage scenes from the drama's seven-season run. Source: www.people.com
Robert Moore (author of "King, Warrior, Magician, Lover: Rediscovering the Archetypes of the Mature Masculine"), this transformation from boy to man can only occur through the “death” of the Hero. Through initiation and rites of passage, the boy is symbolically killed only to be reborn as a man. Unfortunately, because many men in the modern West lack a rite of passage into manhood, they remain psychologically stuck in adolescence. Moreover, while the mature Warrior knows his limitations, the Hero doesn’t have that sort of self-awareness which often results in physical or emotional ruin. Source: www.artofmanliness.com
“Nevermind” and “Infinite Jest” are highly singular works in totally different traditions, but I think they represent the same scale of achievement and possess a similar cultural resonance. It’s by no means irrelevant that they were both (Kurt Cobain and David Foster Wallace) white heterosexual men who were deeply aware of the problematic nature of the Great Man archetype. “Kurt Cobain: Montage of Heck” depicts the society that nurtured and fed that genius, and that made his unlikely creative explosion possible, as being the same environment that poisoned him — and suggests that the rise and fall were inextricably connected. Kurt Cobain was a canary in the coalmine, as was David Foster Wallace. You and I are still in it, and it’s getting harder to breathe. Source: www.salon.com