ORLANDO (August 2007) – The indie feature Second Coming directed by Jose Cassella (Delivery) has concluded post-production with a team that included L.A.-based editor Mike Matzdorff whose credits include Fight Club, Analyze This, Meet Joe Black, Code Name: The Cleaner.
If you didn’t see Transformers in a theatre, you missed one of the biggest treats of this last summer’s crop of blockbusters. Simply put, Transformers is the best live action film to have been based on a line of toys, or an animated TV series.
George Clooney has built himself a pretty cool career by alternating fluffy summer fare with more serious, conscience provoking dramas. Michael Clayton is his latest excursion into the latter. It’s a tale about a lawsuit that hinges on the plaintiffs not finding out that the product in question was known to have potentially fatal effects on its users – sort of like the memos within the tobacco industry that acknowledged the addictive and cancer-causing aspects of their products.
James Gray’s We Own The Night is a tale of two brothers – one a cop one a nightclub manager who doesn’t know he’s working for the Russian mob. It’s an attempt to take a classic Cain & Abel/prodigal son tale and invest it with a subtext that reads exactly opposite to the surface story. It’s a laudable effort that really wants to be this year’s The Departed – but it doesn’t quite work.
When the second season of The Boondocks premieres tonight [Adult Swim, 11:30/10:30C], there will be a few cosmetic changes. The animation is noticeably improved and the sound is better. What hasn’t changed is the way that stories written over a year ago will still seem as if they were ripped from today’s headlines.
It’s been awhile since we last heard of the Farrelly Brothers. In that time, Judd Apatow has come along and become the king of the raunchy comedy with heart, with films like The 40-Year Old Virgin and Knocked Up. Now the Farrellys are back to stake their claim to the title with The Heartbreak Kid – a sweet romantic comedy that’s spiced up with the kind of inappropriate and, yes, raunchy gags that made There’s Something About Mary a hit.
Peter Berg’s The Kingdom is a slick action flick masquerading as a statement movie. Despite a great cast and high production values – it fails on both terms because of a wrong-headed in the third act.
Julie Taymor’s Across The Universe is a polarizing film – I strongly doubt there will be viewers who walk out of it with “take it or leave it” attitude. It’s a saga of four intertwined journeys, all connected by visuals that cry out to be referred to as psychedelic, and the music of the Beatles – which is almost exclusively used as dialogue by the characters. It’s a twisted and brilliantly produced piece that will not leave you unmarked.
Now entering its fourth season on CBS [10/9C], Numb3rs continues to mix character, procedural and science [mathematics] elements in its own unique way to provide some of the quirkiest material of any of the far too many procedurals on TV. This season, Executive Producer Tony Scott steps behind the camera to direct Trust Metric, the season opener – and the conclusion to the sorta/kinda cliffhanger of last season’s finale.
Friday night marks the return of one of the most consistently entertaining sci-fi series: the Sci Fi Channel’s Stargate: Atlantis [10/9C], . Stargate: Atlantis kicks off its new series by welcoming SG-1’s Col. Samantha Carter aboard in the midst of death, destruction and mayhem. It’s definitely not just another day at the office! Continue reading Stargate Atlantis Gives Friday a Sci-Fi Kick!
Recently, I had the opportunity to chat with David Hewlett about the fourth season of Stargate: Atlantis, and the how the changes affect everyone’s favorite curmudgeon, Rodney McKay. While we talked mostly about season four of Atlantis, we got into horror movie geek mode; talked a bit about Doctor Who’s impact on his life, and also chatted about the making of his latest film, A Dog’s Breakfast.