Here’s our first look at P.T. Anderson’s latest The Master. It’s kind of a teaser, kind of a look at Joaquin Phoenix’s character in the film. If you’re looking for any part of the story or plot, you won’t find it here and that’s just fine.
Take this as a taste of the upcoming meal that Anderson is preparing for us and leave it at that. Unless, of course, you’d like a description of the shown footage at the Cannes Film Festival, in which case, you could always check this report out.
Warner Bros has changed the release date for Alfonso Cuaron’s Gravity. Originally slated for a November 21st, 2012 release, the film has been moved to unspecific date in 2013. Film Stage believes that the film has been delayed due to special effects work, which could be very true. Jeffrey Wells offers another hypothesis: a lack of IMAX and 3D screens in November and December.
One has to assume the new James Bond film, Skyfall and Peter Jackson’s The Hobbit will dominate IMAX theaters in November and December. Not to mention, Gravity, a more adult film would have to compete with the likes of Twilight: Breaking Dawn Part 2 and family friendly films.
Most recently Universal moved the Keanu Reeves 3D samurai film 47 Ronin from a November release to February 2013 for presumably the same reason. Not enough theaters/tough market. The pessimist that lives in each film fan wants to take this news as a sign of no confidence from the studio. They shouldn’t. Yes, studios know that they’re going to lose money on some films, but we, as the audience just can’t throw our hands up and assume that a film is garbage because a release date is changed or there’s delays. This is how we killed John Carter before we even gave it a chance. Let’s just relax and wait for the film’s release and remember that North American box office returns aren’t as important as foreign markets.
If there’s a silver lining to this story, Warner Bros has moved up the release of Gangster Squad to early September.
On Monday, 20th Century Fox ended months of anxious speculation about the fate of Sir Ridley Scott’s Prometheus. The film has received an R rating for “sci-fi violence including some intense images and brief language.” In other words, it’s going to tense and scary film.
While some may wonder if the R rating will hurt Prometheus’ domestic box office tally, it seems unlikely. Adults go to the movies as well and teens as they often do will find their way into a screening. More importantly, does this rating hurt the film’s chances in international markets? International box office performance has become more important than domestic. As long as Prometheus is a hit all over the world, the rating doesn’t matter.
The first official trailer for Judd Apatow’s This Is 40
Paul Rudd and Leslie Mann are back, reprising their roles from 2007’s Knocked Up, and facing bit of a mid life crisis of sorts. Jason Segal and Apatow’s daughters: Maude and Iris are also back.
Part of me hopes that This Is 40 embodies the same spirit as Francois Truffaut’s Antoine Doinel films. Not necessarily a direct sequel, but finding out what happened to these characters after a certain period of time. I wish more filmmakers would do this. I remember seeing an interview with Cameron Crowe right around the release of Almost Famous and he declared that William Miller was his Doinel, but Crowe hasn’t made a second William Miller film yet and doesn’t seem likely. I would love to see where the characters from Juno are now; it doesn’t have a direct sequel, but the same characters in a slightly different situation.
At the same time, This Is 40 feels like it could be another edition of Judd Apatow’s home movies. I’m sure Apatow and his family are a lovely set of people and his friends are a total blast, but when I go to the movies, I want to see a movie. I don’t want to see a family having fun. The family fun didn’t translate in Funny People. Hopefully, three editors will be able to reign Apatow in. Fingers crossed that This is 40 runs under two hours.
“[For] Prometheus, it would have been very easy—in fact probably in Chapter One of the Executive Handbook, if I ever read such a thing, it would say, ‘Go ahead, make a straightforward prequel to Alien.’ That would have been the easy thing to do. ‘Prometheus is the more challenging thing to do. It’s bolder, it’s original, it’s in the universe, but it’s not a literal story-based prequel to [Alien], it’s a wholly new science-fiction entry from Ridley Scott, who hasn’t made a science-fiction film in 30 years.
I can assure the fans—I’m very aware of their concern—absolutely they can take it that the film will not be compromised either way. So if that means that the film is R, then it’ll be an R. If it’s PG-13, then it’ll be a PG-13, but it will not be compromised.”
Earlier this week, The Playlist reported that directors Bennett Miller and Frances Lawrence were also in contention to take on Catching Fire. A story from Deadline suggests that Miller, who most recently stepped in for Steven Soderbergh and directed Moneyball is interested in the job, but would like the production to push back until next year. Foxcatcher, a pet project of Miller is set to start production in October with Steve Carell, Mark Ruffalo, and, Channing Tatum attached to star. I can’t exactly recall where I heard this interview with Miller, but it seems like he’s been working on Foxcatcher for nearly five years.
If Lionsgate would push their production start date back and change the release date, Miller would be a great choice. Look at what he was able to get out of Jonah Hill in Moneyball. However, The Hunger Games series is a major source of revenue for Lionsgate.
It seems interestingly likely that Francis Lawrence will be the man to handle the further adventures of Katniss Everdeen. It’s not to say Lawrence is a bad director, it’s just a choice that does not inspire a lot of hope or excitement. He can handle action (see I Am Legend ) and drama (Water for Elephants), but not really that well.
If Lionsgate and the producers agree on a director like Frances Lawrence, it says to me that we’re going for the money and quality isn’t important. If Lionsgate waits and goes after a director like Bennett Miller or even Alejandro Gonzalez Inarritu, it says that they want to make a better film. As important as Suzanne Collins is, the studio needs to find a director that Jennifer Lawrence wants to work with. Unlike most young actresses, Jennifer Lawrence has a good head on her shoulders.