I'm hard at work on the new Oscar charts hence the lack of new posts. Do you like the new color scheme? Banner? Do you have anything to add to that huge list of upcoming movies I posted yesterday. That's the list I'm working from for the new Oscar charts though I'll have to take a two hour break when my beloved Mad Men returns tonight. What's going on in your cinematic world? What did you see this weekend? I caught Jurassic Park (in 3D) with a friend earlier today to prep for Hit Me With Your Best Shot on Wednesday. Are you joining us for that episode?
Have you heard that there are two competing Hercules movies next year? I can't imagine many TFE readers list Brett Ratner or Renny Harlin as big "draws" from Tinseltown's director pool, but they've enlisted The Rock and Kellan Lutz as their beefcake titular demigods. There's more info at Towleroad if you're so inclined.
If you don't know how to read there's Herculean Beefcake Visuals to gawk at after the jump
I was more than a little surprised to read this week that the Weinstein Company had chosen a summer release date for their Sundance pick-up Fruitvale whilst Fox Searchlight went with the Weinstein-like December 27th for Steve McQueen's Twelve Years A Slave. While summer is by no means a bad move for Fruitvale (movies without stars, instant hooks, or famous directors need time to build) and Fox Searchlight can sell a movie to Oscar with any date, it's weird to see the Weinstein Company go this route; Harvey Weinstein is more than a little responsible for the modern "DECEMBER OR BUST!" fanaticism that awards campaigns live by. For a moment I worried that they might have no faith in Fruitvale at all.
It's never been true, of course, that you have to release a movie in December to be an Oscar player but the important thing in regards to release dates is that it feels true to the studios which is why we get movie gluts every year 'round Christmas. ANYWAY... that's just the two most recent release date announcements. Here's what's coming our way -- a monthly calendar after the jump -- that might conceivably have Oscar dreams of some sort or another. (Feel free to add to the list in the comments so I can finally get around to the first Oscar predictions of the year!)
If you remake Carrie they're all going to laugh at you!
Or, if not laugh, than shake their heads in annoyance that you've dared to keep company with a 70s classic. I've never disguised or hedged my opinion here. I think Carrie (1976) is a GREAT motion picture. Not just a good one. Since it can't really be improved upon (specifically in the performance arena since Sissy Spacek and Piper Laurie both did risky revelatory Oscar worthy work) there's no reason to remake it. Unless of course you have a fresh take on it, which is the only reason to ever remake anything that's great to begin with.
The teaser which featured merely voiceover about the telekinetic PMSing high school misfit over a zoom in on Chloe Grace Moretz as Carrie White as Firestarter was a hit as teasers often are (leave them wanting more!) but the new trailer basically says "hey, I'm just the same as the old Carrie only with actors you kids know. Look, it's all the famous scenes including the climax. Come see me in October!"
Having clearly stated my bias -- I'm a "no" ahead of time on principle -- let's break it down anyway after the jump with as much of an open mind as I can muster on this one.
Twenty years ago – an eon in filmmaking years – Jurassic Park was the shiniest new toy on the block. Now it’s getting an anniversary release as a bona-fide classic, having existed for more than the entire lifespan of the teenagers that make up the target audience for splashy popcorn fare. Those twenty years have seen the computer-generated visual effects that were so radical in 1993 become more commonplace and utilitarian than ever seemed plausible back then; we live in an age when even romantic comedies and family dramas have CGI work in them. Summer tentpoles of the Jurassic Park lineage exist only in computers to such a degree that it’s really little more than convention that makes us refer to them as “live-action”.
You’d think, with all that time gone by to refine the technology, that Jurassic Park would look hideously outdated, or at best charmingly quaint. After all, the effects showpiece DragonHeart, released just a couple of years later, more resembles a cartoon now, than anything aiming for photorealism. It took less than a decade for Spider-Man to look a bit flimsy and thin; the later Harry Potter movies already seemed a bit wan when they were still in theaters. But Jurassic Park is as impressive now as it was all the way back then.
With just this one exception: