Don't Shoot! - A Filmmaker's Frustration

Or How I Made a Charlie Kaufman Love Letter without Knowing who Charlie Kaufman is.
The project I had been working on since the beginning of the year went up on YouTube last week, and it occurred to me that I had failed to provide an accompanying blog post as of yet. Having neglected the blog pretty extensively for a while now, and even using it for a few patches in the film itself, I believe it's only right to return to the site that started this whole "DudeMeister" gimmick in the first place.

Of course, if you've yet to treat yourself with the rollicking comedic delight that is Don't Shoot! then you might want to do so now via this handy embedded version:
  

Once the hilarity has finished devouring your senses, proceed onward with this nifty Q&A that no one asked for.

Q: What the hell did I just watch?
A: You just witnessed what happens when I am denied the chance to make something. I make something bigger. Two months bigger. What started out as a silly inside joke ended up snowballing into this gargantuan mockumentary that exposed mine and my friends short-and-long-comings, and somehow managed to incorporate a  meaningful message (however crowbarred in said message was).

Q: So it's actually real?
A: Mmmm, partly. Everything you see the guys (Cameron, Nick, Josh, Austen, Charlie) saying and doing is 100% real, however hard that may be to believe. The Risk script is real - you can in fact read it here - and the whole refusal business is real. When Risk went kaput, I picked up my camera and channelled my frustration into annoyingly interviewing my friends about it, as a way to kill time. Little did I know how damn hilarious some of them would be *cough*Cameron*cough*. Obviously, everything I say in the film is a scripted piece of nonsense, along with our resident scientist, Joyce Prett.

Q: Josh isn't really an alcoholic then?
A: Not as far as I know, but I believe right now he's more concerned about the fact that he was "misrepresented" as a compulsive FIFA player. Go figure.

Q: What would you call your multi-faceted role in the film?
A: Oxymoronic Master of Narcissistic Self-Deprecation.

Q: Who is that lovable-rogue-yet-suave-intellectual of a silhouette known only as "ATR"?
A: I'm afraid I am still not allowed to divulge that information.

Q: Is that geek room really yours?
A: Yep. Star Wars mini-busts and all. #NerdPride

Q: Dude, everyone hates it when people hashtag outside of Twitter...
A: #LetTheHatersHateTwoKayThirteen

Q: Why the Credits Song at the end?
A: Uh, I think you mean 'Ode to the Credits'. And really it was just this simple ditty I wrote and recorded in three hours prior to finishing the film (hence its wonkiness), as a means to get people to stay and admire my abnormally large name for a little longer.

Q: That is a stupidly long name.
A: Right? It gets worse with middle names. Two of 'em.

Q: Your parents were not kind to you, in regards to future paperwork...
A: No. No they were not. But they were kind enough to lend some feedback during the editing process, which is why they found themselves in the Special Thanks credits (also, you know, having me kind of helped as well).

Q: There were a lot of Special Thanks. Care to tell us what the hell Francis Ford Coppola had to do with this film?
A: Just like my furry friends in the Kingdom of Caring, I would very much care. Coppola there directed Apocalypse Now, which Risk was very liberal in referencing, while Don't Shoot! took some inspiration from its behind-the-scenes documentary/exposé Heart of Darkness: A Filmmaker's Apocalypse. Now the funny thing about that is I have never seen either of those films. I'm a huge phony. Instead, the influence was filtered down to me through those geniuses at Community; namely creator Dan Harmon and writer (particularly of the "Documentary Filmmaking" episodes) Megan Ganz.

Q: How about the other people thanked in that section?
A: Well, I don't think I can do anything in my life without attributing it in some way to Joss Whedon, whilst Ben Blacker's Writer's Panel Podcasts have taught me so much about writing and Jane Espenson's 'Writing Sprints' gave me focused and driven time to work on this thing. My guitar teacher was in there for obvious reasons, along with the ever amazing comedic-musical talents of Garfunkel & Oates. And of course there was BriTANick, without whom I don't think I would have even considered attempting a sketch in the first place, let alone expand upon one with a 15 minute documentary. Seriously. Check. Them. Out. They're my heroes right now.


Q: Are you aware that you spelt JUDAS wrong?
A: ... Well now I am!


Q: You quite literally interview and talk to yourself in Don't Shoot! - is that a thing you make a habit of in real life?
A: Huh. Uhm...

Q: Were you apprehensive that the lengthy time code (14:22) would turn a lot of potential viewers away?
A: A little bit. But I figured/hoped that the curiosity that I somehow managed to make a film that long would at least warrant it a click, and then I was just betting on the ever-changing nature of the documentary to keep them hanging on.

Q: Finally, what's next?
A: I'm currently developing another documentary about how one misspelling of a notorious biblical figure can make a man hate everyone and everything he has ever known.

Q: Sounds... well it sounds. Been great typing to you.
A: Yup.

Thus ends my blog post about my latest film, which has its flaws, but stands as a nifty reminder to myself that creation always finds a way out, if you give it the time. #Proudsies. Remember you can watch Don't Shoot! - A Filmmaker's Frustration right now on the Tube of You, which I've heard supports Like, Favourite, Subscribe and Share features that I'll leave in the capable hands of your own free will. With your help, it could go viral by Christmas*!

ATR

*2113

Tensicles - A Short Film

I present to you Tensicles: a short that came about by the pure want to use my friggin' video camera. With no sort of planning or pre-production whatsoever, this little horror piece was made up as we went along; every angle, every movement, every improvised bit of dialogue (4 words...). I then decided to edit it all and add a dash of music, which I can tell you now is a very not easy job. Could be a mess, could be a masterpiece; you'll have to find out by watching yourself (preferably in HD!).

Be warned: so tense that it'll hit you right in the... "Tensicles".



Tensicles
A DudeMeisterFilms Production.
Starring Charlie Burton and Nick Townsend.
Music, Direction and Editing by Arnold Thornton-Rice.

If you want to be really awesome, you'll give it a Like, maybe a Favourite, and even Subscribe to the DudeMeisterFilms Channel! Feel free to comment any feedback! Alternatively, if YouTube's not your style (for some ridiculous reason), you can also enjoy the film on Dailymotion!

Anyone stay for the post-credits tag? Spot any mysterious hands lurking? The odd reflection or background strangeness? Continuity errors or rather strategically placed Easter Eggs? Perhaps a re-watch will help...

ATR

Trailer Tuesday: Liberal Arts

This week sees the trailer for Liberal Arts, a film written, directed and starring Josh Radnor (perhaps better known as Ted Mosby from How I Met Your Mother). This indie-drama-romance has a unique take on the difference in perception of life between a 35 year old and a university student, and how love brings them together.  Radnor's firm optimism and drive to make feel-good things is blatantly present, with a charming style and sense of humour to match, making this a front runner on the indie circuit. Here's what it's all about:

"When 30-something Jesse returns to his alma mater for a professor's retirement party, he falls for Zibby, a college student, and is faced with a powerful attraction that springs up between them." - IMDb

• Performances look great from the two leads, Radnor and Elizabeth Olsen, which is good considering that most of the screen time will likely be solely them. 
• Radnor seems to be tackling the issues/joys of Uni life and the scary world that comes after it, with a head on approach -- something which has earned it the right to be called "The best movie about college since I don't know when.".
• Although absent from this trailer, Zac Efron also stars, albeit in a small, student role (I presume). 
• Desperately holding back the How I Met Your Mother references here (Break-up beard, Classic Schmosby, etc)...
• Not quite sure of the specifics of the distribution, but here's hoping for a wide release range. I believe Radnor's a true up-and-coming talent that needs some more recognition to be put beside the likes of Zach Braff.

You can catch Liberal Arts out now in the US or October 5th in the UK. 

That's all for today's rather brief post, see ya next time.  

ATR

More Trailers

Trailer Tuesday: Looper

One film that's been making waves at the Toronto International Film Festival this past week is Looper: the ambitious time-hopping sci-fi, starring Bruce Willis and Joseph Gordon-Levitt. From visionary writer/director, Rian Johnson, Looper looks set to thrill with its no-holds-barred high concepts and wiz-bang action set pieces, all the while walking the very thin tight rope that is making time travel work. Here's the surprisingly detailed synopsis, from Wikipedia:

"In a futuristic gangland in the year 2044, a 25-year-old assassin named Joseph Simmons (Gordon-Levitt) works for a mafia company in Kansas City as a "Looper." Loopers kill and dispose of agents sent by their employers from corporate headquarters in Shanghai from the year 2074. Loopers are foot soldiers, paid on the condition that all targets must never escape. When Simmons recognizes his target as a future version of himself (Willis), his older self escapes after incapacitating him. The failure of his job causes his employers to come after him, forcing him to fight for his life as he hunts his older self" - Wikipedia

And now the pretty darn impressive trailer: 



Breakdown:

• 0:19 - "I don't want to talk about time travel" -- are we getting a tongue-in-cheek, direct reference to how difficult time travel is to explain and how Looper's going to potentially side step that? Meta nod + cut the crap = awesome.
• 0:24 - Yes, it is hard to believe that this is Joseph Gordon-Levitt, what with all the digital refiguring of his face to look like a younger Willis. Ah, Technology, will your limits ever be reached?
• 1:01 - English actress Emily Blunt co-stars as Sara, Simmon's love interest it seems.
• 1:04 - The tone of the city is said to be a mix of futuristic and retro themes, particularly focusing on a 1940s and 50s vibe with architecture, clothing and even the "gangster lifestyle".
• 1:21 - Hell yeah; The Newsroom star, Jeff Daniels portrays what looks like the Looper leader.
• 1:35 - Spin shots, motion runs -- Johnson's directional style will certainly be present.
• 2:09 - Perhaps time travel isn't the only Sci-Fi trope we'll be seeing as telekinesis and other physics-bending abilities come into play.
• 2:12 - Oh and Burlesque. Very physics-bendy. Well, bendy at least.
• 2:24 - The flashy title card is a refreshing break from the looming, solid metal fonts of the big-budget blockbusters of late, presenting a slight indie feel to this one (hence its place at opening TIIF).

And you don't even have to wait long for what is already being described as "this generation's Matrix", as it releases 28th of September. Originality, talent and a hell of a lot of potential; definitely one not to be missed. 

ATR

Step back in time with Trailers of the past!

Facehook: A Short Film

Finally, after over a year of waiting, I am happy to present Facehook: a short film from myself and three cohorts -- Ben Wilton, Joe Beesley and Max Newall. It wasn't easy, but after a long process Facehook was marked 50/50 from the exam board leader in Media Studies (GCSE Level) and won a Best Editing award at the school ceremony.

That don't make it a masterpiece, of course. It is instead a patchy first attempt that gives a somewhat visionary experience of what's inside the web, doing what it can with the limitations of iMovie (ours had probably the most fancy effects/editing in the school's mix). Also, very liberal with award-winning movie scores... See for yourself:

Feel free to Like, Comment and Subscribe
Clunky yet charming, right? Yeah kinda dark too. And congrats if you managed to keep up with those horrendous subtitles; you're a fast reader!

I will note that all my work was specifically behind camera (writing, directing, editing), although not exclusively down to me. Collaborative efforts and all that. However, the upload of this video marks the first project of DudeMeisterFilms, which will endeavour to bring more original content over the time (this time mostly down to me).

So stay sharp, and keep an eye out for any devious Stranger 116s out there...

ATR
Follow Me: @The_DudeMeister
Arnold Thornton-Rice

Trailer Tuesday: The Master

Auteur filmmaker Paul Thomas Anderson, previously responsible for the likes of Boogie Nights, Magnolia and There Will Be Blood, is back after a five year absence with The Master; a controversial drama inspired by the origins of 'religion'/cult, Scientology. No, it's not a biopic of Scientology founder, L. Ron Hubbard, and no, it's not even a "based on a true story" deal either. Anderson describes it really as a "narrative driven by these two guys, and their love for each other", that happens to use the "beginning of the movement" as an inspiration for the backdrop of these characters.

Here's the IMDb synopsis for you:

"A Naval veteran arrives home from war unsettled and uncertain of his future - until he is tantalized by The Cause and its charismatic leader." 

That 'Naval Veteran' being Joaquin Phoenix and the 'Charismatic Leader', Philip Seymour Hoffman. Expect some deep underlying themes of the search for meaning, especially since this all comes from the mind of Anderson, who can doubt hit those home to powerful effect. Intellectual. Artful. Most likely Award Winning.

Here's the Trailer:



Some points:

• It. Looks. BEAUTIFUL. 
• Amy Adams co-stars as Mary Sue Dodd, wife of Hoffman's cult-founder, Lancaster Dodd.
• This Lancaster fellow describes himself as "a writer, a doctor, a nuclear physicist, a theoretical philosopher, but above all, I am a Man." -- all things that Scientology founder L. Ron Hubbard claimed to be (which critics to this day work to debunk).  
• The cult in question, known simply as "The Cause", also draws many similarities to the ideas and the foundations behind Scientology: both begin to evolve after an eventful boat cruise, both involve an auditing scheme, both seem to be heavily scrutinized and both come from the ashes of one of the darkest times in Human history and an era of spiritual discovery of individualism (specifically the point of Phoenix's character).
• Despite this, Anderson has no intention to praise nor criticise the religion, but merely use its incredible story to fuel what is essentially a character study.    
• Not just heavy philosophy and character psych-pieces, it seems, as the motor-bike scene gives a glimpse of some fun in these men's tales.
• Think Joaquin Phoenix is standing weird at all? All part of his method acting, says Anderson, with a specific stance to give another layer to this character's physicality of a man lost in a post-war world. His approach was said to be of a Daniel Day-Lewis level of commitment. Yeah, that's pretty high.
•  It's obvious tension grows between the two leads, which could potentially be an electrifying conclusion when it reaches its head, especially if paired so masterfully with era-specific tunes of eeriness of the like seen here. 

                                                                                                     

A smart, original and compelling drama -- excited for sure. Actually a lot more than I thought I would be, down to this trailer's brilliance in conveying the wrought out connection of characters and stunning cinematography and direction. November 9th (UK) can't come quick enough for this -- yeah, I'm calling it -- Oscar Contender. 

ATR

Do your past failures bother you? Is your life a struggle? Is your behaviour erratic? Then you need more Trailers!

Trailer Tuesday: Cloud Atlas

For this week's trailer I've got a bit of a mind blower for you: Cloud Atlas, based on the novel of the same name, is a high-concept, sci-fi, drama, action, comedy, fantasy, romance -- let's just call it ambitious, okay? -- from the Matrix messiahs themselves, the Wachowsci siblings and German film-maker, Tom Tykwer. With names like Tom Hanks, Halle Berry and Jim Broadbent starring in multiple roles (such is the nature of this huge, universe-spanning film), it's hard not to get excited. And then you see this 5 minute long trailer. Jaw. Dropping.

This synopsis from YouTube commenter, eroilormafia gives a round-about idea of the complexity of how the story works:

"Cloud Atlas is based on the 2004 multi-award winning novel by David Mitchell. It consists of 6 loosely interconnected stories: an 1850 diary of an ocean voyage across the Pacific; letters from a composer to his friend; a thriller about a murder at a nuclear power plant; a farce about a publisher in a nursing home; a rebellious clone in futuristic Korea; and the tale of a tribe living in post-apocalyptic Hawaii, far in the future."

With any luck, that should do something to lessen the madness about to invade your mind. Now prepare for 342 seconds of mind-bending, no-holds-barred, incredible film making. THIS is why we go to the movies:

 

And if that wasn't enough to quell your appetite for this fresh foray of film, why not hear what the directors/writers themselves have to say:

_________________________________________________________________

No breakdown I'm afraid, (although seriously, do you really think I have anything more to say about THAT?) but my intrigue/excitement levels are at a high.  With such big talents behind it on almost every angle you look at it from, and a sincere "blessing" from the novel's author, David Mitchell, expectations are going to go through the roof; this ain't no Sucker Punch, that's for sure. To me, this seems like it comes from such an honest, human place; to talk about connection through reality and fantasy, covering every emotion along the way on its quest to unveil our condition. And just look at this -- it's a film from people that love films, a culmination of the tradition of film itself, engulfing us all in its rejuvenation of that old school spirit. Now to just grab a copy of that book and get a'reading before we set sail for Cloud Atlas on October 26, 2012.

ATR

I'll tell you what else is connected through a menagerie OF differences: more trailers!

Trailer Tuesday: Man of Steel

Hot on the heels of the huge release of The Dark Knight Rises comes next year's Superman Reboot, Man of Steel, which now has two separate trailers to tease the hell out of you. Starring newish Brit actor Henry Cavill (Immortals) as the legendary hero/bumbling reporter, Clark Kent, and Amy Adams (The Muppets, The Fighter) as the legendary love/kick-ass reporter, Lois Lane, this incarnation of the Superman story is rumoured to be taking the gritty Batman Begins route. With Zach Snyder (300, Watchmen, Sucker Punch) at the helm as director and The Dark Knight trilogy's very own Christopher Nolan on producing duties, Man of Steel is shaping up to be next Summer's most anticipated superhero blockbuster.

And for those unfamiliar with the origin story of DC's iconic character, here's the Wikipedia synopsis for the film (boy, do I know how to treat my readers!):

"Clark Kent is a journalist in his twenties who was adopted as a child by Martha and Jonathan Kent after he was transported to Earth from the dying planet Krypton. Raised with the values of his adoptive parents, he feels alienated because of his unique super abilities and struggles to find his place in life. When the world is attacked, he becomes the hero Superman to protect its people."

 Now down to the trailers. While both contain identical footage, each have a different voice over; the first from Clark's real Kryptonian father, Jor-El, played by Russell Crowe and the second featuring Clark's adopted Human father, Jonathan Kent, played by Kevin Costner. They're both bundled together in this video (720p!):



Dialogue Breakdown:
1) Jor-El:
"You will give the people an ideal to strive towards. They will race behind you, they will stumble, they will fall. But in time, they will join you in the Sun. In time, you will help them accomplish wonders."
2) Jonathan Kent:
"You're not just anyone. One day you're going to have to make a choice. You have to decide what kind of man you want to grow up to be; whoever that man is, good character or bad, he's going to change the world."

Both speak of the impact little Kal-El's presence will have on the human race, both highlight his extraordinary existence and both sound pretty moving. But in terms of differences, there are many. For one, Jor-El sounds like the pushy Dad forcing him to be good, whereas Jonathan with all his home-grown human sensibilities lends Clark the choice of who he wants to be. It seems this whole Father-Son relationship of how he is the product of both worlds will play a major part in his character development toward the hero the world needs him to be. Jor-El's piece even has some subtext of how Superman as an icon has been seen throughout the decades: "an ideal to strive towards". Mega kudos to David S Goyer, writer of the film and subsequently these snippets; they really hit home emotively on how truly epic and important Clark's journey is going to be -- but what else do you expect from the guy who brought us the stories for all three of Nolan Bat films?

Footage Breakdown:

• 0:09 - Lot of jeans. Lot of blue - a significant colour, perhaps? 
• 0:10 - And we pull back to see that the washing line belongs to a coastal house; could the origin story have been changed from Kent Farm, Midwest Smallville to Clark growing up instead on the Kent Farm, By The Ocean?
• 0:16 - And kick in with the score, pinched in fact from Lord of The Rings. This piece, The Bridge of Khazad-Dum, was used when Gandalf is supposedly killed by the Balrog. But before you write this one off as a "cheap re-use because they couldn't be bothered to make their own music", bear in mind that composer Hans Zimmer (also from Nolan's Bat) has only just come onto the project to score, hence the re-use. It happens. But rest assured, with Zimmer on board, the score is likely to just transcend into greatness. 

• 0:18-0:28 - Aha, boats and docks and a fisherman Clark, lending itself more and more to the "Coastal Kents" theory. Working the sea as opposed to working the land. OR maybe just a stepping stone in Clark's journey, who knows?
• 0:33 - Memories of Clark's, winning the science fair with his Dad. Let's not forget (as people often frustratingly do) that Superman is also a highly intellectual being with smarts aplenty, which from this suggests that the film will make a point of. And of course, the Father-Son stuff again.
• 0:35 - A young Clark, foreshadowing the future with the red cape, which comes off astoundingly bright in the greyish tone of the trailer. If there's one thing that Snyder can nail 100%, it's the visuals on a unique and unprecedented scale.
• 0:39 - Alien Hitchiker -- Clark's on the road, but rejected by a passer-by. This poses a lot of stuff; why is he trying to hitch-hike when he's got super speed? Does he lose his powers? Is he still learning his powers? Is he trying to fit in with humanity to better protect them? And the rejection promotes another part in Clark's journey: not all humans are good, but he must strive to see the best in them as to remain a constant beacon of hope for everyone. A challenge as good as any foe...
• 0:48 - Ah the Yellow Sun, the source of all of Superman's power. Could the Sun play a pivotal part in the plot outside of this mere concept though? And what's this misty land below? I see houses, perhaps Kent lands again? 

• 0:56 - Young Clark once more, but this time with a dog. Fingers crossed for Krypto the Superdog nods (ONLY nods, mind, in this decidedly realistic universe).

• 0:59 - Capes and reds again. Like I said, Snyder knows how to put on a show using colour and lighting and imagery to really make his films stand out, something that will give Man of Steel the visage it needs to distance itself from the previous Superman movies.
• 1:08-1:14 - And finally, just to give a single glimpse of Supes in action comes this shaky-cam style shot of a super-speed, costumed up, flight into the skies. The wobble and zoom and "slow miss" screams the realism and angle that Snyder and Co are coming from. It's akin to a rocket taking off, but gives no close-ups on Clark's face as he does this, as seen in Superman Returns etc.  Plus, imagine THIS in IMAX.
• 1:20 - Blocky, broody, metallic, beat-up, gritty, moody, darker title image with the iconic 'S', and a 2013 release date is all they're going to leave us hanging on. It'll be June 14th 2013, to be precise.

                                                                                                                       

Final Thoughts? Wow. Now that is how you do a teaser trailer. Snips, just tiny minuscule details that reveal near-to-nothing story-wise but pose hundreds of questions to speculate on in the coming months. I've usually got a string of comic-book stories that I can use to shed light on some influences the narrative may take, but I'm happy to see the team keep as tight lipped as possible through this to the point where I've no solid clue where they may draw from. I'm blown away with how much more I want to see now that this edgy, new approach has finally been seen. There's some Nolan elements in there, especially in the earthy presentation of it all -- you may not even think it was Superman until that last shot -- which is risky but potentially great. Imagine, in a world where everything is not-camped up and realised as a cynical, 'closer to reality' place, then the fantastical elements will just be made all the more awesome and incredible. Hell, I'm just gonna go ahead and say it; as of now THIS is my most anticipated movie of 2013. Faith in Nolan. Faith in Snyder. Faith in Goyer.

ATR

Is it bird? Is it a plane? No it's... More Trailers!

Trailer Tuesday: Dredd

Alright, to kick off my now free Summer, we're going back to the classic Dude Meister Blogs fashion of getting all Trailerly on a Tuesday. This week it was a toss up between the bad-ass looking 2000AD, Judge Dredd adaptation, Dredd or the flesh-fuelled abs-athon of Channing Tatum in Magic Mike. Despite how much we probably would all love to breakdown and dissect every single HD frame of that trailer, I've got to stick to what I know with this one. So without further ado, the synopsis (Of DREDD, just so we're sure):

"The story of Dredd takes place on an Earth ravaged by the Atomic Wars. Survivors of this world live within megacities, gargantuan urban sprawls which protect its citizens from the Cursed Earth, a radioactive desert environment populated by mutants. The main story takes place in Mega-City One, where its police force, known as judges have the power of judge, jury and executioner to thwart crime. One man, Judge Dredd (Karl Urban), a senior Judge, teams up with cadet Judge Anderson (Olivia Thirlby) to stop drug dealer Ma-Ma (Lena Headey) and her traffic of the reality-altering drug Slo-Mo." - Wikipedia (Hence the mega-linkage)

 And the trailer itself (brace for grittiness):

• 0:10-0:18 -  Dystopian future, rioting people, District 9 etc, etc.
• 0:21 - Aha, the SloMo drug. Sounds pretty intriguing, especially with the vivid visual style applied, and of course, the La Roux track. 
• 0:38 - Why yes, that evil looking lady there does look particularly evil, perhaps because she (Lena Headey) also plays the cold Cersei Lannister in HBO's Game of Thrones. Expect this crime-queen to be a little more hands-on in her approach to opposition.  
• 0:52 - The Judge himself, Karl Urban (Star Trek) as Dredd.

• 0:55-1:01 - Gritty definitely seems to be on the menu, steering away from the big sci-fi feel of the 2000AD Comics (upon which this comes from) and sticking with a realism mode, as is the trend these days. 

• 1:03 - The Dark Knight seems to spring to mind...
• 1:26-1:35 - A lot of online comments have said this is too similar to recent action flick, The Raid, and whilst I can see where they're coming from, let's keep in mind that this was written sometime before that, just bad timing is all.
• 1:40 - Now this is the only thing that bothers me about this trailer, and it may be because it's all taken out of context, but the dialogue just seems bland. Predictable, action-cliche lines that you wouldn't expect from writer Alex Garland (28 Days Later, Never Let Me Go). Although some of these are obviously justified ("I am the law", "Negotiation's over") as they're kind of embedded in the 2000AD lore. So we'll see...
• 2:07-2:16 - One of the most exciting things here for sure, demonstrated perfectly in these clips is the visual/directional take on the action and cinematography. The vibrant colours juxtaposed to Dredd's leather, Black 'n' Red, visor toting uniform works harmoniously in showing the two sides of this battle; the law is in the right, but it's certainly a darker task to undertake: grimmer, lonelier and harder than the lives of those colourful criminals. Add on top that strikingly high-res visor reflection image, the gracefulness of the violent Slow-Mo shots and then the sudden visceral onslaught of a dust-covered shoot-up, and you've got yourself some skilful technique. Hats off to director Pete Travis, it seems. 
• 2:20 - Simple title, simple font. 3D - maybe a decent use of it for once? 
• 2:24 - I sure do hope this clip didn't just spoil the ending; Dredd throwing what looks like the evil Ma Ma out a high window, which they may have just spent the rest of the film trying to get to by ascending and assaulting this tower block? 
• 2:26 - Guess we're just going to have to find out September 7th. 

                                                                                                                                              

Final Thoughts? Intriguing, but it could still go either way despite the aesthetic and directional attributes on display. It's a tricky balance to keep: being grittily bare-bones for the sake of having a punctual setting and theme or just looking plain cheap. Let's hope it leans toward the former. 
Story? Within the hands of Garland, I have some faith in that at least, even if the dialogue is sub par. From the varied locations of shots here, it seems like the pacing could be tight and the set-pieces a splendid feast. Only qualm with that would be whether the characters will be able to keep up and develop. 
Performances? The actors aren't exactly shown greatly here, so that's still up in the air, although their action abilities seem to be stretched well and Urban's gruff voice in full grunty mode. 
Music? The trailer featured an array, from some trippy future pop that worked okay, to standard bassy-action tropes and surprisingly some emotional melodies heard now and again which gives extra hope for perhaps not an entire action-fest. Perhaps even some of the social commentary that 2000AD often dips into?


Anyway, however this turns out, I think we can guarantee it'll be an improvement on the 1995 Stallone Judge Dredd. Or so help us all. 


ATR

RE:View: The Cabin in The Woods

*SPOILER FREE* (Which is essential for this!)

The funny thing about current horror movies - or torture porn, as they're often referred to - is the sheer emptiness of them. You pay, you sit down, you watch 90 minutes of kids getting murdered as gruesomely as possible and then you leave. There's no meaning or investment needed, and when truly thought about is a very nihilistic view of morals. Which is where The Cabin in The Woods comes in, to set the records straight and turn the horror flick on its head; but not in the ways you might think...

  Naturally, a bunch of teenagers visit a cabin and realise that all may not be what it seems, but in a sense far detached from your simple supernatural occurrences. Because in this Cabin in The Woods, lies something perhaps even darker than your average slasher tale, as these five are going to find out, at quite a cost.

The affectionate nods and references to
 the classics are a welcome sight.
 For us, anyway...

Why yes, even with that undertone, what I have just described may still sound generic, but believe me when I say this: IT IS NOT. There's this unique counter-perspective to the proceedings that remarkably puts the entire genre in a new light; a spin that melds sweetly and should certainly be kept secret until you've seen the film. Half the enjoyment of Cabin comes with the surprise of this one-of-a-kind story, which isn't even held over you up to the end: just straight up, first scene twist to get the ball rolling (albeit rolling upwards).

The deliberateness of this never feels forced, thanks to the handy work of Drew Goddard (Director/Co-Writer) and Joss Whedon (Writer), who instead throw the loop at a steady, well kept pace. Both sides of the narrative are balanced, allowing enough investment into each set of characters and worlds, despite one half of these being the morbidly optimistic villains and the other a group of familiar yet updated archetypes of teenagers.

And by updated, I mean believable. Because seriously, do you really think teenagers are that dumb to always split up? No, see these guys are smart, forward thinking kids who don't lack the common sense that apparently every other cabin-bound teen does (unless that becomes induced on them, of course...). Such maturity is then reflected with their relatively newbie cast, with Chris Hemsworth as probably the most recognisable due to his whole Thor gig. However, the true standout of these is Fran Kranz as the magnetically charming "Fool", Marty. From this side of the ride, Kranz steals the show with his stoner-yet-wisdom strewn persona, nailing all the damn-right delicious one-liners thrown his way (courtesy of Whedon, I've no doubt). This could well be his star-maker...

On the super-secret flip side, you've got an abundance of unexpected laughs. Again, the undeclared shape of The Cabin in The Woods still surprises with its multi-genre bending ingenuity. While the genuine scares remain ever scarce (sorry fear-fans, this isn't quite the scream fest you're looking for), you can expect plenty of humourous gags and set-ups that may as well have been in a straight-up comedy. Which in fact works better throughout to help detail the subtext lurking underneath the 95 minutes of pure entertainment.

The thing is with Cabin, you don't just walk out with a smile on your face; you're imparted with something overwhelming to ponder upon - How is watching people die fun? How did the genre get to the point where its main selling point was to watch human mutilation? So it takes these ideas and throws them back at the audience. Sure there are some gruesome deaths in here, but they've got weight to them: you've warmed to the character, you don't want to see them die, you feel their loss. In this sense, it isn't so much poking fun at those immoral conventions as it is ripping its stale heart out and presenting it for all to see, via a string of self-aware, mind-screwing metaness.

It may not be to everyone's taste, to be thrust upon with the truth that what you might have wanted from this film (torture porn) is ultimately not right. Though that's what makes it so good, the bluntness of this point, yet the subtlety of its delivery. Some may not even notice it, but still thoroughly love the film, whilst those who totally get it will totally get it AND thoroughly love the film.

So when The Cabin in The Woods reaches its converging third act of bizarre havoc and satisfying plot turn-arounds, and you've come to terms with the fact that this was not necessarily the film you paid for, I'd say you'll be pretty damn glad you were mislead into this soon-to-be classic genre-buster.

Change is good. But an entire overhaul of expectation? Now that's amazing.

5 Stars

ATR

         

Trailer Tuesday: Ted

From Family Guy creator and American comedian, Seth MacFarlane, comes his first feature film in the shape of Ted. Naturally, with Seth writing/directing/starring/producing, there will be a very FG-esque feel to it, which thankfully looks to be refreshing and funny in the shape of a cinematic production. Let's get to synopsisising:

Mark Wahlberg plays John, a perfectly normal Boston native whose childhood wish for his teddy bear to come to life comes true. The bear (Ted) — voiced by MacFarlane himself — remains his best friend well into his adult years. Conflict emerges when Ted's irresponsible and vulgar slacker lifestyle comes in the way of John's attempt to embrace his adulthood and the woman of his dreams, Lori (Mila Kunis). - Wikipedia.

And now for the trailer, which briefly boasts Universal's brand new logo update! Ah, it's the little things. Anyway, there be plenty o' cussin' in this trailer, just so y'know:

Fun Facts/Observations:

• Stars Mila Kunis, who also voices Meg in Family Guy: yep, kinda a different in real life, huh? 
• Total Seth set-up going on, with a random character who shouldn't be talking doing just that and no-one giving a hoot, a la Brian the dog, or Roger the alien. And of course, lots of inappropriate profanity, drug use and obnoxiousness. But this time, in live-action form!
• Sounds a lot like You, Me and Dupree crossed with Pegg 'n' Frost's Paul, which seems like a good combo on paper, and plays out fairly well here. 
• Community's Joel McHale will be making an appearance at some point in the movie as a guy called Rex. Here's hoping for some doucheness from his performance.
• First time directing on a feature for Seth, so it'll be interesting to see how his award-winning Family Guy formula will transition from animated 2D TV, to a fully realised live action movie. 
• Release date is 13th July in the States, with an apparent 3rd August launch in the UK.  

ATR

 

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Trailer Tuesday: Movie:The Movie

Technically not an actual movie, but a fun little jab at Hollywood's most popular genres, Movie:The Movie is a must see 9 Minute short featuring many, many familiar faces. Check it out:

Yup, that's that.

Stay tuned as I've caught wind that a new Avengers trailer is launching tomorrow, which is just begging for a breakdown...

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ATR

RE:View: The Muppets

Spoiler Level: Minor

After years of minor TV movies and cameo appearances, The Muppets finally return to the big screen, and they're bringing all their charm, magic and beauty with them. Yes, despite all the worry, The Muppets come-back is a spectacular one that doesn't take itself too seriously, in true Muppets style, and delivers on almost every level.

  The story sees mega-Muppet fan brothers Walter (a little Muppety man in his own right) and Gary (Jason Segel, who also co-wrote and got this whole thing together), as they make their way to LA to see the legendary Muppets' Studios, along with Gary's long-time girlfriend, Mary (Amy Adams). But little do they know that their journey is going to involve reuniting their heroes, The Muppets to save their theatre from evil oil baron, Tex Richman (Chris Cooper).

This set-up to reintroduce the Muppets to a world from which they were staling with a humbling self-referential cheek, is what gives the story a very warm heart that hearkens back to the Henson days of Muppetery. In other hands, this could have seemed like a cheap and easy way to make another Muppets film, but in Segel (a self-proclaimed Muppet-nut himself) and director James Bobin's hands, it just works. Segel's love for the Muppets is ever present in the charming script, with some definite connections between his own fandom and the characters of Walter and Gary.

An old favourite and a new favourite.

With Walter, the team have truly struck gold, presenting one of the most likeable, relatable characters I've ever encountered. If you don't immediately fall in love with him, I think it's safe to say you have no heart. Not only that, but he's given a wealth of development despite the lime-light being shared between Kermit, Miss Piggy and everyone else. Watching Walter fulfil his destiny in becoming a Muppet is a heart-touching experience, worthy of any good Human centred story; perhaps even exceeding it in terms of emotional beauty.

Once Walter, Gary and Mary are all set up into proceedings, the film kicks into nostalgic high gear with the entrance of Kermit and his buds. Taking on a classic "We're getting the band back to together" vibe, we get to see the "Where are they now?" for the old gang, including Fozzie as a failed motel entertainer, Gonzo as a plumbing entrepreneur and Piggy as the editor of Vogue magazine. Again, the universal wit of The Muppets shines through this, giving out laughs for the kids, the adults and even a few subtle ones for the adult adults. One Liners, Set Piece Gags, Running Puns, Meta Mocking and "What's Going on In The Background There?" are all at the very forefront of the jokes, with the hits far more frequent than the 1 or 2 misses.

  The characters still feel like the ones we'd left behind, saying what you'd expect and acting as they would, resonating the Henson/Oz spirit that made them the cult-phenomenon that they are today. When they get on that stage for the "Save The Muppets Telethon Spectacular Show", everything comes flooding back and you just live in that Muppet world for those moments. The transition into a new era has gone as smooth as it could; the magic always intact - never the thought of "there's actually a bunch of dudes with their hands up some puppets behind it all". The truth is that when you see Kermit sitting on that log with his little banjo, singing "Rainbow Connection" with the same innocent earnest as he did 33 years ago, it is just pure, undeniable movie magic. Heart-String-Tugging indeed.

 Which brings me to the music, because of course, it wouldn't be the Muppets if there wasn't any giggle-a-long (and often strikingly meaningful and touching) songs. Flight of The Conchord's Bret McKenzie provides some of the greatest Musical numbers - even by Broadway standards - that you'll hear in a long time. Alongside the classic Muppet tunes and some renowned pop hits that have been "Muppetefied", McKenzie, like Segal, has embodied the old school Henson style, with the shiny, upbeat "Life's A Happy Song", the brilliant, Oscar Nominated ballad, "Man Or Muppet" and the villainous "Let's Talk About Me" rap from Chris Cooper (which comes off hilariously dastardly - hilarstardly). Tongue in cheek and gloriously Muppety, these new songs are sure to be well remembered, repeated and rejoiced. Oh, and the Conchord's style is so awesomely echoed throughout.

Ah, and the cameos, the glorious, glorious cameos. Whilst some may be missed by those less familiar with American TV and culture, those that get them will be overwhelmingly pleased. Their presence is frequent, with some well loved show-biz faces popping up in some delightfully funny places.  Believe me, one in particular was so exciting and genius that I was giddy beyond belief. And naturally, they all reappear in the during-credits "Mah Na Mah Na" theme, to much (in my head) applause.

 Sure it's got its flaws; some things don't get enough time as they deserve to truly flourish, predominantly in the relationship between Mary and Gary which feels a tad rushed and unfocused. A few Muppets, while featured, seem neglected (more Gonzo, Rizzo and Sam The Eagle please!), but it's justified with the obvious time constraints. Baddie Richman could have done with some extra motif via exposition too, but that does get cleared up in a cut section of his rap.

 But this is The Muppets: those things don't matter. We're not looking at an ultra serious movie here, after all. It's got all the elements it needs, and is fuelled by them to no end, resulting in an almost perfect rendition of The Muppets to date. And it's like Henson always said: "If it's too good, then it's not the Muppets". What Segel, Bobin and McKenzie have done is extraordinary; a true movie feat - to take something that's relevance was fading, and replenish it to audiences which will remember and love and crave, want, whistle and cry for more. One thing's for sure: THE MUPPETS ARE BACK.

The Beloved just got Reloved:

4.5/5 Stars
*Kermit Flail*

ATR

And stay posted for my upcoming review on The Muppets Original Soundtrack!

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Trailer Tuesday: Abraham Lincoln: Vampire Hunter

This week has seen the release of the first trailer for Abraham Lincoln: Vampire Hunter, featuring everybody's favourite Founding Father, and a bunch of evil, blood sucking vamps. Tim Burton's attached (to no surprise), but Johnny Depp isn't (to much surprise). So feast your eyes on this here trailer, complete with state of the art, essential bass drops - because these days, a trailer isn't a trailer without them.



Yes, this is an actual thing, and comes from a novel of the same name. The author has also written the much praised Pride and Prejudice and Zombies, which sadly hasn't yet got the screen adaptation it deserves. "Oh Mr Darcy, your brains are so divinely exquisite".

     Later on this year comes Spielberg's very own take on Honest Abe, starring Daniel Day-Lewis as the man himself, in Lincoln (an odd name, I know). Well that may be all well and good, and a sure-fire Award Baiter, I doubt it'll have the top-hat wearing Pressie wielding huge axes and pulling off unimaginable stunts. Then again, I've been wrong before...

ATR

RE:View: War Horse

First a children's novel in 1982, then a hit stage adaptation in 2007, and now a massive motion picture helmed by the generation's most iconic director, War Horse's rising commercial success is almost an exact parallel of the story it tells within its self. After being thrust into unfamiliar territory, far from its humbling roots, both the evolution of this tale's adaptations and its very own hero, Joey (a born and bred British horse) rise to their respective occasions and thrive throughout their new-found paths: both on a road lined with shining gold, if this year's award nominations are to go by. Because War Horse, in true Spielbergian style, is as classically retold as the day it was written - albeit with an even larger focus on tradition, emotion and all around heart.

   Young farm lad, Albert (newcomer, Jeremy Irvine, who proves to be quite the up-and-comer) is in a state of crisis when his home and family come into some serious financial problems, worsened further when his father buys a particularly strapping young horse, Joey. But the Albert and Joey phenomenally, and when Joey is sold on to serve the country in the Great War, Albert swiftly signs up to find him, leading them both into the terrifying scenarios of the First World War.

As Joey goes along his journey, his reigns are frequently swapped among the movie's supporting cast. Beginning with British cavalry men, played by rising British stars Benedict Cumberbatch (Sherlock) and Tom Hiddleston (Loki in Thor/Avengers), onto two German brothers, a sick French girl and her Grandfather, and ending up in No-Man's land, where two rival nation's morals are tested in a touching, humorous encounter worthy of applause.

   Throughout Joey's adventure, his faithful owner Albert pursues him, and the two's situations are mirrored in each others. With this narrative device in play, things could have become over done - the parallels between our protagonists made too obvious - but luckily, it maintains its beauty by becoming a subtle addition to the story arc, one that may not even be noticed until after leaving the cinema. This now subconscious link between them lets us in on more of a connection that eventually aids in the eye watering finale, which comes in a such a full-circle way that it's an actual challenge to keep that lump in your throat down.

Spielberg really hones in on the raw emotion of the dramatic scenes, giving each character stage a different flair in terms of tone and heart. When matched with John Williams' thriving score of wartime brass and some astounding woodwind, you've got a living, breathing beast of a film, packed to the brim with compelling moments that tug at the heart strings, even after the credits have rolled.

   Coupled with his regular cinematographer, Janusz Kaminski, Spielberg presents trench warfare and the battlefields of WWI with a sincere level of accuracy. While these scenes remain action-focused, they steer clear of intense blood and gore (Private Ryan, this is not) and instead linger on something more profound, with the actual genuine scare factor of these heightened with the urgency of the battle. And when the fighting is off screen, the time period still shows not just in terms of the story, but in the way a classic, 1940s war film would have been shot.

The gold brazened fields of Devon stand bright among the creative angles Kaminski takes with his photography, lending some of his most beautiful work to date with the tasteful scene transitions (ploughing fields into knit wear=genius) and the occasional clever cover up for death (a windmill craftily conceals an execution). It's this innovation in its storytelling that gives War Horse an edge over other companion based tear jerkers, because all the while our heroes are galivanting about in the forefront, these slight insinuations of a wider world where the reality is as grim as it gets, reminds us of how high the stakes are, and how this is very much rooted in history in an almost mythological way.

  With such a deep and moving tale, Spielberg shines, bringing the very same - if not higher - emotional notes that made his career what it is. It's epic, bold and emotive, yet doesn't shy away from some typical British humour, furthering the pure potential of enjoyment. Without over stepping the mark in melodrama, we're treated to an uplifting tale of charm, ultimately boiling down to a true study of the human spirit and all its vulnerabilities. Friendship has never been more poignant.

See it for Spielberg, see it for the History, see it for the magnificent visuals, and above all, see it for the beauty. This is an emotionally charged, highly driven piece of cinema, which gives as good as it gets. Spielberg delivers on a stunningly moving movie, with enough warmth to get you through the 146 minute runtime without the slightest regret. Blistering powerful: you will need tissues.

5/5 Stars

ATR

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Trailer Tuesday: The Hobbit: An Unexpected Journey

A little late, I admit, but I can't just let such a monumental trailer slip by without my most humble of dissections. Yes, we shall be returning to Middle-Earth this December when Peter Jackson's highly anticipated prequel to the epic Lord of The Rings trilogy finally hits cinemas, in an unprecedented level of 3D with 48 Frames per Second (that's good). Without further a-do, here's the synopsis for any Shire dwellers out there less acquainted with the tale:

"The adventure follows the journey of title character Bilbo Baggins, who is swept into an epic quest to reclaim the lost Dwarf Kingdom of Erebor from the fearsome dragon Smaug. Approached out of the blue by the wizard Gandalf the Grey, Bilbo finds himself joining a company of thirteen dwarves led by the legendary warrior, Thorin Oakenshield. Their journey will take them into the Wild; through treacherous lands swarming with Goblins and Orcs, deadly Wargs and Giant Spiders, Shapeshifters and Sorcerers." - Warner Bros

And prepare to get all goose-bumpy with the trailer to rule them all:



Now prepare to get all knowledgeable with my breakdown:

• 0:12 - Ah, even that music (produced once more by Howard Shore) takes me back... Especially when we can see the welcome return of Frodo (Elijah Wood) and an old Bilbo (Ian Holm), standing Hobbitly in the Shire during this prologue scene. The film is, after all, going to be seen through their eyes as they read of Bilbo's past escapades.
• 0:23 - And so we come to the real star of this story, a young Bilbo Baggins, marvellously captured by fan favourite, Martin Freeman (of Sherlock fame). Of course, pipes are a-go-go, as well as everyone's favourite wizard, Gandalf the Grey (Sir Ian McKellen).

• 0:29-0:33 - Hobbits can only really ride ponies, as Bilbo demonstrates, while he gathers stock around the Shire markets with that awfully long list the Dwarves give him at the beginning, seen at 0:32. From these short clips alone, it's easy to see why Freeman got the role; looks the part, sounds the part and can really nail the humourous elements of Tolkien's and Jackson's writing.

• 0:35-0:50 - It's Dwarf time! This recreation of the memorable first chapter in which the 13 Dwarves accompany Bilbo for an impromptu party looks very true to form and we get to see each of them (briefly) in action. First up is the youngest of the troupe, brothers Fili and Kili, the latter you may recognise as Being Human's Aidan Turner. Smoking Oin is next, followed by Gloin (father of Gimli!), and then the brutal Dwalin and look-out Balin.  Next is the three cousins, Bifur, funny-guy Bofur (James Nesbitt) and the comically enormous, food consumer Bombur. Nearly there now, with the brothers Ori, Nori and Dori, each with their own physical traits. And finally we have their leader, the mighty Thorin Oakenshield, played by another British actor, Richard Armitage.  
• 0:55-1:15 - As well as all being kick-ass in battle, the group can also lay down some awesome bassy tunes. This is where the spine-shivers start, people, as the Dwarves eerily recite the classic "Over The Misty Mountains", one of many of Tolkien's compositions. Jackson has promised there'll be a greater focus on the music lore of the book, and this definitely backs that claim. 
• 1:19 - Gandalf on his own? This looks like one of the many new scenes created for the film, that fill us in on why the hell Gandalf keeps wandering off. Looks like trouble... Could it be the Necromancer, which has been confirmed as turning up at some point (in the shape of Sherlock himself, Benedict Cumberbatch!)...
• 1:24 - Bilbo finds the broken sword at Elrond's home in Rivendell, another early part of the book. 
• 1:31 - Wait, what? Gandalf and Galadriel (Cate Blanchett), romance sub-plot!? That's certainly... new. Not sure whether to be intrigued by this new angle, or grossed out... 
• 1:36 - More Gandalf "lone-wolving".

• 1:43 - Bilbo draws, for the first time, the legendary sword, Sting, the very same weapon Frodo adopts in years to come. 
• 1:50 - Alright, let's kick this into high gear. With increased tempo (and trumpets) comes those beautiful scenic shots of Middle Earth, also known as New Zealand, as the gang head up toward the daunting Misty Mountains.
• 1:58 - Who exactly is Gandalf fighting in these shots? Necromancer? Goblin/Orc? James Corden!?
• 1:59 - If you pause quickly you'll see some of the dwarves rushing the Trolls from the book's early stages. Mutton, ahoy!
• 2:01 - And if you pause again here you'll see (SPOILER ALERT) Gandalf casting that great beam of searing light to turn those aforementioned trolls to stone. (SPOILER OVER)
• 2:02 - The Dwarven floods wreak havoc on Bilbo's homely hole. 
• 2:12 - Recognise that bit of bling? Yup, that's the One Ring alright. Looking somewhat younger here too - it's amazing what movie magic can do these days.
• 2:25 - A familiar voice... Riddle games with Gollum (Andy Serkis, no less) are sure to be tense...
• 2:29 - December 14th 2012. Luckily just before the apocalypse, allowing you to see it roughly 21 times before we all die. And don't forget that 3D, because this could be just what the tired gimmick needs to revitalise. 

Yes it's still nearly a year out, but you can't rush perfection. Plus this is only the first part, with the second coming one year later, in There and Back Again (which was the title of Bilbo's finished book in the story). This part alone is already running on odds of 3-1 to win a whopping 11 Oscars next year, following in the footsteps of The Return of The King. So until December, make sure you don't die, go blind or deaf or enter a coma, because YOU WILL NOT WANT TO MISS THIS FILM.

ATR

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