Posted on Wednesday, December 4th, 2013 by David Chen
Spike Lee’s Oldboy is a curiosity to be sure, a remake of a bizarre, twisted, gruesome Korean thriller. Most people thought Lee’s film was pretty terrible, and while I don’t have too many positive things to say about it, I did find it fascinating to compare the decisions that Lee made with those that Park Chan-wook made in his 2003 cult classic version of the story.
After the jump, you’ll find five reasons why I thought Lee’s version is inferior to Park Chan-Wook’s version. And please share your own opinions on the two films in the comments. Assume SPOILERS lie within the comments and the video. For more on the making of Oldboy, see Germain’s interview with Spike Lee and writer Mark Protosevich.
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Two big video retrospectives landed this week, celebrating the films and trailers of 2013. The first is a mashup of every trailer released so far this year That’s a big task, and there have to be trailers that didn’t make the cut, but there’s a shot culled from every major trailer here. The other is from Film.com writer David Ehrlich, who did a great job cutting together his own Top 25 list. Read More »
What inspired Electro’s power in The Amazing Spider-Man 2? Want to see Batman’s ride in The Lego Movie? How did Twitter react to the casting of Wonder Woman? Does Henry Cavill see similarities between Batman and Superman? Did X-Force creator Rob Liefeld like the film’s script? Is there a second screen experience on The Wolverine Blu-ray? Read about all this and more in today’s Superhero Bits. Read More »
Briefly: The new film from Babel, 21 Grams, and Biutiful director Alejandro González Iñárritu is a comedy of sorts, Birdman, about a washed-up superhero. But since we haven’t seen that yet it’s difficult to think of the director outside the dour confines of his major features. And so it’s weird to think about him making a version of The Jungle Book, based on Rudyard Kipling‘s novel about a young boy who is raised by animals.
Granted, this isn’t the Disney version, which has Jon Favreau attached to direct. This Jungle Book is at Warner Bros. — a studio that likes its big movies to be a lot more serious than what Disney would be after — and has a script from Callie Kloves with Steve Kloves (Harry Potter) producing. How will it be different from the Disney version? There’s no doubt that the tone will be darker, or more “realistic,” but otherwise we don’t have much indication.
At this point Iñárritu is not signed, and there’s no indication of how the film will be cast. [Deadline]
Legendary and Universal Pictures have announced the cast of the big screen adaptation of Warcraft. Find out the details after the jump.
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Posted on Wednesday, December 4th, 2013 by Angie Han
Darth Vader signs up for Instagram, and posts his very first selfie. Also after the jump:
- Michael B. Jordan addresses those Episode VII rumors
- Katee Sachkoff teases big news, but it’s not Star Wars related
- David Prowse would like to see Darth Vader resurrected
- The Star Wars Identities exhibit will head to Paris next year
- Han Solo’s DL-44 blaster is going up for auction this month
- Is EA Vancouver working on an open-world Star Wars game?
- Why has Disneyland‘s Star Wars land really been delayed?
- Check out a behind-the-scenes video from Star Wars: Rebels
- Take a peek at the new Star Wars art available on Acme Direct
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Michael Bay, once again, is his own worst critic.
In 2011, the action director used the word “crap” to describe the mystical storyline of Transformers: Revenge of the Fallen. (Read the full quote here.) At the time, he was confident the third film, Transformers: Dark of the Moon, would be better. Fast forward to 2013 and, discussing the upcoming fourth Transformers installment, Transformers: Age of Extinction, Bay has once again criticized his previous work, this time saying the third film was “a bit too goofy.” Read More »
The Coen Brothers‘ new film is Inside Llewyn Davis, and this one is particularly special. It’s a beautiful, bleak picture. One of the characteristics of the movie is a silky, strangely luminous color palette that relies on subdued silvery grey and faded browns. It’s nearly black and white.
That led me back to the brothers’ 2001 film, The Man Who Wasn’t There. Released in black and white, the film was shot in color — with a palette not dissimilar from that of Inside Llewyn Davis — and then graded to B&W in post-production.
A color version of the movie was also finished for contractual reasons, and released on DVD in markets such as France and South Korea. Though the movie wasn’t really intended to be seen in color (most of the making-of shots you’ll see are even B&W) it’s still an interesting way to see the film. Below, see a long color clip from that version, and watch an interview with the Coens talking about its creation. Read More »
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