San Diego Comic-Con International’s Hall H is the stuff of geek legend. Every summer, nearly 7,000 fans pack this convention center hall for the promise of seeing their favorite filmmakers, actors and creators showing a sneak preview of some of the biggest and most anticipated films. For example, James Cameron showed up at the Hall in 2009 to give fans an unprecedented first look at Avatar.
But as technology has gotten smaller and harder to detect, piracy has become a huge problem for movie studios exhibiting at Comic-Con. You see, most of the footage they show at the event is super early and unfinished, not meant for the masses around the world — certainly not meant for blogs like ours to do frame-by-frame breakdowns of (note: we never publish pirated footage). And now 20th Century Fox is apparently not coming to Comic-Con 2016 because “the studio feels it cannot prevent the piracy of custom trailers and exclusive footage.” Hit the jump and I’ll explain why Fox skipping Comic-Con is not the right way of handling this issue.
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Last night brought us the season premiere of Game of Thrones season 6 and (dramatic drumroll, please)…it was a fairly typical Game of Thrones season premiere. By now, we all know the pattern: every season of HBO’s flagship series starts slow, assembling the players in their various formations and shifting the landscape, before dropping something big around episode four. And then things escalate and get nuttier and wilder until episode eight or nine, when everything comes tumbling down in the most dramatic fashion possible. And then episode ten lays the groundwork for the next season. I love this show, but let’s face it: you can set your watch to its patterns.
So when I say that the first episode of the new season is just good and not great, I say that as someone who knows that Game of Thrones never shows its hand too early. “The Red Woman” was not about dramatic reveals (although there were one or two) or huge action beats (although there were one or two) and even game-changing character decisions (although there were one or two). It was entirely about maneuvering everyone into place so it can deliver the goods at a later date. Game of Thrones takes its time, but it tends to reward your patience. With that said, let’s dive into this episode and run down the important stuff, shall we?
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Mondo has again teamed with filmmaker Quentin Tarantino to release a poster print for his latest film, The Hateful Eight. Created by artist Jason Edmiston, we are excited to exclusively premiere this new print, which will be offered as a timed edition — which means that unlike with the usual super limited edition Mondo prints, you’ll have an opportunity to buy one of these if you really want it. And if you like this film you won’t want to miss out. Find out the details on the timed edition and learn about a special insert that will be randomly inserted into one lucky fan’s poster tube.
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Posted on Monday, April 18th, 2016 by Angie Han
Earlier this year Chris Rock caused a minor kerfuffle at the Oscars when he took the stage to take on Hollywood’s mistreatment of black people… only to crack jokes at the expense of Asian people. The tasteless jokes underlined what I think many Asians and Asian-Americans have long suspected: that the push for more “diversity” and “inclusion” in Hollywood does not extend to us. That to them, we aren’t worthy of respect or consideration or even common courtesy.
Last week, two major projects further drove that point home. On Tuesday night, Marvel dropped the first trailer for Doctor Strange, rich in Orientalist undertones and featuring a white woman (Tilda Swinton) as a racebent version of an Asian character. Then on Thursday, Paramount and DreamWorks unveiled the first official still from the anime adaptation Ghost in the Shell, starring another white woman (Scarlett Johansson) as a character named “Motoko Kusanagi” in the source material. Whitewashing is a tradition as old as Hollywood itself. Still, you’d think that after the Oscars misstep, and the Emma Stone in Aloha dustup, and the The Last Airbender and Exodus: Gods and Kings and Pan and Gods of Egypt controversies, Hollywood would have learned its lesson. Doctor Strange and Ghost in the Shell suggest that they most certainly have not. Read More »
We’ve been reporting on Disney’s Star Wars Land for years now, from the rumored development to the official announcement at D23 Expo 2015. But we still don’t know the official name for this “gateway planet located on the outer rim,” which is currently under construction in both Disneyland in Anaheim California and Hollywood Studios in Orlando Florida. Now, however, a good source claims to know what Star Wars Land will be called. Find out, after the jump.
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The Top 20 Stories of the Week are the stories we think you should check out on /Film from the previous week.
This week brought a whole slew of Marvel updates concerning The Defenders, Spider-Man: Homecoming, Thor: Ragnarok, Guardians of the Galaxy 3 and more. Plus, there’s casting updates for Kingsman 2: The Golden Circle, coverage from CinemaCon, more exclusive sneak peeks from behind the scenes of Finding Dory, and news of yet another Avatar sequel.
In addition, we’ve got new trailers for the sixth season of Game of Thrones, Fantastic Beasts & Where to Find Them, Teenage Mutant Ninja Turtles 2: Out of the Shadows, Suicide Squad, Doctor Strange and a couple more.
See all of the Top 20 Stories of the Week after the jump. Read More »
There’s something odd about the trailer for Can’t Stop The Music. Actually, scratch that, there’s a lot that’s odd. But, as a writer, I noticed something odd about how the narrator introduced the film. After proclaiming this to be “the musical extravaganza that launches the 80s,” he then introduces the movie by saying, “It’s Allan Carr’s Can’t Stop The Music.” Typically, that apostrophe-S, possessive descriptor is reserved for the film’s director (especially so when the director also writes the script).
But in this case, Carr was neither the director nor the writer, which got me wondering: what made this his film? What did the producer of Can’t Stop The Music get billing like that? Like I said: something odd. But after a little investigation into the making of one of Hollywood’s biggest flops, it makes complete sense. Here’s why…
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Posted on Friday, April 15th, 2016 by Angie Han
Between Sean Parker’s Screening Room and AMC’s tentatively proposed (and quickly discarded) texting-allowed policy, we’ve seen a lot of debate in recent weeks about the sanctity (or lack thereof) of the theatrical experience. Cinephiles will swear up and down that a pristine movie theater is the only proper way to enjoy a movie — and I tend to agree — but the truth is that for a lot of moviegoers, the drawbacks outweigh the benefits. Why fork over $100 for tickets and popcorn and a babysitter, put up with screaming kids and sticky floors, when you can just rent something from the comfort of your own couch? So what if you’re missing out on 3D and giant screens and surround sound?
Jon Favreau‘s The Jungle Book is the answer to that “so what.” It’s a technical achievement on par with Avatar and Life of Pi, the kind of cutting-edge stunner that actually justifies all the extra premiums and hassles associated with 3D and the theater experience in general. If you’re planning to see this movie at all, see it in 3D while it’s still in theaters. The film’s heart and humor will still be intact when it reaches home video, and thank goodness for that, but the magic of its special effects is on another level altogether. Read More »
Last month, I traveled to the Monterey Bay Aquarium to talk to Andrew Stanton and the filmmakers of Pixar’s upcoming Finding Nemo sequel Finding Dory. On my visit, I got to preview 30 minutes of the upcoming film and chat with many of the filmmakers at Pixar who are creating Dory’s next adventure. But not only that, I got to learn how Pixar took multiple research trips to the Monterey Bay Aquarium, which served as inspiration for the Marine Life Institute seen in the final film.
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