Any time artist Tyler Stout releases a print, it’s an event. When he has his own gallery show, it’s a happening. Friday night in Austin for SXSW, the artist behind such memorable Mondo posters as Akira, the Star Wars trilogy and Kill Bill was on hand for a two-man show with Australian artist Ken Taylor. Stout premiered brand new posters for Drive, Attack the Block and Un Prophete and more, which you can exclusively see below.
We also got to talk to the artist about the new work, what it’s like to exhibit at the gallery, the pressure of popularity and having hundreds of fans camp out on a sidewalk just for a shot to buy one of his posters. Check it all out below. Read More »
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As the end of the year nears, Rotten Tomatoes have released the tallies for the best reviewed movies of 2010. I thought we’d compare the list with the other movie review compilation site Metacritic.
Both sites have their advantages. Rotten Tomatoes includes a larger sample of reviews, while Metacritic features a smaller more-selected grouping of film critics. Rotten Tomatoes calculates critic scores using a positive or negative score for each review. One movie could be 100% fresh with all the critics giving the movie a 7/10 grade. Metacritic attempts to gauge the score of each critic’s review (not just a positive or negative, but a number 0 to 100) averaged together, giving you a better indication of what the response is to any given film, and not just a percentage of positive reviews.
For example, How To Train Youyr Dragon is ranked #2 for the year on Rotten Tomatoes with a 98% fresh rating based on 146 reviews. But on Metacritic, Dragon has a 74% average with 33 reviews. Honestly, I like how Metacritic calculates the numbers, but their refusal to incorporate a larger sample of film critics puts them behind Rotten Tomatoes in my mind.
Hit the jump to find out what films ranked in the best reviewed films of the year.
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It’s that time of the year when there will be one film awards ceremony and/or critical poll after another, and we’ve got the results of three to kick off this week. The European Film Awards took place in Estonia over the weekend, and Roman Polanski‘s The Ghost Writer scored six awards, including Best Film, Best Director and Best Actor, the latter for Ewan McGregor.
Meanwhile, at the British Independent Film Awards, The King’s Speech took best picture, while Monsters director Gareth Edwards scored Best Director. And the Washington, DC Area Film Critics Association honored The Social Network, Inception and The Fighter. All the lists are after the break. Read More »
This Week in DVD & Blu-ray is a column that compiles all the latest info regarding new DVD and Blu-ray releases, sales, and exclusive deals from stores including Target, Best Buy and Fry’s.
Kick-Ass has no meaningful substance to be gleaned from it, and no thoughtful social commentary to be analyzed. You can try to justify that it does, whether it’s through its depiction of the effect of the media/internet or the way it contrasts the peppy, light-hearted tone of comic books with a more realistically obscene presentation of the horrific violence that occurs in them, but ultimately, it’s a movie defined entirely by fist-pumping energy and a ‘fuck you’ attitude. In adapting the comic for the screen, co-writer/director Matthew Vaughn brings a whole new perspective to the material, playing it as a gleeful perversion of big summer blockbusters like Spider-Man. Except in this version, it isn’t supernatural forces that force the comic book world onto our hero; it’s our hero who tries to inject the comic book world into reality. This doesn’t end well for him. He has the necessary dedication (read: insanity), but not the talent or skill to do anything with it. Enter the father-daughter duo Big Daddy and Hit-Girl, who have both the requisite ass-kicking abilities and mental instability, and use them to propel our gang of screwed up misfits face-first into a world where comic book logic rules all. As much as the movie satirizes and pokes fun at the tropes of comic books and comic book movies, it does so lovingly, and doesn’t hesitate to embrace the absurdity that they provide. And it’s all done with a fantastic sense of pace and set piece staging by Vaughn. The action sequences here are among the best I’ve seen in years, each one offering something entirely different from the last and, somehow, effortlessly maintaining a thrilling intensity despite the silliness surrounding them. Come 2011, expect to see Kick-Ass near the top of my Best of 2010 list.
Available on Blu-ray? Yes.
Notable Extras: DVD – A commentary with director Matthew Vaughn, 2 featurettes (“The Art of KICK-ASS”, “It’s On! The Comic Book Origin of KICK-ASS”), and a Marketing Archive. Blu-ray – Includes everything on the DVD, as well as an Ass-Kicking BonusView Mode, a 4-part A New Kind of Superhero: The Making of KICK-ASS featurette, and a digital copy of the film.
|BEST DVD PRICE
|Amazon – $16.99
|BEST BLU-RAY PRICE
|Amazon – $22.99
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In this week’s episode of the /Filmcast, David Chen, Devindra Hardawar, and Adam Quigley try to figure out what Kevin Smith was going for in Cop Out, assess the career of David Goyer, and shower praise on Triangle, The Last Airbender, and the Muppet movies. Special guest Laremy Legel joins us from Film.com.
You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. Join us next week on Sunday night at 9 PM EST / 6 PM PST at Slashfilm’s live page as we review Alice in Wonderland.
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This year’s Oscars aren’t for another week, but this past weekend was a big one for awards. We’ve already posted on the Visual Effects Society awards that were largely handed out to Avatar and Up. But France’s big awards ceremony, the Cesars, went down over the weekend, with Jacques Audiard‘s widely acclaimed A Prophet scoring nine wins. And the American Society of Cinematographers handed out a slightly surprising best of ’09 while the Cinema Audio Society honored sound mixing achievements in ’09. Read More »
If a male filmmaker desires to throw up grim truth and reality before the eyes of moviegoers and also swoon critics, many of whom subsist on darker themes, he will at some point consider making a film about war or prison. There are no greater immediate settings for tapping perennial sentiments of a mad world, or for demystifying masculinity by scraping it and reducing it to a primal essence. Unlike the ambitious gangster or mob film, reputable prison dramas tend to feature a protagonist that is closer to us, a person thrown to hell rather than embodying it, nakedly amidst wolves as opposed to running with them. (Ironic, given these characters’ punishments at the hands of society and/or government.)
Engrossing and well-crafted but formulaic and borderline genre-fare, A Prophet is the latest prison film to follow this mold and punch its way creatively outward. Winner of the Grand Prix at the 2009 Cannes Film Festival, A Prophet has landed on a number of top 10 lists for 2009; with a domestic release forthcoming, we’ll likely see its inclusion on many of this year’s as well.
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Opening a trailer with a quote comparing the advertised film to The Godfather could be considered the greatest act of hubris in the movie advertising world. Perhaps it’s OK when the film in question is Jacques Audiard‘s A Prophet (Un Prophete), which won the Grand Prix at Cannes this past May, and has been called the favorite film of that festival (not just by the quote shown in the trailer) despite Michael Haneke’s The White Ribbon taking the top prize. Since then A Prophet has been frequently heralded as one of the best films of the year.
Sony Pictures Classics picked up the movie for US distribution, and the company has released quite a nice little trailer, which you can see after the break. Read More »