Ultimate Avengers is a new Direct-to-DVD release funded by Marvel. With Daredevil, Punisher, Blade, Hulk, F4, and even the X-men franchise heading for disaster, animated movies are the way to go. They still got Spider-Man I guess, but these little animated features have great potential for Marvel since they don’t have to comprimise the source material at all with odd effects or casting.
I’d still pay to see a sweet World War 2 era Captain America movie. Toss in a Hugh Jackman/Logan cameo for fun…

Superman Returns teaser trailer is finally available. But is this really a teaser for the new movie? It uses music from the original movie as well as Marlon Brando’s voice for Jor-El. The clips are clearly the new movie, but its a kinda confusing deal.
For the first time I’m wondering if Singer’s boyish love of the Donner original might be more detrimental than helpful. Bah, nothing can keep me away from this movie…

There’s a point about a half hour into Walk The Line where Joaquin Phoenix’s portrayal of Johnny Cash crosses over and becomes fully convincing. And for me, it was the exact moment between him stepping up to the microphone and saying “hello, I’m Johnny Cash”, which didn’t quite ring true to my ears, and him beginning to sing “Get Rhythm” in a near perfect Cash tone. And through the whole movie, my suspension of belief came and went, and for every shot where he struck the right pose and his voice had the right pitch, there were two where I just saw Joaquin Phoenix playing a role not unlike several he’s played before. But that third of the time that he hits the mark really is something.

These days, we get glossy but lovingly detailed biopics about pop culture icons of the 20th century at least once or twice a year, and even if they’re all amazing stories about incredible people, they’re not all well told. Walk The Line just about does the job, but is carried far more by the acting than the storytelling. The direction of James Mangold, whose resume includes the middling mystery Identity and fucking Kate & Leopold, tells us about Cash’s unique and eventful life in a fairly dull way, but it lets Phoenix’s occasionally brilliant depiction of Cash lead the way and keep it interesting.

Phoenix’s world class Cash is occasionally cheapened by the number of scenes featuring lesser impressions of other musical legends, like Elvis Presley and Roy Orbison. Jerry Lee Lewis aside, none of Cash’s tourmates were depicted convincingly or had any memorable scenes. And having them in every other scene for a large chunk of the movie dragged it down and made it feel a little like those horrible made for TV movies about Jimi Hendrix or The Temptations that they rerun on VH1 all the time. Even the stunt casted Shooter Jennings barely resembled Waylon Jennings.

I’m alright with the fact that they had to Hollywood up the plot a little bit for the movie to work, but I was pretty annoyed with how they reduced Cash’s life story to a love story. June Carter was, of course, a huge part of Johnny Cash’s live, but I’m sure he did and said things that weren’t 100% motivated by their relationship, though you wouldn’t know it from watching Walk The Line. Reese Witherspoon had nearly as much screen time as Joaquin Phoenix. And as soon as she agreed to marry him and their conflicts were resolved, the damn movie was over. I do respect that choice, though, because I’m glad they didn’t bother to do a heavy make-up job on Phoenix for him to portray Cash in his later years, collecting awards and recording alt-rock cover albums with Rick Rubin.

Anytime an actor portrays a singer, the question arises: let them sing or dub the original voice? Ray played it safe and let Jamie Foxx lip sync to the voice of the real Ray Charles, but in retrospect, especially after his uncanny Ray impression on Kanye West’s “Gold Digger”, I wish they’d let him give it a try. And I’m glad Walk The Line let Phoenix give it a try. It’s clear he doesn’t possess Cash’s deep range naturally, but he does an admirable job anyway, and I’m sure it would’ve taken me out of the movie a lot more for the voice and the face not to match up than for the voice not to match up with my memory of the real Cash. And I stayed with the movie just enough to feel like I really got a feel for his life that I wouldn’t have gotten from just watching the A&E Biography.

The Stone Roses were a fairly important band in the UK, but I didn’t know much about except for hearing the song “Love Spreads” on WHFS and on 120 Minutes. I’ll admit it didn’t catch me 11 years ago, but it popped up on the radio when I was driving home in the rain late last week and I cranked up the factory stereo as loud as it would go. This was a pretty unapologetically rockin song. The first minute or so is all instrumental. Instead of lyrics, it was all a showcase for John Squire’s guitar. The lyrics have some vague biblical symbolism, but it was all filling out the structure of great music as far as I’m concerned. It seems to end and turn into a different song at least twice and keeps the listening experience fresh.
Its a shame this wasn’t a bigger hit, it would enjoy regular rotation as a classic cut on more radio stations.
Wikipedia entry

Back in June, I wrote an article for the Baltimore City Paper about the first five chapters of R. Kelly’s “Trapped In The Closet,” shortly after the 5th chapter had been leaked on the eve of the release of the otherwise underwhelming TP3: Reloaded album, which also included a DVD of the video for all five chapters. At the time, there had been no official word about any future chapters, and I was pretty unsatisfied with the apparent final chapter’s conclusion. But of course, the week the article ran, the news was announced that the R. was working on a whole bunch of new chapters, and while I had a little egg on my face, I was mainly excited about the continuation of the whole pulpy saga.

Earlier this month, a DVD of the first 12 chapters of “Trapped In The Closet” was released in stores, including 7 new chapters, a behind the scenes featurette, and a bizarre commentary track by a cigar-chomping R. In recent years, much of the praise for R. Kelly’s music has been either ironic or squeamishly tentative, hanging on the question of whether, by enjoying his over-the-top music and public persona, we are laughing at or with him. If nothing else, this DVD should firmly establish the answer to that question as the latter. Throughout the behind the scenes footage, he’s grinning and laughing at the bizarre plot twists of his own creation, and even singing upbeat party versions of “Trapped In The Closet” to himself.

And then, there’s the new chapters 6-12, which (SPOILERS AHEAD) feature: a midget, a spatula, and a white woman voiced with a ridiculous trailer trash accent by R. himself. The genuine tension and drama of the early chapters was what drew me in to begin with, and I was initially a little turned off as the cliffhangers became sillier and more contrived. But by the later chapters, the dude is clearly just having a lot of fun with it, and I’m along for the ride. The seemingly arbitrary coincidences that are revealed at the end of Chapter 5 deepen and begin to add up to their own circular logic. As he continues to add characters to the story, he keeps coming back to the other ones and tying them together in ways you’d never anticipate. When he returns to Rufus, Chuck and Cathy in Chapter 12, it’s a jarring but perfect capper to the insanity that takes place among the other characters. It’s also, strangely, completely different from the chapter that R. performed at this year’s MTV VMA’s, which concluded with Rufus dumping Chuck and going back to his wife, although it remains to be seen whether that chapter does occur somewhere after 12. But I’ll keep looking forward to every new installment that he sends our way.

The Fellowship is everywhere! Look at the cast list for return of the king and click on any of their names. Pretty much all of them are working. In the past month I’ve seen Boromir, Frodo, and even Aragorn himself in movies. Samwise and Merry seem to be doing pretty well on TV too. And Of course demand for esteemed Gandalf and Gimli hasn’t dwindled yet either.
This is the biggest troop of actors to spill onto the silver screen from a single project since Boogie Nights when Don Cheadle, Phillip Seymour Hoffman, Julianne Moore, and John C Reilly started popping up in every goddamn movie you saw.
Now I won’t dismiss the cinematic contributions of Zoolander and Old School, lending the Wilson Brothers, Vince Vaughn, Will Ferrell, and Ben Stiller to a seemingly endless parade of screwball comedies… but the Fellowship Of The Ring are hitting thrillers, dramas, horror, and comedy. Doesn’t Viggo have a band too? They’ll end up in musicals before long too.

Barry Levinson‘s career has been pretty spotty for a director of his stature, but he never seems to falter when he sticks to painting on the pallette he knows best: Baltimore in the 50’s and early 60’s, the city he grew up in during the era of his youth. From his debut, 1982’s Diner, to 1999’s Liberty Heights, it’s a subject he keeps returning to. Where those flicks carried sentimental, autobiographical touches and centered on young guys, roughly the same age Levinson was at the time, Tin Men is about two middle-aged aluminum siding salesmen, played by Richard Dreyfuss and Danny DeVito, who never knew each other professionally until a fender bender set off a venemous personal feud.

DeVito doesn’t play against type, as essentially a more sympathetic variation on Louie DePalma, but Dreyfuss manages to cut a dashing figure in contrast to his usual anxious, nasal screen presence as the younger, single tin man. Eventually, their comic back-and-forth of revenge and oneupsmanship escalates to the point that he steals DeVito’s wife and the story takes a slightly more serious, emotional turn, although the transition feels natural and not jarring or an unwelcome downer. As the battle of wills becomes a love triangle, the laughs come more from the supporting cast, including John Mahoney. In a way, movies like this (and Barton Fink and Say Anything) are a cruel reminder of the streak of great supporting roles Mahoney had before sinking a decade into one monotonous role on “Frasier” brought him to greater fame but effectively stalled his big screen career.

As a Baltimore resident, I’ll always watch these movies partly just for the scenery and how it’s used. And the thing about Baltimore that Levinson’s period films always underline for me is that in a lot of neighborhoods on the North side, all you have to do to convincingly set the clock back 20-50 years is park a bunch of classic cars on the street. Nothing else has really changed on a lot of those blocks lined with rowhouses. Really, the only thing that takes me a little out of the story and jolts me back to 1987 is the presence of the Fine Young Cannibals in multiple club scenes. “Good Thing” was a jam, though.

Latino Review has handed down a Five Star Rating to the Halo Movie Script!
This comes directly from a critic who has not played the games, but did enough research on the back story to see if the movie fits. Obviously, it looks like we’re in for a fast paced Covenant War unlike anything we’ve ever seen in film or games if this review is to be beleived.

I’ll admit that even though I like the Halo story, its second to the action. Garland (28 Days Later) was hand picked for this project because the Covenant are religious radicals not far off in behavior from the rage zombies. And without having to factor in stuff like player difficulty and whether the processor can handle “X” many troops on screen at once, the Halo flick will likely amp up every major event from the first game. We’re even going to be given battle scene with an entire Spartan army (I’m sure we’ll all be looking for Spartan 458)! And thats the first scene in the movie!
Obviously, even though it’ll be taking the game’s story and the review only covers the first act, spoilers follow so read at your own risk.