John Travolta and Katherine Heigl have been set to star in Nick Vallelonga’s upcoming rom-com ‘That’s Amore!.’
Christopher Walken is currently in talks to join the cast.
The film centres around Nick Venere (Travolta), a modern-day “Marty” – he’s never been married and his best dating years are well behind him. He’s never heard the words “I love you” and figures he never will. Patty Amore (Heigl) has her share of problems as well. Shy and introverted, she’s filled with various tics and nervous habits. A secret from her past, combined with her over-protective father, has caused her to withdraw from the dating game. When Nick and Patty meet, literally bumping into one another, they share an immediate connection. When these two emotionally damaged people attempt to date one another, their families get involved, and the results are hilarious.
Also in news – Pedro Pascal cast in...
Christopher Walken is currently in talks to join the cast.
The film centres around Nick Venere (Travolta), a modern-day “Marty” – he’s never been married and his best dating years are well behind him. He’s never heard the words “I love you” and figures he never will. Patty Amore (Heigl) has her share of problems as well. Shy and introverted, she’s filled with various tics and nervous habits. A secret from her past, combined with her over-protective father, has caused her to withdraw from the dating game. When Nick and Patty meet, literally bumping into one another, they share an immediate connection. When these two emotionally damaged people attempt to date one another, their families get involved, and the results are hilarious.
Also in news – Pedro Pascal cast in...
- 5/12/2023
- by Zehra Phelan
- HeyUGuys.co.uk
John Travolta and Katherine Heigl will star in Nick Vallelonga’s upcoming rom-com “That’s Amore!” Palisades Park Pictures made the announcement Thursday ahead of the sales launch for the film at Cannes Film Festival. Additionally, Christopher Walken is in talks to join the cast.
“Nick Venere (Travolta) is a modern-day “Marty” – he’s never been married and his best dating years are well behind him. He’s never heard the words “I love you” and figures he never will,” said the official film synopsis.
“Patty Amore (Heigl) has her share of problems as well. Shy and introverted, she’s filled with various tics and nervous habits. A secret from her past, combined with her over-protective father, have caused her to withdraw from the dating game. When Nick and Patty meet, literally bumping into one another, they share an immediate connection. When these two emotionally damaged people attempt to date one another,...
“Nick Venere (Travolta) is a modern-day “Marty” – he’s never been married and his best dating years are well behind him. He’s never heard the words “I love you” and figures he never will,” said the official film synopsis.
“Patty Amore (Heigl) has her share of problems as well. Shy and introverted, she’s filled with various tics and nervous habits. A secret from her past, combined with her over-protective father, have caused her to withdraw from the dating game. When Nick and Patty meet, literally bumping into one another, they share an immediate connection. When these two emotionally damaged people attempt to date one another,...
- 5/11/2023
- by Sophia Scorziello
- Variety Film + TV
John Travolta (Grease) and Katherine Heigl (Firefly Lane) have boarded the rom-com That’s Amore!, written and to be directed by two-time Academy Award winner Nick Vallelonga (Green Book), with Christopher Walken (Severance) also in talks to star.
The film heading into production in August follows Nick Venere (Travolta), who is a modern-day ‘Marty’ – he’s never been married and his best dating years are well behind him. He’s never heard the words ‘I love you” and figures he never will. Patty Amore (Heigl) has her share of problems, as well. Shy and introverted, she’s filled with various tics and nervous habits. A secret from her past, combined with her over-protective father, have caused her to withdraw from the dating game. But when Nick and Patty meet, literally bumping into one another, they share an immediate connection. When these two emotionally damaged people attempt to date one another,...
The film heading into production in August follows Nick Venere (Travolta), who is a modern-day ‘Marty’ – he’s never been married and his best dating years are well behind him. He’s never heard the words ‘I love you” and figures he never will. Patty Amore (Heigl) has her share of problems, as well. Shy and introverted, she’s filled with various tics and nervous habits. A secret from her past, combined with her over-protective father, have caused her to withdraw from the dating game. But when Nick and Patty meet, literally bumping into one another, they share an immediate connection. When these two emotionally damaged people attempt to date one another,...
- 5/11/2023
- by Matt Grobar
- Deadline Film + TV
[Saratoga Springs, NY] — February 9, 2023 Mary Birnbaum, a decorated opera director, takes the reins of Opera Saratoga ahead of the 2023 summer festival season.
Opera Saratoga’s board of directors announces that Mary Birnbaum has been named the company’s new general and artistic director. She succeeds former General and Artistic Director Lawrence Edelson, whose eight year tenure concluded at the end of the 2022 season. Birnbaum is the tenth general director in the Opera Saratoga’s celebrated history. Board President Steve Rosenblum shared, “We are incredibly excited and honored to have Mary Birnbaum join Opera Saratoga. She was selected after an extensive nationwide search, in which we interviewed many highly qualified candidates. Mary’s level of enthusiasm and love of opera are infectious and I am certain she will be an inspirational leader for the company as well as an integral part of the Saratoga Springs community.”
Birnbaum is a stage director, educator, and artistic leader,...
Opera Saratoga’s board of directors announces that Mary Birnbaum has been named the company’s new general and artistic director. She succeeds former General and Artistic Director Lawrence Edelson, whose eight year tenure concluded at the end of the 2022 season. Birnbaum is the tenth general director in the Opera Saratoga’s celebrated history. Board President Steve Rosenblum shared, “We are incredibly excited and honored to have Mary Birnbaum join Opera Saratoga. She was selected after an extensive nationwide search, in which we interviewed many highly qualified candidates. Mary’s level of enthusiasm and love of opera are infectious and I am certain she will be an inspirational leader for the company as well as an integral part of the Saratoga Springs community.”
Birnbaum is a stage director, educator, and artistic leader,...
- 2/13/2023
- by Music Martin Cid Magazine
- Martin Cid Music
Rachel Morrison, cinematographer on films like “Black Panther” and “Mudbound,” will receive the 2018 Franklin J. Schaffner Alumni medal from the American Film Institute.
Morrison made history this year as the first woman ever nominated for the Academy Award for Best Cinematography for her work in “Mudbound.” She was also the first woman to shoot a Marvel Cinematic Universe film with “Black Panther.”
Her other credits include “Fruitvale Station,” “Cake,” “Dope,” “What Happened, Miss Simone?” and “Confirmation.”
Also Read: 'Black Panther' Cinematographer Rachel Morrison on Hollywood's Lame 'Excuse' for Not Hiring Women
Morrison, a member of the American Society of Cinematographers, has won a New York Film Critics Circle Award; she has also been nominated for a Primetime Emmy and an Acd Award.
The Franklin J. Schaffner Alumni Medal honors creative talents who embody the qualities of the filmmaker, who earned a total of 28 Academy Award nominations and an Oscar for Best Director for “Patton” in 1970.
Also Read: Oscars Nominate First Female Cinematographer: Rachel Morrison for 'Mudbound'
Previous recipients include Patty Jenkins, Darren Aronofsky, Terrence Malick, Amy Heckerling, Anne Garefino, Steven Rosenblum, Todd Field and most recently, Frederick Elmes.
The presentation is set to take place at the AFI Life Achievement Award Tribute to George Clooney in Hollywood, California on June 7.
Read original story ‘Black Panther’ Cinematographer Rachel Morrison to Be Honored by AFI At TheWrap...
Morrison made history this year as the first woman ever nominated for the Academy Award for Best Cinematography for her work in “Mudbound.” She was also the first woman to shoot a Marvel Cinematic Universe film with “Black Panther.”
Her other credits include “Fruitvale Station,” “Cake,” “Dope,” “What Happened, Miss Simone?” and “Confirmation.”
Also Read: 'Black Panther' Cinematographer Rachel Morrison on Hollywood's Lame 'Excuse' for Not Hiring Women
Morrison, a member of the American Society of Cinematographers, has won a New York Film Critics Circle Award; she has also been nominated for a Primetime Emmy and an Acd Award.
The Franklin J. Schaffner Alumni Medal honors creative talents who embody the qualities of the filmmaker, who earned a total of 28 Academy Award nominations and an Oscar for Best Director for “Patton” in 1970.
Also Read: Oscars Nominate First Female Cinematographer: Rachel Morrison for 'Mudbound'
Previous recipients include Patty Jenkins, Darren Aronofsky, Terrence Malick, Amy Heckerling, Anne Garefino, Steven Rosenblum, Todd Field and most recently, Frederick Elmes.
The presentation is set to take place at the AFI Life Achievement Award Tribute to George Clooney in Hollywood, California on June 7.
Read original story ‘Black Panther’ Cinematographer Rachel Morrison to Be Honored by AFI At TheWrap...
- 4/26/2018
- by Beatrice Verhoeven
- The Wrap
It's been a long time since Mel Gibson directed a movie, but the release of his fifth feature, Hacksaw Ridge, is just around the corner. In the lead up to the occasion, he's been doing press promoting the new war drama, and while doing so he's been discussing some of his previous efforts behind the camera. Collider asked Gibson about his 1995 classic Braveheart, for instance, and got him to talk about the hour-worth of material left on the cutting room floor. "I have it on tape somewhere," he says of the initial assembly edit, which was three hours and 45 minutes. "We did excise the right stuff." From that rough cut, Gibson and editor Steven Rosenblum pared it down by half an hour and couldn't figure out what else to do...
Read More...
Read More...
- 10/27/2016
- by Christopher Campbell
- Movies.com
One of first-time director Nate Parker’s smartest decisions was hiring editor Steven Rosenblum to cut “The Birth of a Nation.”
Veteran Rosenblum had already learned his way around rebellion, from Mel Gibson’s “Braveheart” to Ed Zwick’s “Glory.” In fact, both Zwick (who served as exec producer) and Gibson offered Parker valuable storytelling advice: Zwick recommended alternating narrative rhythm, while Gibson gave pointers on action, especially the bloody uprising at the Virginia armory.
“There’s such power to ‘Birth of a Nation’ and the story of Nat Turner’s [slave revolt of 1831],” Rosenblum told IndieWire.” “I guess this is my freedom trilogy, and it goes back to ‘Spartacus,’ which had the biggest impression on me as a 12-year-old. Mel and I both joked on ‘Braveheart’ that we were making ‘Spartacus.’
“Nate didn’t have a lot of time or money, but I’ve always been attracted to movies that are bittersweet.
Veteran Rosenblum had already learned his way around rebellion, from Mel Gibson’s “Braveheart” to Ed Zwick’s “Glory.” In fact, both Zwick (who served as exec producer) and Gibson offered Parker valuable storytelling advice: Zwick recommended alternating narrative rhythm, while Gibson gave pointers on action, especially the bloody uprising at the Virginia armory.
“There’s such power to ‘Birth of a Nation’ and the story of Nat Turner’s [slave revolt of 1831],” Rosenblum told IndieWire.” “I guess this is my freedom trilogy, and it goes back to ‘Spartacus,’ which had the biggest impression on me as a 12-year-old. Mel and I both joked on ‘Braveheart’ that we were making ‘Spartacus.’
“Nate didn’t have a lot of time or money, but I’ve always been attracted to movies that are bittersweet.
- 10/6/2016
- by Bill Desowitz
- Indiewire
A lot has gone on in 2014. Our world continues to change rapidly. It no longer will be what it once was and we have to move on from it. Imho, few have a handle on where it is all heading. All the more reason why you should want to dig in deep and explore. All the more reason why we need filters and curators to point us in one direction or the other. All the more reason we need someone to approach it as a business, and stop relying on those who feel forced to do it as a hobby.
Here’s my quick survey on the year in film biz that was, as told by the articles that resonated for me (or at least ten of the subjects). Many thanks to my friends who helped pull this together by recommending reads along the way.
The “Too Many Films?” Debate.
Here’s my quick survey on the year in film biz that was, as told by the articles that resonated for me (or at least ten of the subjects). Many thanks to my friends who helped pull this together by recommending reads along the way.
The “Too Many Films?” Debate.
- 12/23/2014
- by Ted Hope
- Hope for Film
A crash landing leaves teenager Kitai Raige (Jaden Smith) and his legendary father Cypher (Will Smith) stranded on Earth, 1,000 years after cataclysmic events forced humanity’s escape. With Cypher critically injured, Kitai must embark on a perilous journey to signal for help, facing uncharted terrain, evolved animal species that now rule the planet, and an unstoppable alien creature that escaped during the crash. Father and son must learn to work together and trust one another if they want any chance of returning home.
After writing the story for After Earth, Will Smith – also a producer of the film – would turn over the writing reins to Gary Whitta and M. Night Shyamalan. Shyamalan would also direct the movie. Smith called Shyamalan on his birthday, and Shyamalan told Smith how great Jaden Smith was in The Karate Kid. Will Smith said, “Well, we do have a movie idea in the works…” and they took off from there.
After writing the story for After Earth, Will Smith – also a producer of the film – would turn over the writing reins to Gary Whitta and M. Night Shyamalan. Shyamalan would also direct the movie. Smith called Shyamalan on his birthday, and Shyamalan told Smith how great Jaden Smith was in The Karate Kid. Will Smith said, “Well, we do have a movie idea in the works…” and they took off from there.
- 5/20/2013
- by Movie Geeks
- WeAreMovieGeeks.com
Set to hit theaters on May 31st, After Earth begins more than one thousand years in the future – in fact, one thousand years after humanity was forced to abandon the only home they had ever known.
Legendary General Cypher Raige (played by Will Smith) returns from an extended tour of duty to his estranged family, ready to be a father to his 13-year-old son, Kitai (played by Jaden Smith). When an asteroid storm damages their craft, they crash-land on a now unfamiliar and dangerous Earth. As his father lies dying in the cockpit, Kitai must trek across the hostile terrain to recover their rescue beacon. His whole life, Kitai has wanted nothing more than to be a soldier like his father. Today, he gets his chance.
To celebrate the theatrical release of After Earth, Wamg is doing a giveaway!
Two (2) winners will receive an After Earth Prize Pack, including:
1 T-shirt...
Legendary General Cypher Raige (played by Will Smith) returns from an extended tour of duty to his estranged family, ready to be a father to his 13-year-old son, Kitai (played by Jaden Smith). When an asteroid storm damages their craft, they crash-land on a now unfamiliar and dangerous Earth. As his father lies dying in the cockpit, Kitai must trek across the hostile terrain to recover their rescue beacon. His whole life, Kitai has wanted nothing more than to be a soldier like his father. Today, he gets his chance.
To celebrate the theatrical release of After Earth, Wamg is doing a giveaway!
Two (2) winners will receive an After Earth Prize Pack, including:
1 T-shirt...
- 5/17/2013
- by Movie Geeks
- WeAreMovieGeeks.com
Since we've got a whole slew of new readers (thanks for joining us!) a little explanation. This is the 13th episode of the series "Best Pictures From the Outside In" in which Mike (GoatDog's Movies), Nathaniel (The Film Experience) and Nick (Nick's Flick Picks) compare Best Picture winners from either end of Oscar's timeline. We started by pitting the first (Wings, 1927) and the last (No Country For Old Men, 2007) against each other. In each subsequent episode we move one step forward in time and one step backward. We might throw in an extra episode pitting this year's winner (will it be The Curious Case of Benjamin Button or Slumdog Millionaire?) against... something. Eventually the series will end in the middle in the 1960s arguing about the comparative merits of In the Heat of the Night (1967) and Oliver! (1968). By the time that episode rolls around maybe nobody will be asking for...
- 1/20/2009
- by NATHANIEL R
- FilmExperience
Opens
Friday, Dec. 5
Hollywood -- and America's -- fascination with all things Asian continues in Edward Zwick's "The Last Samurai", a movie that successfully merges a Western with a samurai movie. Zwick triumphantly pulls off what sounds like the height of arrogance: a Yank directing a samurai movie and, worse, Tom Cruise playing the title role. Hewing close to historical accuracy, though, the film does a reasonable job of situating Cruise, playing an Indian fighter and Civil War veteran, in Japan during the 1876-77 Samurai Revolt to catch the final moments of samurai culture and its spirit of Bushido.
Relying on a solidly grounded screenplay with principled though doomed heroes, rapacious villains, intriguing supporting characters and a climactic battle in which bows and arrows and swords go up against howitzers and repeating rifles, "Samurai" is a hugely satisfying entertainment that will attract a broad spectrum of audiences around the world. Zwick fully exploits the star power at his disposal, pairing off Cruise and Japanese star Ken Watanabe as two larger-than-life warriors, initially adversaries but eventually allies and even friends.
The script by Zwick, Marshall Herskovitz and John Logan tackles an unusual four-act structure, which suits the epic nature of the story. We first encounter Cruise's Capt. Nathan Algren as a somewhat cliched figure -- a whiskey-soaked, self-pitying ex-soldier reduced to performing a one-man Wild West show in San Francisco to sell Winchester rifles. Flashbacks explain that Nathan lost his soul during a massacre of an Indian village that included women and children and was carried out under the command of Col. Bagley (Tony Goldwyn).
Then who should rescue Nathan from his self-destructive stupor but former comrades Zebulon Gant (Billy Connolly) and Col. Bagley himself? The two woo him to accept a commission to train the conscript army of a Japanese emperor eager to embrace the modern world.
Arriving in Japan refreshed by sea breezes yet with no loss of cynicism or self-contempt, Nathan is up against a timetable that won't allow him to train the army in modern weaponry properly before challenging a renegade band of samurai lead by Katsumoto (Watanabe). A battle in a foggy forest results in the rout of the army and capture of Nathan by Katsumoto, who spares the foreign soldier despite the fact Nathan slew his brother-in-law in combat.
The second section isolates Nathan in a rural village over fall and winter. In often silent sequences, he watches and learns samurai culture, ethos and fighting techniques. Katsumoto unaccountably speaks English, so the two engage in conversations that explore their areas of differences and agreement. Rather startlingly, Katsumoto lodges Nathan with his sister, Taka (Koyuki), the widow of the samurai Nathan killed. By winter's end and only after repeated beatings in fencing with his bitter antagonist, Ujio (Hiroyuki Sanada), Nathan emerges as a samurai who has ingratiated himself to his host family by saving them from a ninja attack.
In the third section, Nathan accompanies Katsumoto to Tokyo for a political showdown with the emperor (Shichinosuke Nakamura) and, more pivotally, Omura (Masato Harada), the businessman behind the transformation of feudal Japan into a modern nation, mostly for his own financial benefit. Katsumoto is placed under arrest and offered the honorable choice of taking his own life. But Nathan and the other samurai spring Katsumoto, and they flee Tokyo.
The final section awesomely pits a large modern army against the samurai in battle, where Nathan and Katsumoto seek to neutralize the big guns and reduce things to hand-to-hand combat where the samurai might prevail. Zwick makes it amply clear that in this rousing battle sequence, we are witness to the passing of the samurai era.
Cruise and Watanabe underplay their roles, letting their characters' deeds speak for them and permitting intimacies not usually associated with epic moviemaking. Cruise's transformation into a samurai is convincing as the actor makes us understand that this the only way he can reclaim his soul. Watanabe's confusion over the mores and manners of modern warfare is equaled by his determination to remain loyal to the old ways, even if it means his death.
Timothy Spall enlivens all his scenes as an English photographer enthralled with Japanese culture. Model-actress Koyuki lends her ethereal beauty and gentle manner to the woman who captures Nathan's heart. Goldwyn and Harada though are fairly conventional villains.
Shot mostly in New Zealand, the movie makes superb use of its period costumes, sets and weaponry. Occasionally, a CG image or matte painting calls attention to itself, but overall the historical depiction represents Hollywood technical crafts at their best. The kendo drills and the fights maintain a grace and expressiveness equal to a Japanese samurai movie.
John Toll's cinematography adds luster to the film's epic sweep. But Hans Zimmer's score works a little too hard. He might have mixed Eastern and Western musical themes to greater advantage, but instead Zimmer sticks mostly to Western motifs and instruments.
THE LAST SAMURAI
Warner Bros. Pictures
A Radar Pictures/Bedford Falls Co./Cruise-Wagner production
Credits:
Director: Edward Zwick
Screenwriters: John Logan, Edward Zwick, Marshall Herskovitz
Story: John Logan
Producers: Edward Zwick, Marshall Herskovitz, Tom Cruise, Paula Wagner, Scott Kroopf, Tom Engelman
Executive producers: Ted Field, Richard Solomon, Vincent Ward, Charles Mulvehill
Director of photography: John Toll
Production designer: Lilly Kilvert
Music: Hans Zimmer
Costume designer: Ngila Dickson
Editors: Steven Rosenblum, Victor du Bois
Cast:
Nathan Algren: Tom Cruise
Katsumoto: Ken Watanabe
Simon Graham: Timothy Spall
Zebulon Gant: Billy Connolly
Col. Bagley: Tony Goldwyn
Ujio: Hiroyuki Sanada
Taka: Koyuki
Omura: Masato Harada
Nobutada: Shin Koyamada
Silent Samurai: Seizo Fukumoto
Running time -- 154 minutes
MPAA rating: R...
Friday, Dec. 5
Hollywood -- and America's -- fascination with all things Asian continues in Edward Zwick's "The Last Samurai", a movie that successfully merges a Western with a samurai movie. Zwick triumphantly pulls off what sounds like the height of arrogance: a Yank directing a samurai movie and, worse, Tom Cruise playing the title role. Hewing close to historical accuracy, though, the film does a reasonable job of situating Cruise, playing an Indian fighter and Civil War veteran, in Japan during the 1876-77 Samurai Revolt to catch the final moments of samurai culture and its spirit of Bushido.
Relying on a solidly grounded screenplay with principled though doomed heroes, rapacious villains, intriguing supporting characters and a climactic battle in which bows and arrows and swords go up against howitzers and repeating rifles, "Samurai" is a hugely satisfying entertainment that will attract a broad spectrum of audiences around the world. Zwick fully exploits the star power at his disposal, pairing off Cruise and Japanese star Ken Watanabe as two larger-than-life warriors, initially adversaries but eventually allies and even friends.
The script by Zwick, Marshall Herskovitz and John Logan tackles an unusual four-act structure, which suits the epic nature of the story. We first encounter Cruise's Capt. Nathan Algren as a somewhat cliched figure -- a whiskey-soaked, self-pitying ex-soldier reduced to performing a one-man Wild West show in San Francisco to sell Winchester rifles. Flashbacks explain that Nathan lost his soul during a massacre of an Indian village that included women and children and was carried out under the command of Col. Bagley (Tony Goldwyn).
Then who should rescue Nathan from his self-destructive stupor but former comrades Zebulon Gant (Billy Connolly) and Col. Bagley himself? The two woo him to accept a commission to train the conscript army of a Japanese emperor eager to embrace the modern world.
Arriving in Japan refreshed by sea breezes yet with no loss of cynicism or self-contempt, Nathan is up against a timetable that won't allow him to train the army in modern weaponry properly before challenging a renegade band of samurai lead by Katsumoto (Watanabe). A battle in a foggy forest results in the rout of the army and capture of Nathan by Katsumoto, who spares the foreign soldier despite the fact Nathan slew his brother-in-law in combat.
The second section isolates Nathan in a rural village over fall and winter. In often silent sequences, he watches and learns samurai culture, ethos and fighting techniques. Katsumoto unaccountably speaks English, so the two engage in conversations that explore their areas of differences and agreement. Rather startlingly, Katsumoto lodges Nathan with his sister, Taka (Koyuki), the widow of the samurai Nathan killed. By winter's end and only after repeated beatings in fencing with his bitter antagonist, Ujio (Hiroyuki Sanada), Nathan emerges as a samurai who has ingratiated himself to his host family by saving them from a ninja attack.
In the third section, Nathan accompanies Katsumoto to Tokyo for a political showdown with the emperor (Shichinosuke Nakamura) and, more pivotally, Omura (Masato Harada), the businessman behind the transformation of feudal Japan into a modern nation, mostly for his own financial benefit. Katsumoto is placed under arrest and offered the honorable choice of taking his own life. But Nathan and the other samurai spring Katsumoto, and they flee Tokyo.
The final section awesomely pits a large modern army against the samurai in battle, where Nathan and Katsumoto seek to neutralize the big guns and reduce things to hand-to-hand combat where the samurai might prevail. Zwick makes it amply clear that in this rousing battle sequence, we are witness to the passing of the samurai era.
Cruise and Watanabe underplay their roles, letting their characters' deeds speak for them and permitting intimacies not usually associated with epic moviemaking. Cruise's transformation into a samurai is convincing as the actor makes us understand that this the only way he can reclaim his soul. Watanabe's confusion over the mores and manners of modern warfare is equaled by his determination to remain loyal to the old ways, even if it means his death.
Timothy Spall enlivens all his scenes as an English photographer enthralled with Japanese culture. Model-actress Koyuki lends her ethereal beauty and gentle manner to the woman who captures Nathan's heart. Goldwyn and Harada though are fairly conventional villains.
Shot mostly in New Zealand, the movie makes superb use of its period costumes, sets and weaponry. Occasionally, a CG image or matte painting calls attention to itself, but overall the historical depiction represents Hollywood technical crafts at their best. The kendo drills and the fights maintain a grace and expressiveness equal to a Japanese samurai movie.
John Toll's cinematography adds luster to the film's epic sweep. But Hans Zimmer's score works a little too hard. He might have mixed Eastern and Western musical themes to greater advantage, but instead Zimmer sticks mostly to Western motifs and instruments.
THE LAST SAMURAI
Warner Bros. Pictures
A Radar Pictures/Bedford Falls Co./Cruise-Wagner production
Credits:
Director: Edward Zwick
Screenwriters: John Logan, Edward Zwick, Marshall Herskovitz
Story: John Logan
Producers: Edward Zwick, Marshall Herskovitz, Tom Cruise, Paula Wagner, Scott Kroopf, Tom Engelman
Executive producers: Ted Field, Richard Solomon, Vincent Ward, Charles Mulvehill
Director of photography: John Toll
Production designer: Lilly Kilvert
Music: Hans Zimmer
Costume designer: Ngila Dickson
Editors: Steven Rosenblum, Victor du Bois
Cast:
Nathan Algren: Tom Cruise
Katsumoto: Ken Watanabe
Simon Graham: Timothy Spall
Zebulon Gant: Billy Connolly
Col. Bagley: Tony Goldwyn
Ujio: Hiroyuki Sanada
Taka: Koyuki
Omura: Masato Harada
Nobutada: Shin Koyamada
Silent Samurai: Seizo Fukumoto
Running time -- 154 minutes
MPAA rating: R...
- 1/30/2004
- The Hollywood Reporter - Movie News
"X-Men" contains a lively enough mix of athletic stunts,
otherworldly characters and heavy special effects to ensure keen youth interest in this film version of the wildly popular Marvel Comics title. But nonfans of the comic book may wonder what all of the fuss is about. While it's spirited entertainment, "X-Men" lacks the style and substance of such top-drawer science-fiction movies as "The Matrix" or "The Empire Strikes Back".
Whether the film will have enough boxoffice oomph to establish a franchise for Fox is an open question. Unlike film series based on comic books such as "Batman" or "Superman", "X-Men" features an army of heroes and villains, leaving the nonfan without a major character to identify with. Of course, the multiplicity of characters may be a positive attribute in a film series, bringing more depth and complexity to future installments.
For director Bryan Singer, though, whose career really took off with his stylish "The Usual Suspects", "X-Men" marks a backward step into impersonal, effects-driven filmmaking. This is a thoroughly competent though not terribly compelling work that demonstrates Singer's ability to handle the logistics of a big-budget production. But he loses his storytelling voice in the process.
In the not-too-distant future of Stan Lee's "X-Men" comic books, a sizable minority of humans have evolved into creatures with phenomenal mental or physical abilities. But the international community is divided about how to respond to these "mutants." Are they warrior-saviors or dangerous misfits who should be isolated from society?
The situation forces Prof. Charles Xavier (Patrick Stewart), himself a telepath, to gather together these misunderstood individuals into a "mutant high," where they learn how to harness their amazing powers.
Among the pupils are white-haired Storm (Halle Berry), who is able to control the weather, Cyclops (James Marsden), whose eyes emit energy rays, and Jean Grey (Famke Janssen), who possesses telepathic and telekinetic abilities. Despite the gender mix, these are the X-Men.
Meanwhile, the professor's former friend and now archenemy, Magneto (Ian McKellen), prepares for the coming battle between men and mutants by recruiting an evil brotherhood to rule the world. Magneto's minions include the physically powerful Sabretooth (Tyler Mane), whose growl is definitely not worse than his bite, the leaping Toad (Ray Park), whose recoiling, yards-long tongue creates all sorts of mischief, and Mystique (Rebecca Romijn-Stamos beneath layers of blue makeup and silicone prosthetics), who can morph into seemingly anybody.
Interestingly, two main protagonists among the X-Men hate their "gifts." The sullen, anti-social Logan, a k a Wolverine (Australian actor Hugh Jackman), possesses the ability to physically heal himself. Because of this, years before, he fell victim to a bizarre medical experiment that welded retractable metal claws to his skeleton, giving him an unwanted power that only brings him unhappiness.
His companion is Rogue (Anna Paquin), a young girl whose touch can destroy, rendering her incapable of intimacy with any boy. But since she can absorb the powers of other mutants, she becomes an object of desire in Magneto's plot to destroy humankind.
The high-tech battles -- the de rigueur melange of stunts, effects and explosions -- are executed well but fall curiously flat. Much more intriguing is Stan Lee's notion that these superheroes suffer from paranoia and angst. Their unwelcome powers are hurtful and troubling to them as human beings.
Indeed, this angle could have been fruitfully explored at greater length. But Singer and screenwriter David Hayter (working from Singer and Tom DeSanto's story) get easily distracted by both the need to introduce many of the potential franchise's characters and the desire to deliver the action goods.
As a consequence, the film suffers from incompleteness. Characters are poorly sketched, and story lines dangle. When George Lucas created his first "Star Wars" film, before anyone could tell that a series would follow, he made certain that his film stood on its own with completely realized characters and a story line that had closure.
In "X-Men", though, only fans of the comic book will understand many of the scenes and oblique references. Even the main protagonists get short shrift.
Visually, the Toronto-lensed production is impressive. In his third collaboration with Singer, cinematographer Newton Thomas Sigel goes for dark, subdued hues. The editing by Steven Rosenblum, Kevin Stitt and John Wright makes for a well-paced film. Only Michael Kamen's forgettable score misses the mark.
X-MEN
20th Century Fox
in association with Marvel Entertainment Group
the Donners' Co./Bad Hat Harry
Producers: Lauren Shuler Donner, Ralph Winter
Director: Bryan Singer
Screenwriter: David Hayter
Story by: Tom DeSanto, Bryan Singer
Executive producers: Avi Arad, Stan Lee,
Richard Donner, Tom DeSanto
Director of photography: Newton Thomas Sigel
Production designer: John Myhre
Music: Michael Kamen
Co-producers: Joel Simon, William S. Todman Jr.
Costume designer: Louise Mingenbach
Editors: Steven Rosenblum, Kevin Stitt,
John Wright
Color/stereo
Cast:
Xavier: Patrick Stewart
Magneto: Ian McKellen
Wolverine: Hugh Jackman
Jean Grey: Famke Janssen
Storm: Halle Berry
Rogue: Anna Paquin
Sabretooth: Tyler Mane
Toad: Ray Park
Running time -- 104 minutes
MPAA rating: PG-13...
otherworldly characters and heavy special effects to ensure keen youth interest in this film version of the wildly popular Marvel Comics title. But nonfans of the comic book may wonder what all of the fuss is about. While it's spirited entertainment, "X-Men" lacks the style and substance of such top-drawer science-fiction movies as "The Matrix" or "The Empire Strikes Back".
Whether the film will have enough boxoffice oomph to establish a franchise for Fox is an open question. Unlike film series based on comic books such as "Batman" or "Superman", "X-Men" features an army of heroes and villains, leaving the nonfan without a major character to identify with. Of course, the multiplicity of characters may be a positive attribute in a film series, bringing more depth and complexity to future installments.
For director Bryan Singer, though, whose career really took off with his stylish "The Usual Suspects", "X-Men" marks a backward step into impersonal, effects-driven filmmaking. This is a thoroughly competent though not terribly compelling work that demonstrates Singer's ability to handle the logistics of a big-budget production. But he loses his storytelling voice in the process.
In the not-too-distant future of Stan Lee's "X-Men" comic books, a sizable minority of humans have evolved into creatures with phenomenal mental or physical abilities. But the international community is divided about how to respond to these "mutants." Are they warrior-saviors or dangerous misfits who should be isolated from society?
The situation forces Prof. Charles Xavier (Patrick Stewart), himself a telepath, to gather together these misunderstood individuals into a "mutant high," where they learn how to harness their amazing powers.
Among the pupils are white-haired Storm (Halle Berry), who is able to control the weather, Cyclops (James Marsden), whose eyes emit energy rays, and Jean Grey (Famke Janssen), who possesses telepathic and telekinetic abilities. Despite the gender mix, these are the X-Men.
Meanwhile, the professor's former friend and now archenemy, Magneto (Ian McKellen), prepares for the coming battle between men and mutants by recruiting an evil brotherhood to rule the world. Magneto's minions include the physically powerful Sabretooth (Tyler Mane), whose growl is definitely not worse than his bite, the leaping Toad (Ray Park), whose recoiling, yards-long tongue creates all sorts of mischief, and Mystique (Rebecca Romijn-Stamos beneath layers of blue makeup and silicone prosthetics), who can morph into seemingly anybody.
Interestingly, two main protagonists among the X-Men hate their "gifts." The sullen, anti-social Logan, a k a Wolverine (Australian actor Hugh Jackman), possesses the ability to physically heal himself. Because of this, years before, he fell victim to a bizarre medical experiment that welded retractable metal claws to his skeleton, giving him an unwanted power that only brings him unhappiness.
His companion is Rogue (Anna Paquin), a young girl whose touch can destroy, rendering her incapable of intimacy with any boy. But since she can absorb the powers of other mutants, she becomes an object of desire in Magneto's plot to destroy humankind.
The high-tech battles -- the de rigueur melange of stunts, effects and explosions -- are executed well but fall curiously flat. Much more intriguing is Stan Lee's notion that these superheroes suffer from paranoia and angst. Their unwelcome powers are hurtful and troubling to them as human beings.
Indeed, this angle could have been fruitfully explored at greater length. But Singer and screenwriter David Hayter (working from Singer and Tom DeSanto's story) get easily distracted by both the need to introduce many of the potential franchise's characters and the desire to deliver the action goods.
As a consequence, the film suffers from incompleteness. Characters are poorly sketched, and story lines dangle. When George Lucas created his first "Star Wars" film, before anyone could tell that a series would follow, he made certain that his film stood on its own with completely realized characters and a story line that had closure.
In "X-Men", though, only fans of the comic book will understand many of the scenes and oblique references. Even the main protagonists get short shrift.
Visually, the Toronto-lensed production is impressive. In his third collaboration with Singer, cinematographer Newton Thomas Sigel goes for dark, subdued hues. The editing by Steven Rosenblum, Kevin Stitt and John Wright makes for a well-paced film. Only Michael Kamen's forgettable score misses the mark.
X-MEN
20th Century Fox
in association with Marvel Entertainment Group
the Donners' Co./Bad Hat Harry
Producers: Lauren Shuler Donner, Ralph Winter
Director: Bryan Singer
Screenwriter: David Hayter
Story by: Tom DeSanto, Bryan Singer
Executive producers: Avi Arad, Stan Lee,
Richard Donner, Tom DeSanto
Director of photography: Newton Thomas Sigel
Production designer: John Myhre
Music: Michael Kamen
Co-producers: Joel Simon, William S. Todman Jr.
Costume designer: Louise Mingenbach
Editors: Steven Rosenblum, Kevin Stitt,
John Wright
Color/stereo
Cast:
Xavier: Patrick Stewart
Magneto: Ian McKellen
Wolverine: Hugh Jackman
Jean Grey: Famke Janssen
Storm: Halle Berry
Rogue: Anna Paquin
Sabretooth: Tyler Mane
Toad: Ray Park
Running time -- 104 minutes
MPAA rating: PG-13...
- 7/14/2000
- The Hollywood Reporter - Movie News
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