Monthly Archives: July 2016
Fans of H.P. Lovecraft, newcomers to the horror writer’s work or anyone who likes the idea of slightly tormenting children, Mythos ABC- A Lovecraftian Alphabet Book is now available as a free, downloadable PDF.
Image: Warner Bros.
Since Pokémon Go hit the app stores, people have been wondering what other fictional universes they could be fun in augmented reality. Of course, Harry Potter is one that keeps showing up. Read more… Continue reading
As someone who often struggles to make ends meet, I often feel like I want to just curl up in a ball and never leave my house. During the worst months, I often found that it took a toll on my appearance. The dark circles under my eyes started to sag, my face would break out in pimples, and I’d gain weight. Of course, that only added to the stress.
Netflix’s new 80s sci-fi tribute series Stranger Things is excellent. It’s got the love and adulation of critics and fans alike, including “The Flippist” artist Ben Zurawski. In fact, after binge-watching all eight episodes of the Netflix show last week, Zurawski created a cute flipbook all about the young heroes.
- After 10-year hiatus, Matt Damon still draws a significant audience
- R-rated comedy starring Mila Kunis and Kristen Bell brings in $23.4m
Between the return of Matt Damon as super spy Jason Bourne, the promise of laughing along with a few fed-up ladies in the raunchy comedy Bad Moms and the dark internet thriller Nerve, there was something new for everyone in theaters this weekend.
Even after a nearly 10-year hiatus from the series, Damon still draws a significant audience. His Paul Greengrass-directed sequel raked in a healthy $60m in its opening weekend, according to studio estimates on Sunday. Not adjusted for inflation, it was the second-highest opening of the series, behind The Bourne Ultimatum’s $69.3m debut in 2007, the last time Damon appeared as the Robert Ludlum-authored character.
We all have a love/hate (mostly hate) relationship with the Infinity Stones, Marvel’s favorite magical McGuffin. So, will they make a cameo in the second Guardians of the Galaxy movie? Director James Gunn addressed it, plain and simple, on Facebook Saturday.
Harry Potter and the Cursed Child Parts 1 & 2 was released midnight Sunday, and it was like Yule Ball in July.Read more… Continue reading
You can find almost anything on Reddit, including free, pirated movies, which is why one movie studio has started to not just go after the sources of these videos, but the places that aggregate them.Read more… Continue reading
The Uncharted film’s new writer, Joe Carnahan, is looking for a little creative help in bringing the video game to life, so he’s reaching out to the source.
Dear Niantic, you could’ve done better.
It’s an exciting weekend to be a Harry Potter fan, but it might also be a depressing one. Author J.K. Rowling has confirmed (or “confirmed,” as I’m gonna put it) that the story of our beloved Boy Who Lived has come to an end.
Skydiving is pretty terrifying on its own, even when you take into account necessary safety precautions. But what if you were to jump from an airplane without a parachute? If Luke Aikins’ stunt is any indication, you’d have to be highly skilled and train for two years before even attempting it. There’s also the issue of jumping from an plane without a parachute.
“In a world where ____ (vampires) have taken over the ____ (world), humanity must _____ (band together) to ____ (survive).”
Action star Jean-Claude Van Damme walks off during a live interview with Australia’s Channel Seven, saying it was ‘boring’. While being interviewed on the Sunrise show from video link in Bangkok on Saturday, the Belgian actor complains the press has been asking him the same questions for the past 25 years. He walks away in the end, saying he’s ‘too natural’
From the Globe to the Oscars, the actor’s work has been rapturously received. Now for the biggest role of his career…
Actor Mark Rylance’s work ranges across film, theatre and television, including the BBC’s recent Wolf Hall. He also served as artistic director of Shakespeare’s Globe from 1995 to 2005, and his own play, Nice Fish, will be performed in London’s West End this November. He plays the title role in Steven Spielberg’s film version of The BFG, and earlier this year won an Academy Award for his supporting role in Bridge of Spies. Rylance is due to appear in two more Spielberg films, Ready Player One and The Kidnapping of Edgardo Mortara.
Steven Spielberg approached you about playing the Big Friendly Giant when you were filming Bridge of Spies. Was it a shock?
Matt Damon reunites with Paul Greengrass for this fifth instalment of the Bourne series – a head-spinning, post-Snowden cyber-thriller
With 2004’s espionage sequel The Bourne Supremacy, director Paul Greengrass changed the face of popcorn thrillers, combining the docudrama grit of Bloody Sunday with super-slick thrills that left the Bond franchise in the dust. So successful were the Bourne movies that when Greengrass and leading man Matt Damon walked away from the Robert Ludlum-inspired series after the perfect ending of 2007’s The Bourne Ultimatum, the studio cooked up The Bourne Legacy, an empty actioner with a gaping hole where its star and soul should be, idly trading on the memory of past glories.
Now, after reuniting on 2010’s underrated Green Zone, Damon and Greengrass are back with Jason Bourne, a breathlessly confident thriller with a self-consciously modern edge that casts its antihero adrift in a post-Snowden world of surveillance and social media. Replete with heated exchanges about the pay-off between personal privacy and public order, the new movie (written by Greengrass and his long-term editor, Christopher Rouse) combines fist-fighting with cyber-stalking in impressively ruthless fashion, barrelling through its contemporary landscape like a cinematic bull in a rolling-news china shop.
A forgetful fish searches for its family in this charming sequel to Finding Nemo
The very best of the sequels attempted by the Pixar studio manage to combine a familiar milieu with the opportunity to explore entirely different themes to the original films. Toy Story 2 (which was written but not directed by Finding Dory co-director Andrew Stanton), for example, looks at the fear of mortality through the prism of the playroom. Toy Story 3 takes on the aftermath of a relationship breakdown. Finding Dory, meanwhile, is slightly less adventurous thematically, in that it reprises the central motif of Finding Nemo: that of the enduring parent-child bond, and the special embrace of family, in all its permutations. However, it is approached with such charm and warmth that it hardly matters that the two films share such similar arcs.
In this case it is Dory, the amnesiac blue tang (voiced by Ellen DeGeneres), who starts to piece together the recently unearthed fragments of her childhood memories and realises that she has a family, somewhere in the vast ocean. Her quest to find them takes Dory to the other side of the world and a California marine park (a voice cameo by Sigourney Weaver as herself, delivering the public address announcements, is one of the joys of the film). The rehabilitation tanks of the aquarium sick bay are home to the breakout star of the picture: Hank, the escapologist octopus (snappily voiced by Ed O’Neill). Hank’s endless repertoire of disguises is a sight gag that never gets old.
Ryan O’Neal plays an 18th-century rogue-turned-aristocrat in Kubrick’s 1975 gem
One of the most beautiful of all Stanley Kubrick’s films, originally released in 1975, this slyly savage tale of social climbing in the 18th century is also arguably his funniest. Ryan O’Neal stars as Irish rogue and ne’er-do-well Redmond Barry who, after defeating a love rival in a duel and ignominiously deserting the army, reinvents himself as British aristocrat Barry Lyndon. As leisurely as it is painterly, this is a masterclass in cinematography – famously, Kubrick used nothing but natural light in all but a few scenes. Don’t miss the chance to watch it in a cinema.
The ‘truth’ about a fabricated literary sensation is fascinating but leaves much still unresolved
Jeremiah “Terminator” LeRoy was a phenomenon. The HIV-positive, transgender, drug-addicted child of a truck-stop prostitute, his autobiographical novels were a literary sensation. The slight, softly spoken author, cowering behind oversized sunglasses and wig, was propelled into celebrity circles, and courted by Asia Argento, Madonna, Courtney Love and others. Except JT LeRoy didn’t exist. He was the invention of writer Laura Albert, who described him as an “avatar” through whom she could create with a freedom she didn’t have as herself. JT in the flesh was played by Albert’s sister-in-law, Savannah Knoop.
This film explores the story – which is rather more complex and knotty than the “literary hoax” it was described as at the time – from Albert’s perspective. And while it gives a fascinating insight into her near pathological compulsion to try on other voices and identities, it does leave a lot of questions unanswered. Albert’s then-husband, Geoff Knoop, and Savannah Knoop are both conspicuous by their absence. And as Albert peels back the onion layers of her alter egos, we are reminded that this is the “truth” authorised by a gifted fantasist.
A couple’s experiment with group living backfires in Thomas Vinterberg’s beautifully acted but heavy-handed drama
Danish director Thomas Vinterberg’s own experiences of growing up in a commune during the 1970s and 80s inform his unflinching approach to the subject in this drama, which was based on his own stage play, Kollektivet. More heavy-handed than Lukas Moodysson’s similarly themed Together, less abrasively confrontational than The Idiots by fellow Dogme 95 signatory Lars von Trier, The Commune is slightly melodramatic in its exploration of the emotional fallout when an experiment in collective living coincides with the breakdown of a marriage.
When university lecturer Erik (Ulrich Thomsen) inherits a huge house on the outskirts of Copenhagen, he is dissuaded from selling it by his wife, Anna (Trine Dyrholm), who proposes sharing the space with like-minded friends as a way of easing the financial burden, and staving off the middle-class, middle-age ennui that threatens to engulf their marriage. Anna, a local television news reader, thrives in the hubbub of their new living arrangement. But Erik resents the fact that his voice is no longer heard, and is flattered by attention from an attractive young student, Emma (Helene Reingaard Neumann). His hand is forced when the relationship is discovered, in an agonising, beautifully acted scene, by his daughter, Freja (Martha Sofie Wallstrøm Hansen, excellent throughout in one of the few substantial supporting roles). When Emma moves into the commune as Erik’s new partner, Anna finds herself stranded on the outside of the community. Her breakdown is bitter and undignified.