The UNNOFICIAL blog for San Diego Comic-Con did a post today about some movies that may be appearing at this year’s SDCC.
Though some movie studios have decreased their presence at the con after big SDCC hits resulted in tiny box office bumps, Comic-Con remains one of the biggest places to show off upcoming movies, especially those of the sci-fi and fantasy variety. Below we have a list of 20 possible flicks for SDCC 2012, along with a percentage of the chance they’ll be in attendance and some information about each. Even though they’re only (researched and well-judged) guesses, it should be more than enough to get any movie buff excited for this year’s con.
Man of Steel – 60% – Zack Snyder’s kept this one pretty close to the chest but as long as he has some effects-ready footage to show, expect him to make a pretty big event out of it.
So, what do you think? We’ll have a big show up at San Diego this year? Do you remember that was everyone counting on with “The Muppets” last year and it didn’t happen…
The Hollywood Reporter is reporting that Venice Film Festival artisctic director Alberto Barbera announced a list with directors as likely candidates to bring projects to the festival, and Paul Thomas Anderson is one of them. The festival will take place this year August 29 until September 8.
The line up will be announced late July, so let’s hope the film can be selected.
Thanks to Lindsay for the heads up!
According to a report by Entertainment Weekly’s PopWatch, Amy Adams, soon to be playing The Baker’s Wife in Into the Woods, “would definitely consider,” continuing her role in the production if it moves to Broadway.
Adams has at least four projects in the can right now, including Paul Thomas Anderson’s The Master and an untitled Spike Jonze film. So what are the odds she’ll stick with the show if it moves to Broadway? “I’d definitely consider it,” says Adams, who is featured this week in EW’s Best of Summer issue. “I just try to take it one day at a time. I literally have to take it hour-by-hour right now, I’m so busy. But yeah, I would definitely consider it. That would be amazing.”
If she did head to the Great White Way, Adams would be making her Broadway debut. Not that she hasn’t come close before. “I auditioned a lot for Broadway before I started working in film,” she says. “I actually got very close to being Julia Guglia in The Wedding Singer on Broadway. And the same summer I was cast in Enchanted. [The Wedding Singer] went to Laura Benanti, and I was so excited because I have a lot of respect for people who make [theater] their living.”
So, Cannes is over and as expected Amy didn’t attended the premiere last May 23. She wasn’t announced so my hopes of a surprise appearance was very low.
The movie got mixed reviews, not by the performances – every single actor got high reviews by their acting – but mostly because the movie is very faithful to the book. Go figure…
Within the next few months, the film will come out in a number of other countries, including Brazil (June), Sweden (July), Denmark (August), the UK (September), Australia (October), and Argentina (November). IFC Films / Sundance Selects will distribute On the Road in North America, though a specific release date hasn’t been announced yet.
Many filmmakers have attempted to adapt Jack Kerouac’s seminal novel “On The Road” over the years, but Walter Salles is the guy who finally wrestled it up onto the screen. It is a largely successful attempt to bring the book to life, and it follows the same sort of episodic rhythm that Salles utilized so well in “The Motorcycle Diaries.” While I would not call it a towering accomplishment, it is far more successful than I would have expected knowing the source material.
It would be interesting to take all of the films that exist that deal with the Beat Generation and the various characters who defined the era and look at how these people have been interpreted though various artistic filters. After all, “On The Road” was Kerouac’s biography, but through a very thin filter of fiction. He renamed people, turning himself into Sal Paradise, the novel’s narrator, while he turned the charming and charismatic Neal Cassady into the iconic Dean Moriarty. Cronenberg’s adaptation of “Naked Lunch” used a similar device, taking the unfilmable William Burroughs novel and turning it into a film that is as much about the writing of the book as the book itself. We’ve seen films like “Howl” and “The Sheltering Sky” tackle the era and the figures who wrote those remarkable works, and there are, of course, plenty of documentaries that also tackle the era, giving these people a chance to make a case for their own place in cultural history. The result is that we’ve got a pretty dense tapestry of material to choose from now if we want to try to understand what it was like to both create these works and to live in an era where they were fresh and causing major cultural shifts.
“On The Road” does not feel like a dry history lesson, nor is it overly reverent toward its subjects. Instead, Salles, working with screenwriter Jose Rivera, managed to make something that has a pulse of its own, and that’s due in no small part to the casting of Garrett Hedlund and Sam Riley as Dean Moriarty and Sal Paradise. They have a strong, easy chemistry that pays off over the course of the film, and it provides a solid base upon which the rest of the film is built.
A brand new image of Amy has been published among several other cast members by The Playlist today. Based on what we see at the left side, it seems a poster or a crop from a magazine (maybe a special done by Trois Couleurs magazine?), but it totally worth the view.
On the Road premiere in Cannes will be tomorrow, and after it the film is likely to go on a festival run (it’s already been scheduled to screen at the Sydney Film Festival next month) before a theatrical release this fall through IFC Films & Sundance Selects, who picked it up earlier this month.
This video can’t be found online yet, but the descriptions are completely amazing. Check it:
If you saw the trailer earlier today, you have some idea of what we saw, but it was a different assembly. While the soundtrack was the same at the beginning, with that unnerving Jonny Greenwood score and the interview between the Army official and Joaquin Phoenix, the images themselves were different. We saw Phoenix standing in a hallway, writing on a piece of paper affixed to a corkboard. As the interview reached its end, the camera pushed forward so we could read the very short and direct note: “Gone to China,” and then his signature.
We saw the same footage of the fight on the beach, the footage of him drinking the alcohol that looks like it’s coming from a torpedo, and then the close-up of him sitting across from the guy that’s interviewing him. “What happened? Sir?”
“Let’s just see if we can’t help you remember what happened.”
Then began new footage. Joaquin Phoenix running across a field, afraid. Him on a boat, walking along a deck at night. And then his first encounter with Philip Seymour Hoffman. He asks Hoffman, “What do you do?”