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ALADDIN ACTORS, THE NEW QUENTIN TARANTINO MOVIE, MI 6, AND MORE - FILM NEWS


FILM NEWS

"She's rude, and eccentric and odd," said Blunt of the character.

Fans at D23 got a magical first look at Mary Poppins Returns.


Director:

Writers:

(screenplay), (based on the books by)

Stars:


In Depression-era London, a now-grown Jane and Michael Banks, along with Michael's three children, are visited by the enigmatic Mary Poppins following a personal loss. Through her unique magical skills, and with the aid of her friend Jack, she helps the family rediscover the joy and wonder missing in their lives.

The film takes place 25 years after the 1964 original. The children of Michael and Jane Banks are now adults, and have just experienced a personal loss. Poppins (Emily Blunt) and her lamplighter pal Jack (Lin-Manuel Miranda) must step in to help.

Director Rob Marshall and Blunt came out to show off the first teaser for the film, whch is both a sequel to the Julie Andrews classic and draws on the books of P.L. Travers' as well. The Disney Orchestra was onhand to play music from the film, leading into a teaser for the film.

"A place we hold dear, where laughter once dwelled, but soon from up above comes a new story to tell," read text in the trailer as we see shots of the family looking sad.

We see Jack flying a kite with one of the children, and then suddenly up in the clouds, there's Mary Poppins coming down with an umbrella (big applause from the D23 crowd).

At one point in the teaser, we see the film's stars acting in front of a cartoon background, as in the original, as well as a look at a big chimney sweep dance number. And most impressively: Original star Dick Van Dyke even had a little dancing to do.

Earlier in the panel, Marshall said he believes the original was the first film he ever saw.
"I think it was many of our first films as kids, even if we weren't alive in 1964, which I was," said Marshall. "There's something so amazing about it that lived with me my whole life. The wonder, the joy, the music in it."
Blunt described taking on the role originated by Andrews as "daunting."
"The idea of this magical, mysterious person whisking into their lives and making everything right again, was really comforting," said Blunt of the original. "Children respond to the lack of sentimentality that he has. She's rude, and eccentric and odd."

Blunt said she had to learn to make Poppins her own. She said she watched 15 minutes of the original, but then stopped. She "needed to pay homage to what Julie Andrews did," but also "carve out space" for herself.
"I just had to do my version of her," said Blunt. "We were loyal to the books. I think she's a little more acerbic and vein and weird in the books and we went that direction a little more in the books."
Of his star Marshall said, “She was born to play the part.”
Meryl Streep, Colin Firth, Angela Lansbury, Emily Mortimer and Julie Walters are also featured in the film.
When Dick Van Dyke said "it feels exactly the same" when he visited the set, Marshall said, calling it "the highest compliment." 

Mary Poppins Returns hits theaters Dec. 25, 2018.

Guy Ritchie will direct the movie musical, which will see Will Smith as the Genie.

Relative newcomer Mena Massoud and Power Rangers star Naomi Scott have booked a flight on a magic-carpet ride.

Massoud has secured the coveted role of Aladdin, while Scott will be playing Jasmine in the Guy Ritchie-directed Aladdin movie. The announcement came at D23 on Saturday. The duo join the only other talent cast for the Disney musical: Will Smith, who will be playing the Genie.

While there was interest in names like Dev Patel and Riz Ahmed, Disney ultimately went with an unknown to play its Prince Ali.

Dan Lin, who worked with Ritchie on Sherlock Holmes, is producing via his Lin Pictures banner, with Jonathan Eirich acting as executive producer. Producer Marc Platt, who worked on Disney’s upcoming Mary Poppins Returns, and Chris Montan, a longtime executive music producer for Disney’s animated projects, from Pocahontas to Frozen, are both consulting on the ambitious project.



With luck, news leaking out that Quentin Tarantino is quietly putting together his next cine-project won't put him off the idea the way the script leak for The Hateful Eight delayed that film.


The 1969 case saw Charles Manson order four of his followers to attack the inhabitants of a house in Los Angeles he believed owned by a record producer who rejected him. The resulting home invasion left actress Sharon Tate (then married to Roman Polanski, and pregnant) dead, along with four others. Quite what angle Tarantino is intending to take is still a mystery, if indeed this is his latest film.
It would be an outlier in his work since the subject matter, even more than Basterds alt-history story, would dramatise real events, and would require a certain level of sensitivity given the tragic nature of the incident. 

But he has said previously that he'd been researching 1960s/1970s history, so perhaps it was all for this?

I have heard that Tarantino is still writing the script and that Basterds' Brad Pitt and possibly Jennifer Lawrence have already been approached, with studios expected to see the screenplay later this summer. 

Deadline's sources, meanwhile, have been saying that Margot Robbie is a potential Sharon Tate, and that QT regular Samuel L. Jackson might be involved. If it does indeed come together, the director is apparently hoping to kick off production next year.


Christopher McQuarrie and his Mission: Impossible 6 cast have been busy globe-trotting as they gather the required footage for the new movie. To celebrate the end of their New Zealand stint, Tom Cruise posted an image of his Ethan Hunt and some of the team to Twitter.

Pictured with him are two of the veterans, Simon Pegg's Benji Dunn and Ving Rhames' Luther Stickell, along with Rebecca Ferguson's Isla Faust, who first encountered the team on their last madcap adventure in Rogue Nation and is back for this one.
The sixth film (no word on whether it really will be known as M:I6 just to piss off James Bond) has been shooting in Paris and now NZ, with the usual assortment of other places planned and some promised big stunts for Cruise in particular. Come on, as if they can stop him at this point...
With McQuarrie once again also on script duty, the movie features returning villain Solomon Lane (played by Sean Harris), familiar faces Julia (Michelle Monaghan), and Alan Hunley (Alec Baldwin) plus new franchise faces Henry Cavill, Angela Bassett and Vanessa Kirby. This sixth Mission lights the fuse starting 27 July next year.

And the last but not the least news is the box office chart from last week:

 

Thanks for reading and have fun watching movies.

WISH UPON (2017) - REVIEW

                     A teenage girl discovers a box that carries magic powers and a deadly price for using them.

Wish Upon (2017)

R-13 | | Fantasy, Horror, Thriller | 12 July 2017 (Philippines)             


Director:


A teen girl discovers a magical box that will grant her seven wishes. As she uses her wishes for personal gain, bad things begin to happen to those around her. She discovers an evil entity lives inside the box and may be behind the gruesome deaths.

Official Sites:

Country:

Language:

Release Date:

12 July 2017 (Philippines) 

Also Known As:

Siete deseos 

Filming Locations:


Box Office

Budget:

$12.000.000 (estimated)


Company Credits


The target teen audiences are unlikely to discern the myriad influences on John R. Leonetti’s horror film riffing on everything from the classic short story The Monkey’s Paw to the grisly death-happy Final Destination franchise. Starring Joey King as a 17-year-old who comes into possession of a mysterious Chinese box that grants its owner’s wishes, Wish Upon doesn’t break any new genre ground. But it should prove mildly diverting for viewers young enough not to care how utterly derivative it is.
King plays the central role of Clare, who as a 5-year-old comes upon the body of her mother (Elisabeth Rohm), who’s committed suicide. Cut to 12 years later, when Clare is living with her father Jonathan (Ryan Phillippe), a once-successful musician who, much to his daughter’s embarrassment, now spends his days obsessively dumpster diving.

It seems harmless enough when Jonathan gifts his daughter with an antique music box emblazoned with Chinese lettering promising to grant its owner’s wishes. Clare, who’s routinely harassed at school by a fellow student (Josephine Langford), impulsively wishes that her tormentor would simply rot. Lo and behold, the blonde bully wakes up the next morning to discover that she’s fallen victim to a skin-wasting disease.

The wishes have unfortunate consequences, which Clare, having apparently never seen a horror film in her life, fails to recognize for the longest time. For every one of her fulfilled desires, the box enacts the toll of a horrific death inflicted on someone she knows, from her beloved dog to her wealthy uncle to her next-door neighbor (Sherilyn Fenn). The fatalities, which all look like accidents, are rendered in various clever ways, including that old standby, the kitchen garbage disposal (it makes you wonder why anyone installs one of these devices since, in horror films at least, no good ever comes of them).


Despite the mounting death toll, Clare enjoys the fruits of her illicit wishes. Suddenly awash in money, she treats her best friends (Shannon Purser, Sydney Park) to elaborate gifts. She becomes the most popular girl at school and attracts the romantic interest of her longtime crush (Mitchell Slaggert). It isn’t until her friend Ryan (Ki Hong Lee), who’s been personally affected by the box’s malevolence, convinces Clare that something is terribly wrong that she finally decides to get rid of it.

The camera is just and what I did not like is that the movie is using so many jump scares. Costume and makeup instead are looking really good so that we have a mixture of simple elements crossing over with some intelligent used and kind of high quality CGI effect, but this rather fails in my eyes.

The music is minor important here since during the scary moments there is a lot of silence ruling.

It depends on whether you want to invest into a movie for just spending time in the cinema or if you want to have an adventure full of mystery and horror, where the second options give you the tendency to wait for Annabelle.

Director Leonetti (Annabelle) keeps the proceedings admirably fast paced — sometimes too much so, as some plot elements seem to be given short shrift with the brief running time. The tension is ratcheted up considerably during the frequent killing sequences, with viewers likely to shout at the screen to prevent characters from engaging in such risky behavior as crawling under a car elevated by a tire jack. Many horror fans, however, are likely to be put off by the genteel depictions mandated by the PG-13 rating.
Barbara Marshall’s screenplay captures the everyday angst and silliness of teen life effectively. But otherwise it’s strictly by-the-numbers, including such inevitable cliches as the family dog being the only living being who senses the box’s evil. Much of the film’s effectiveness can be credited to King, who makes Clare appealing even when acting selfishly. It’s also refreshing to see a teen character portrayed by an actual teenager as opposed to the usual twenty something.

Production companies: Broad Green Pictures, Busted Shark Productions
Distributor: Broad Green Pictures
Cast: Joey King, Ryan Phillippe, Ki Hong Lee, Mitchell Slaggert, Shannon Purser, Sydney Park, Elisabeth Rohm, Josephine Langford
Director: John R. Leonetti
Screenwriter: Barbara Marshall
Producer: Sherryl Clark
Executive producers: Gabriel Hammond, Daniel Hammond
Director of photography: Michael Galbraith
Production designer: Bob Ziembicki
Editor: Peck Prior
Costume designer: Antoinette Messam
Composer: tomandandy
Casting: Mary Vernieu, Michelle Wade Byrd

Rated PG-13, 89 minutes

6/10 genre
4/10 overall


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Now In Theaters: War for the Planet of the Apes, Wish Upon, Lady MacBeth - Weekend Ticket


What do you want to watch this weekend? War for the Planet of the Apes? Wish Upon? Lady Macbeth? Let us know in the comments below!



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E.T. THE EXTRA TERRESTRIAL (1982) - FRIDAY CLASSICS

E.T. the Extra-Terrestrial (1982)


G | | Family, Sci-Fi | 11 June 1982 (USA)


                     A troubled child summons the courage to help a friendly alien escape Earth and return to his home world.

Director:


After a gentle alien becomes stranded on Earth, the being is discovered and befriended by a young boy named Elliott. Bringing the extraterrestrial into his suburban California house, Elliott introduces E.T., as the alien is dubbed, to his brother and his little sister, Gertie, and the children decide to keep its existence a secret. Soon, however, E.T. falls ill, resulting in government intervention and a dire situation for both Elliott and the alien.

Country:

Language:

Release Date:

11 June 1982 (USA)  »

Also Known As:

E.T. 

Box Office

Budget:

$10.500.000 (estimated)

Opening Weekend:

$11.911.430 (USA) (11 June 1982)

Gross:

$434.949.459 (USA)


Company Credits

Production Co:


Jaws. Close Encounters of the Third Kind. Raiders of the Lost Ark. And now, E.T., The Extra-Terrestrial. Steven Spielberg has done it again. He has created another instant American classic. 
As director and co-producer (with Kathleen Kennedy), Spielberg has crafted with warmth and humor a simple fantasy that works so superbly on so many levels that it will surely attract masses of moviegoers from all demographics. At the heart of the story line, E.T. is really My Favorite Martian, with a bizarre-looking but disarmingly lovable alien (designed by Carlo Rambaldi, who designed the creature in Close Encounters).

However, the film goes past the myth of a marooned spaceman trying to figure out a way back home. While E.T. is being befriended, hidden and protected (from the adults) by his Earth buddies, the picture conveys a relationship story, an adventure, a mystery, and ultimately, the time-worn but always timely message that no matter how different God's creatures may be, there's a common bond between the thinking ones — because they're also capable of love. Sometimes, kids are always the ones to recognize this on a more immediate level than adults.

Sound sappy? Yes. But Spielberg's magic as a director is to take these themes and weave them into a straight-forward tale so delicately that you are never sledge-hammered and come to perceive screenwriter Melissa Mathison's intent through the exquisite subtlety of this beguiling fairy tale. 

Amid the wonder, excitement and joy that virtually every frame of this picture elicits — swept along by John Williams' playful and uplifting score — one really does fall in love with the delightful little alien, and indeed, finds oneself reaching for the handkerchief (and realizing but not minding upon later reflection) right on cue. Never mind that certain plot leaps of faith are necessary to advance this fantasy along, the characters (mostly kids) are so compelling and endearing that you're easily pulled in. 

When young Elliot (Henry Thomas) discovers E.T. out in his backyard one night, at first no one believes him. But after he stakes out his turf the following evening on a lawn recliner; armed with a flashlight, the somewhat shy alien makes a gentle peace offering of M&Ms. The bond is instantaneous. Elliott hides his space buddy in the house, and through a few subsequent poignant scenes, the two come to understand one another. Elliott introduces his brother (Robert Macnaughton) and sister (Drew Barrymore) into the newly formed fraternity, which excludes adults: "Only kids can see him," they pretend. 

But as E.T.'s earthbound education develops, and he puts together a makeshift transmitter, it becomes apparent that he longs for home. Though the charming trio of siblings evades detection of E.T. by their mother (Dee Wallace), scientists are apparently spying on their every action and lie in wait to move in.

Ultimately, their intentions come through as benign, as their leader (Peter Coyote) tells Elliott he's glad that it was the young boy who first encountered the alien. Nevertheless, the scientists intend to study E.T., and that would interfere with the little creature's plans. The kids, however, smitten as they are with their new friend, are determined that if he wants out — he's getting out. What ensues is one of the most delightful chase and escape scenes in recent memory. 

Brilliant cinematography, production design and editing not withstanding, with all the special effects of getting E.T. to appear so lifelike, creating a dazzling spacecraft a la Close Encounters and breathtaking aerial excursions (credit Industrial Light & Magic), perhaps the greatest wonder involved in E.T. is that it was reportedly brought in for around $10.3 million. 

Thanks for reading, happy weekend and have fun watching movies.



         


CARTELS (2016) - REVIEW

An elite team of DEA agents are assigned to protect a dangerous drug lord and take refuge in a luxury hotel while they await extraction. They soon find themselves at the center of an ambush...

Cartels (2016)





Director:


 An elite team of DEA agents are assigned to protect a dangerous drug lord and take refuge in a luxury hotel while they await extraction. They soon find themselves at the center of an ambush as the drug lord's former associates launch an explosive assault on the hotel.

Country:

Language:

Release Date:

7 July 2017 (USA) 

Also Known As:

Killing Salazar 

Box Office

Budget:

$7.000.000 (estimated)


Company Credits


The main question you’ll be asking yourself while watching Keoni Waxman’s Cartels will be, “Why is Steven Seagal still a thing?” Sure, the veteran action star had a galvanizing screen presence back in the day. And he made some surprisingly good movies, especially his debut, 1988’s Above the Law, and 1992’s Under Siege. But nostalgia only goes so far, and the aging actor, whose hair and goatee are amazingly still jet-black at the age of 65, has long been phoning it in. This vehicle is one of seven — count ‘em, seven — movies that Seagal made last year, and anyone still ponying up to see them has to be considered a sucker.

The label certainly applies in this case, since Seagal makes little more than a cameo appearance in this film directed by his longtime enabler … I mean, accomplice … I mean, collaborator, Waxman. The rotund actor, who’s entered his late Brando stage in every aspect except talent, spends most of his brief time in the film sitting in a chair conducting an interrogation. And, not to say that he’s out of shape, but he appears to get winded just talking.

For the record — and I mean that literally, since the film will lapse into obscurity immediately — the story concerns a team of federal agents set to protect a Russian drug kingpin (Florin Piersie Jr.) turned informer from a team of assassins led by his former cohort (Georges St-Pierre). That the mission didn’t go well is signified by its being depicted in flashbacks, with its leader (Luke Goss) recounting the details to his skeptical superior (Seagal). Suffice it to say that such moments as when Seagal delivers an angry, profanity-laden monologue will not be taught in acting courses.

By sheer dint of experience, Waxman — whose lengthy screen credits include Contract to Kill, Force of Execution and Maximum Conviction (are you sensing a trend?) — handles the action sequences with reasonable proficiency. Goss, who by any standard is the real star of the film, displays charismatic intensity and impressive physicality. And mixed martial arts star St-Pierre displays an undeniably scary screen presence, especially when he has a knife sticking out of his neck. But their efforts are not enough to prevent Cartels (originally titled Killing Salazar) from falling victim to the cinematic elephant in the room.


Production: Daro Film Distribution, 24TL Productions, Action House
Distributor: Lionsgate
Cast: Steven Seagal, Georges St-Pierre, Luke Goss, Martine Argent, Darren E. Scott, Massimo Dobrovic
Director: Keoni Waxman
Screenwriters: Keoni Waxman, Richard Beattie
Producers: Steven Seagal, Binh Dang
Executive producers: Benjamin F. Sacks, Keoni Waxman, Geza Decsy, Pierre Andre Rochat, Robert Lane Sisung, Phillip B. Goldfine
Director of photography: Nathan Wilson
Production designer: Alina Pentac
Editor: Trevor Mirosh
Composer: Michael Richard Plowman
Casting: Floriela Grapini

Rated R, 100 minutes

6/10 genre
4/10 overall


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