Category: Entertainment (Page 146 of 277)

The Light from the TV Shows: A Chat with Stephen Frears (“Muhammad Ali’s Greatest Fight”)

Director Stephen Frears has done so much notable work for the cinema that it’s sometimes easy to forget that he’s more than capable of dipping his toe into the world of television on occasion as well. His latest effort behind the camera, “Muhammad Ali’s Greatest Fight,” falls somewhere between the two mediums: the HBO Films production is making its TV debut on – where else? – HBO this Saturday, but it was actually screened in Cannes back in August, along with its small-screen brethren, “Behind the Candelabra.”

During this summer’s TCA press tour, I was fortunate enough to sit down with Frears and discuss his work on “Muhammad Ali’s Greatest Fight,” including how he came to join the project and what he knew about Ali’s Supreme Court struggles prior to signing on, but he was also kind of enough to chat about a number of his other films. Although the conversation occasionally drifted in unanticipated directions, the sidebar excursions proved just as enjoyable and entertaining as anything that I’d gone in actually planning to bring up.

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Bullz-Eye: What was your familiarity with the Muhammad Ali story going into this project?

Stephen Frears: Well, it was both a lot and nothing. In other words… I remember Ali fighting (Sonny) Liston, so that’s how old I am. [Laughs.] I don’t remember the Olympics. But then I remember the trouble in America, of course. And then he sort of disappeared, and I couldn’t tell you what happened until he fought in Zaire and he became a sort of comedian. He became very, very funny. So this bit was like a sort of black hole.

BE: How did you come aboard as director?

SF: I ran into Shawn (Slovo) at a party. I said, “What are you doing?” She said, “I’m writing something very, very interesting.” [Shrugs, then laughs.] So I snooped around and found that it was very interesting. Simple as that.

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BE: Had you known her prior to that?

SF: I knew her to gossip to her, to say “hello” and talk to her at that party. [Laughs.] But now I know her much better.

BE: Was the script more or less filmed as written, or did you have to do some tweaking to make it work?

SF: I think there was a certain amount. I like to have the writer on set, because in a sense you’re writing all the time, but that’s just to make scenes clearer, things you learn as you go along. It must at some point have sorted itself out enough for us to say, “Right, let’s make this.” I can’t recall, there might’ve been a couple of drafts that we went through before we made it. And then we were writing the whole time on set, just to make things clearer.

BE: It’s interesting that the film focuses on a key moment in Ali’s career, yet it does so without ever portraying Ali. His presence is simply via archival footage. Was that always the plan?

SF: Yes, that was always planned, and the truth is that it was a great relief. The idea of casting Ali didn’t bear thinking about, so I was really pleased by that. But the interesting thing about archival footage is that people never quite say what you want them to say. [Laughs.] They don’t say what you’d like. But eventually we started finding a way how to deal with it. So it was very, very interesting.

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Movie Review: “Don Jon”

Starring
Joseph Gordon-Levitt, Scarlett Johansson, Julianne Moore, Tony Danza, Glenn Headley, Rob Brown
Director
Joseph Gordon-Levitt

Talk about having your cake and eating it too. For his debut as a writer and director, Joseph Gordon-Levitt pens a script that gives him the opportunity to grope and “bed” a bevy of gorgeous women (capping it off with Scarlett Johansson), and gets the last laugh by putting a fair amount of depth into his study of a very shallow man. “Don Jon” feels a bit like a comedic version of “Shame,” the infamous wow-look-at-Michael-Fassbender’s-penis movie, but in reality the two leads are alike only in that they’re broken men who like to score. Where “Shame” was more of a character study, “Don Jon” is focused on a societal problem.

Jon (Gordon-Levitt) is a buff, handsome, free-living Jerseyite. Each week, he and his two best buds hit the club, and Jon manages to score a “10” every time, earning him the nickname Don Jon. And yet, even after sex with these beautiful women, Jon heads to his laptop to surf for porn. (We don’t know this for a fact, but www.pornhub.com may be the first adult web site to strike a product placement deal in a mainstream motion picture.) One night, he sees Barbara (Johannson), and is positively smitten, but still likes his porn. The two soon date, and when she discovers his vice, she’s horrified, even though her fascination with Hollywood romance films (the film within the film has two killer cameos) has given her equally warped notions of love. Enter Esther (Julianne Moore), a fellow night school student in Jon’s class who’s able to give Jon the one thing he truly needs: perspective.

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Breaking Bad 5.16 – “Felina”

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“My name is Walter Hartwell White. I live at 308 Negra Arroyo Lane, Albuquerque, New Mexico. 87104. To all law enforcement entities, this is not an admission of guilt. I am speaking to the AMC viewers now. There are… there are going to be some things, things that you’ll come to learn about me in the next five seasons. I just want you to know that, no matter how it may look, I only had you in my heart. Goodbye.”

Okay, so maybe that’s not exactly what Walt said in the opening moments of the first episode of “Breaking Bad,” but as I sat down to write this, my review of the last episode of “Breaking Bad,” the paraphrasing seemed like as apropos a way to kick things off as any.

I’ll be honest: as much as I wanted to just let the events of the series finale wash over me and accept whatever Vince Gilligan wanted to give me, it was impossible to walk into the proceedings without feeling like a kid at Christmas, giggling and wondering, “What am I gonna get?” We knew the big-ass gun in Walt’s trunk and the ricin he’d retrieved from his house were both going to come into play, but we didn’t know how. Well, not really, anyway. The two big theories I kept hearing about the ricin were that he was going to slip it into Lydia’s tea or drink it himself, but I’d also heard convincing dismissals of both theories, so I really didn’t have any clue how things would play out. Besides, I’ve said more times than I can count that this is a series that never fails to zig when you think it’s going to zag, so there’s just no point in trying to guess. But that doesn’t mean you can’t get really, really excited about the prospect of finding out.

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Coming Soon: A Moviegoer’s Guide to October

October has never been a particularly strong month for movies in the past, but that could all be about to change with the exciting crop of titles scheduled for release this year. Though there’s still the usual cluster of genre films (“Machete Kills,” “Carrie”), this month also features an extraordinate amount of quality, boasting no fewer than five movies with genuine Oscar potential. It seems award season is beginning a little early this year, and compared to what October typically brings, it’s hard to complain.

“GRAVITY”

Who: Sandra Bullock and George Clooney
What: A medical engineer and an astronaut work together to survive after an accident leaves them adrift in space
When: October 4th
Why: Alfonso Cuaron hasn’t made a feature-length film since 2006’s underrated tour de force “Children of Men,” but if the early buzz surrounding “Gravity” is to be believed, then it was well worth the wait. The sci-fi drama has been in development for what seems like years, and Warner Bros. deserves a lot of credit for taking the chance on such a daring project. It definitely helps when you have actors like Sandra Bullock and George Clooney attached, but with audiences constantly lamenting the lack of originality in the Hollywood system, it’s refreshing to see that studios haven’t completely abandoned this type of filmmaking. “Gravity” probably won’t make a ton of money at the box office, but it should be at the top of everyone’s must-see lists.

“RUNNER RUNNER”

Who: Justin Timberlake, Ben Affleck, Gemma Arterton and Anthony Mackie
What: When a poor college student who cracks an online poker game goes bust, he arranges a face-to-face with the man he thinks cheated him.
When: October 4th
Why: If “Runner Runner” sounds like the unofficial sequel to “Rounders,” that’s because it was written by the same duo, Brian Koppelman and David Levien. Obviously, gambling is just the gateway into the world of their latest film, but fans of the 1998 poker thriller should be encouraged by their involvement, because they clearly know their way around the subject. Whether or not they strike gold twice remains to be seen, but “Runner Runner” has a good enough cast to pull it off. Justin Timberlake is a natural entertainer who’s only gotten better with experience, and though Ben Affleck appears to be hamming it up a bit as the villain, he’s proven that he can deliver great work with the right material and director.

“CAPTAIN PHILLIPS”

Who: Tom Hanks, Catherine Keener and Max Martini
What: The true story of Captain Richard Phillips and the 2009 hijacking by Somali pirates of the US-flagged cargo ship MV Maersk Alabama.
When: October 11th
Why: There’s an inordinate amount of films based on true stories being released this year (even more so than usual), and Tom Hanks stars in two of them. But while moviegoers may be excited at the prospect of seeing the veteran actor play Walt Disney in “Saving Mr. Banks,” the Paul Greengrass-directed “Captain Phillips” is the more intriguing of the pair. Many people don’t know much about the real-life events that inspired the movie, and that’s only going to work in its favor. Add to that Greengrass’ knack for dramatizing true stories (as evidenced in “Bloody Sunday” and “United 93”) and what looks like yet another Oscar-worthy performance by Hanks, and there’s no reason why “Captain Phillips” won’t be part of the conversation come awards time.

“MACHETE KILLS”

Who: Danny Trejo, Jessica Alba, Sofia Vergara, Charlie Sheen and Mel Gibson
What: The U.S. government recruits Machete to battle his way through Mexico in order to take down an arms dealer who wants to launch a weapon into space.
When: October 11th
Why: The first “Machete” wasn’t nearly as entertaining as its gonzo premise suggested, but with Robert Rodriguez taking over full directing duties for the sequel, there’s a part of me that really wants “Machete Kills” to fulfill that potential, especially with a rumored third installment (“Machete Kills Again… In Space!”) already in the works. The sequel looks bigger and better than the original, with a cast that includes Antonio Banderas, Sofia Vergara, Cuba Gooding Jr., Demian Bichir and Charlie Sheen (credited here as Carlos Estevez). And if that wasn’t enough to get you on board, Rodriguez has even managed to enlist Mel Gibson to play the Big Bad. Why his character is dressed like a “Street Fighter” villain is beyond me, but it’s great to see that the actor still has a sense of humor, because it’ll go a long way in repairing his career.

“CARRIE”

Who: Chloë Grace Moretz, Julianne Moore, Judy Greer and Ansel Elgort
What: A shy girl outcast by her peers and sheltered by her deeply religious mother unleashes telekinetic terror on her small town after being pushed too far.
When: October 18th
Why: Fans of the 1976 original will no doubt cry foul over this latest adaptation of the Stephen King novel, but purists will be pleased to learn that the 2013 edition reportedly sticks closer to the book. And if its R rating is any indication, the film won’t be skimping on the violence and gore either, despite the fact that it’s directed by Kimberly “Boys Don’t Cry” Peirce. She’s certainly a unique choice to helm a horror movie, but if nothing else, it proves that the studio is serious about creating the best version possible. That extends to its cast as well – particularly star Chloe Grace Moretz (one of Hollywood’s more exciting young talents, who’s never been afraid to dip her toes in the genre pool) and Julianne Moore as her ultra-religious mother.

“ESCAPE PLAN”

Who: Sylvester Stallone, Arnold Schwarzenegger, Jim Caviezel and Vincent D’Onofrio
What: When a structural-security authority finds himself incarcerated in a prison he designed, he must put his skills to escape and find out who framed him.
When: October 18th
Why: Before “The Expendables,” moviegoers had to wait decades for the chance to see action stars Sylvester Stallone and Arnold Schwarzenegger side by side on the big screen, but these days, you can’t seem to keep the two apart. It’s a smart move by the actors to piggyback off each other’s popularity, because my interest level probably wouldn’t be quite as high if this was merely a Sly Stallone vehicle. The first two “Expendables” films were nothing more than elaborate teases, but “Escape Plan” feels like the actual dream team-up that action fans were hoping for when Schwarzenegger announced his retirement from politics. Though it looks like he’ll still play a much smaller role compared to Stallone (the part was reportedly beefed up when he signed on to the movie), without Arnie, no one would care.

“12 YEARS A SLAVE”

Who: Chiwetel Ejiofor, Michael Fassbender, Sarah Paulson, Brad Pitt and Paul Giamatti
What: In the antebellum United States, Solomon Northup, a free black man from upstate New York, is abducted and sold into slavery.
When: October 18th
Why: The way people were talking about “12 Years a Slave” at this year’s Toronto International Film Festival, you’d think that the Steve McQueen drama had already won the Oscar for Best Picture. But no matter how effusive the praise may have been, it’s impossible to make those kinds of predictions with several other award contenders still yet to be seen. Nevertheless, “12 Years a Slave” does sound like the quintessential Academy Award movie, from its challenging subject matter (based on a true story, no less) to the incredible ensemble cast. It’s nice to see Chiwetel Ejiofor finally getting the credit he deserves, and between his lead performance and McQueen regular Michael Fassbender’s turn as a villainous slaver owner, it’s easy to see why the film has Oscar gold written all over it.

“THE FIFTH ESTATE”

Who: Benedict Cumberbatch, Daniel Brühl, Carice van Houten and Alicia Vikander
What: The true story of two men’s quest to expose the corruptions of power that turned an Internet upstart into the 21st century’s most fiercely debated organization.
When: October 18th
Why: The story behind WikiLeaks is one that seems tailor-made for the big screen treatment – especially with a protagonist as captivating as the website’s enigmatic founder, Julian Assange – so it’s no surprise that the movie is already drawing comparisons to the likeminded “The Social Network.” Similar to that film, “The Fifth Estate” boasts an intriguing tale about an Internet startup and a fantastic cast led by two of the more exciting rising talents working today. In this case, those actors are Benedict Cumberbatch and Daniel Bruhl, and their involvement alone makes the movie worth seeing. Whether director Bill Condon is able to deliver an experience as fascinating as the real-life story is another question, but based on the mixed reaction from its Toronto premiere, it’s going to depend largely on what side of the debate you fall on.

“ALL IS LOST”

Who: Robert Redford
What: After a collision with a shipping container at sea, a resourceful sailor finds himself, despite all efforts to the contrary, staring his mortality in the face.
When: October 18th
Why: The talky financial thriller “Margin Call” did a better job of showcasing writer/director J.C. Chandor’s screenwriting skills than his ability behind the camera, but for his sophomore effort, Chandor has bravely removed that variable from the equation. “All Is Lost” is a one-man show in the truest sense, and as such, there’s very little dialogue for Chandor to lean on. Fortunately, he managed to enlist Robert Redford as his leading man, and though the veteran actor hasn’t delivered a noteworthy performance in several years, it would be crazy to think that he won’t earn an Oscar nomination for his work here. The movie was a big hit at this year’s Venice Film Festival, and between its “Life of Pi”-like survival story and Redford’s reportedly triumphant performance, this is one you’ll want to hunt down at your local indie theater.

“THE COUNSELOR”

Who: Michael Fassbender, Cameron Diaz, Brad Pitt, Penelope Cruz and Javier Bardem
What: A lawyer finds himself in over his head when he gets involved in drug trafficking.
When: October 25th
Why: It’s been awhile since Ridley Scott’s last great film, but he never fails to attract the best talent possible. Though frequent collaborator Russell Crowe isn’t involved in the director’s latest project, Scott has nevertheless landed an impressive ensemble cast comprised of two former Oscar winners, an Oscar nominee and two Golden Globe nominees. “The Counselor” has the unfortunate distinction of being released during one of the most competitive awards seasons in recent history, but with an original script by Cormac McCarthy, the potential for this one is still pretty high. In fact, I’m actually looking forward to just sitting back and watching these great actors go toe-to-toe without any preconceived expectations that it has to be award-worthy for it to be any good.

App of the Week: Boson X

Developer: Ian MacLarty

Compatible with: iPhone, iPad, iPod Touch,

Requires: iOS 4.3

Price: $1.99

Available: here

Puzzle games and endless runners.

Despite the numerous advancements in mobile gaming technology (this week’s slightly pricey, slightly buggy “Shadowrun Returns” is a great example of all of them), it always seems to come back to endless runners and puzzle games when defining the mobile gaming scene. We’ve all downloaded one or several of them and, much like zombie games, you can swear up and down that the last one is the last one you’ll ever play, yet be back again to find yourself oddly addicted to another entrant in two genres that have become insanely refined.

“Boson X” is an interesting case of this phenomenon, as it does combine a lot of elements of both puzzle games and endless runners, yet doesn’t feel quite at home in either genre, considering its fast pace style and the fact its running is not necessarily endless, among other things. In it, you are tasked with navigating the constantly shifting platforms of a continuously building structure that somewhat resembles a cylinder consisting of varying sides, but is filled with so many gaps and other twists to navigate that it’s hard to define its exact shape. Only by spending enough time running on special blue blinking areas can you fill up a meter that allows you to proceed to the next level upon your next death.

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The game’s most popular comparison is to the mobile sensation “Super Hexagon,” and the comparison is an apt one in several respects outside of whole navigate your way out of a rotating geometric structure bit. For one thing, much like its infamous spiritual predecessor, “Boson X” is really, really hard. Like any good puzzle game, however, you won’t get a feel for how difficult it is until you get past the initial getting to know you phase, and see how it uses its easy to grasp concepts in an increasingly challenging series of ways. Also like “Super Hexagon,” it knows how to use this challenge not as a deterrent, but as an irresistible draw.

“Boson X” differentiates itself in important ways from “Hexagon” though, with the biggest difference being the move to 3D. Not only does this make the game much more visually appealing (visuals which are enhanced and complimented by a truly great soundtrack), but adds to the gameplay as well, as you’re goal of jumping from platform to platform while rotating the game world makes you question things like time, space, and distance when trying to survive more than you usually do you in these types of games. “Boson X” knows this, and adds unique tricks to its levels that prey on those additional perceptions, and challenges them. For instance, one level may make platforms move and shift on their own momentum, while another may present escapes not apparent until the absolute last second. The way the games uses this visual freedom makes for a much more compelling experience than the one way solution found in “Hexagon” and other similar titles.

If you’re desperate to classify “Boson X” an argument could be made for it being a runner or a puzzle game (or you could just settle by calling it a puzzle runner), but it feels cheap to classify a game that toys with your expectations from the outset, and only continues to do so by providing you a dynamic experience that challenges your every skill and provides that elusive sense of genuine satisfaction for having bested it. Taking all the game offers into account, the once label it is easy to slap on “Boson X” is app of the week.

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