New Star Wars: Order 66 book available from Del Rey now. The author is Karen Traviss. Visit Del Rey to purchase the book and read an excerpt.
Even as the Clone Wars are about to reach an explosive climax, no one knows if victory will favor the Grand Army of the Republic or the Separatists. But even the deadliest weapons and the most heroic efforts may not be powerful enough to challenge the apocalyptic horror unleashed when Chancellor Palpatine finally utters the chilling words, “The time has come. Execute Order 66.” Translation: The Jedi have tried to stage a coup, and all must be shot on sight. How will the men of Omega and Delta squads react when their loyalty and trust are tested? The fates of the Republic and Jedi now rest in their hands.
Star Wars: The Dark Lord Trilogy (trilogy includes: LABYRINTH OF EVIL by James Luceno/REVENGE OF THE SITH by Matthew Stover, based on the story and screenplay by George Lucas/DARK LORD The Rise of Darth Vader by James Luceno)
Available All Movie Replicas product(s): Star Wars Diplomatic Mission Diorama
The folks over at IGN wants your help to topple Titanic from the top spot as the highest grossing film of all time. The views concerning Titanic is IGN’s alone:
It was 1997. Titanic opened just before Christmas. It was one of those movies that debuted at exactly the right time, striking every possible chord with audiences. The subject matter, for whatever reason, was a source of fascination for people at the time. The movie had just the right cast — Leonardo DiCaprio and Kate Winslet were on the verge of superstardom. It utilized exciting, headline-grabbing filmmaking techniques to tell its period story. And we may cringe just thinking about Celine Dion with that giant rock around her elongated neck, but the film was set to music that was absolutely perfect for the times.
And so it was. Grown men cried, virgins were deflowered, and Titanic became the #1 movie of all time. The world was changed. It was that big of a deal.
But a funny thing happened… Time passed, and cinematic tastes evolved. Now, there are plenty of classic Hollywood films that have weathered these changes. But Titanic isn’t one of them. Ironically, the things that made it so very appropriate for the late-1990s, are the things that make it seem so incredibly dated now. Today, Titanic plays like a sickeningly schmaltzy cheese-fest of epic proportions. And that’s why it must be defeated as the top-grossing domestic movie ever. It simply cannot stand! But who will take back the box office crown?
Enter The Dark Knight. Christopher Nolan’s masterpiece of a sequel to Batman Begins. Now, who knows if we’ll look back on this film the same way in a decade, but we’re pretty sure it’ll still remain one of the best movies we’ve ever seen. That’s why we’re taking it upon ourselves here at IGN to launch a grassroots effort aimed at making The Dark Knight the highest-grossing flick ever. And we need your help, Bat-fans!
TDK, after nine weeks of release, has the second-highest domestic gross of all time — over $517 million. Titanic is still floating atop the list with $600.8 million. For you math geniuses out there, that’s an $83 million deficit. And with the Bat-sequel only pulling in around $4 million this weekend, we’ve all got some work to do. So, spread the word! Let’s get out in force to see The Dark Knight for the umpteenth time, and deliver a shattering Batarang blow right to Jack Dawson’s stunningly gorgeous jaw.
Can we do it? Yes, we can. The Dark Knight has been in theaters for 9 weeks. Titanic enjoyed a whopping 41-week run. That long of a run may not be in the cards for The Dark Knight as the DVD and Blu-ray release are expected in December, but an IMAX rerelease has already been announced for January, so that’s sure to help the cause. For now, the flick is still playing in 2,191 theaters. So, let’s get out there and fill some seats, people!
We hope you’ll join us and do your part to make the world a better place. We’ll be back next week with an update on TDK’s gross and our campaign’s progress. Until then, “¡Sí, se puede!”
Release date: Friday December 19, 2008 Genre: Comedy Director: Peyton Reed Studio: Warner Bros. Pictures Producer(s): David Heyman, Richard D. Zanuck Screenplay: Nicholas Stoller, Jarrad Paul, Andrew Mogel Cast: Jim Carrey, Zooey Deschanel, Bradley Cooper, Rhys Darby, John Michael Higgins, Danny Masterson, Terence Stamp Official Site:yesisthenewno.com Rating:None Available film art:Yes Man movie posters
Synopsis Based on a memoir by British author Danny Wallace the studio picked up in April 2005, the story centers on a man who decides to change his life by saying yes to absolutely everything that comes his way. Saying “yes” leads him on a series of unexpected comedic adventures that turn his whole life upside-down.
Jim Carrey stars as Carl Allen, a man who signs up for a self-help program based on one simple principle: say yes to everything…and anything. At first, unleashing the power of “yes” transforms Carl’s life in amazing and unexpected ways, but he soon discovers that opening up his life to endless possibilities can have its drawbacks.
Burn After Reading is a must see. Nuff said, read the review.
All critics have their “rules,” their preferences and pet peeves. Sometimes they’re a matter of personal taste – one genre over another – and sometimes they’re a result of seeing the same approach taken too many times with the same material. But despite cinema’s inherent ability to instruct its audience upon the finer points of finding love, recognizing shortcomings, and overcoming adversity, I really, really hate it when characters learn lessons. All of which is why, at least according to my own, subjective standards, the Coen brothers’ Burn After Reading may be the greatest movie ever made.
Frances McDormand (Almost Famous) plays Linda Litzke, a personal trainer who decides to blackmail former CIA operative Osborne Cox (John Malkovich) after her colleague Chad (Brad Pitt) finds a disc that contains Cox’s memoirs. Cox, however, refuses to cooperate, and soon Linda is forced to juggle her get-rich-quick scheme, her responsibilities at the gym, and a burgeoning relationship with Harry Pfarrer (George Clooney) – a married man who is also carrying on an affair with Cox’s wife Katie (Tilda Swinton). Meanwhile, Cox’s former colleague (David Rasche) and superior (J.K. Simmons) at the CIA discover that Linda went to the Russians with Cox’s memoirs and monitor the situation as it continues to develop.
As suggested above, there are going to be a lot of folks disappointed by Burn After Reading if only because it follows the artistic triumph of No Country for Old Men and is by any standard a completely unimportant story bereft of dramatic substance. But longtime Coen brothers fans will observe that this material perfectly fits within the general themes of their other films, most of which make fun of stupid people by telling, yes, a completely unimportant story. From Raising Arizona to The Hudsucker Proxy to Fargo to The Big Lebowski to O Brother, Where Art Thou, the Coens regularly assemble their stories to satirize if not outright ridicule the best laid plans of men with the brains of mice. And this film is no different. While there are a few sympathetic and even intelligent characters within Burn After Reading’s ensemble, they are given enough human shortcomings (arrogance, insensitivity, obliviousness) to make them worthy of the Coens’ derision, if not also the audience’s.
Additionally, Malkovich gives a great performance as Cox, the analyst whose self-aggrandizing but by all accounts mediocre memoirs set into motion the film’s comically catastrophic turn of events, and J.K. Simmons contributes a terrific cameo as a CIA superior who supervises the events with appropriately dry disbelief. But as always, Ethan and Joel are the ones pulling the strings, and they’re the ones who most effectively create this tapestry of complicated situations and yet manage to make it all seem simultaneously significant and superfluous. Ironically, of course, there are far more movies made in Hollywood that are really about nothing, but pretend to be about something – which is also when their supposed lessons mean the absolute least. But with Burn After Reading, the Coens have successfully made a movie that both pretends to be and is in fact about nothing at all.
Click on the link below to read the entire review:
Jon Favreau sits down with a group of journalists to talk, indepth, about the sequel to Iron Man:
IGN and a small number of journalists were able to sit down with writer/director and Iron Man mastermind Jon Favreau this afternoon for a lengthy and in-depth discussion on the upcoming sequel. The conversation was packed with fresh Iron Man news, including Favreau’s thoughts on War Machine, the Mandarin and the art of the comic-book sequel.
On Iron Man’s success…
FAVREAU: I was surprised by everything. I was surprised that the reviews were so strong, that it made so much money. I was surprised that Dark Knight had better reviews and made so much more money. On the one hand, it was a really unexpected, serendipitous summer. Oddly, when Dark Knight finally came out and was received the way it was, it was such a relief for me because I really felt like we went from nobody expecting anything to people starting to expect something…First, it was, “Who the hell cares about Marvel’s b-level heroes,” to Comic-Con where began building momentum, to this fever pitch where we were afraid that we’d disappoint and fail to meet expectations. And then Dark Knight comes in and makes history and all of a sudden, we felt the relief of that spotlight moving off of us from the guard tower. And now we have two years to lay low and work on the movie.
On what changed the tide of the superhero movie…
FAVREAU: I think 9/11. I think that was a game changer. I think people were looking for emotional simplicity, for escapism. There were superhero movies before Spider-Man, but Spider-Man hit at just the right time. It was the first way that we could get to those emotions. You couldn’t say anything about politics, about war, but you put somebody in a costume and say, “This is the good guy, this is the bad guy,” and you set that in a fantasy world or the Marvel universe, all of a sudden you allow people and kids and adults to experience those emotions. They’re dealing with real emotions in an escapist way. And that’s become more complex as we’ve become more comfortable seven years later, and you can have a movie like Dark Knight that shows people those things. There’s a line you can’t cross, but that line’s moving. But I’m glad that I was able to hit the crest of the genre and I feel safe now that we have a built in audience. But you wonder how that is going to change. Whoever gets voted in, I think there’s going to be an incredible transformation. I don’t know what it’s going to be, how the economy will affect that, or what the politics will look like. But change is coming, regardless, within our political system and our culture. And I wonder, as a moviemaker, how that’s going to effect audiences and what the national attitude is. It’s not something that turns on a dime.
On The Avengers movie…
FAVREAU: It starts off as, “Hey, wouldn’t it be fun if we stuck the Captain America shield in the background,” or “Hey, wouldn’t it be fun if we had Sam Jackson play Nick Fury.” That’s a nod to our fans. But now, between the shield and Nick Fury and the final scene of The Hulk, I’m like, “Wow, we’re really forming a team.” That scene is clearly not the day after Iron Man ended, so where does it fit? I don’t want to ignore it or say, as Marvel does, “It’s an alternate universe.” So how do you make it all work within that world? And Hulk was successful in keeping a tone that was not inconsistent with our film… In this case, you have Kevin Feige who wants to solve this puzzle. All that brain power makes you come up with interesting solutions. We have a pretty good gameplan. And there are conversations I’m having with them about The Avengers, where you’re not just dealing with tech; you’re dealing with inter-dimensional portals and all the shit that makes you jump the shark if you don’t handle it right. We were very restrained in how we used our superhero-ism in our movie, and we did that by keeping it all tech-based. Hulk was fairly tech-based. And then you get to Cap, where it’s a guy frozen in ice and you say, “Yeah, OK., I can buy that.” But then you get to Thor and it’s all out the window. So how you make that all feel of the same world is the challenge.
On The Mandarin as a live-action movie villain…
FAVREAU: The Mandarin is such a tricky character because everywhere you turn, it’s a minefield. You get into the mystical, Asian, dark arts and interdimensional travel and all the rings, and you say, “That’s cool; maybe we can make it authentic.” And then you see the trailer for The Mummy movie. That’s as authentic as it’s gonna get, but does it fit our film? I don’t know. What are your rules and how do you stay consistent? Because that’s what happens – people get desperate. How do you up the ante? And people start breaking their own rules and lose their identity. The Mandarin is the main guy, but we always remind ourselves that nobody likes the Emperor compared to Darth Vader. When the Emperor was this figure that you only saw obliquely, you’d say, “Shit, Darth Vader’s bowing to someone?” But then as he talked more, enough was enough. So the Mandarin, to have that kind of weight to him, it’s really a matter of using all the narrative tricks. But if you’re shooting these rings that have powers that could throw off the balance of the universe – how do you keep the whole thing together yet fulfill the expectations from the book? And a little bit goes a long way. There are a lot of other characters and countries that fit very well into our universe. The Iron Man cannon is becoming incredibly cogent and applicable once again.
On the script for Iron Man 2…
FAVREAU: The writing is coming along quite well. We’ve got Justin Theroux, who did Tropic Thunder. He echoes Downey’s tastes a lot. He’s an actor. He brings a real sense of fun. He’s never worked in the genre before, so he has that great newcommer’s enthusiasm. Then it’s about, here are the books. We’re breaking the story and pages are coming out, but it’s more of a conversation than actual writing…We’re looking – not so much for story, but for tone – at the Matt Fraction stuff. That series seems to be informed as much by our movie as by what happened with Iron Man before. It’s informed by current events. I’m very impressed by what he’s written.
On storytelling in comic-book films…
FAVREAU: There’s always a sense of “let’s save something for another movie.” But I think there’s a way to wade into it. In Spider-Man, he seems to be dealing with different issues in each film because they’re very modular. But we want to stretch our movie out like three chapters of the same story… These are smart audiences now with the capacity to understand long-form, complex storytelling, and you’re starting to see it more in TV and videogames. Movies are kind of what they are. It’s like a rock and roll song – you’ve got your thing, your bridge and your end. So how do you keep making rock and roll songs, but also do the White Album? How do you put it all together with other movies and make it something that’s a larger experience for people who are paying attention, but yet not so complex that if you’re not paying attention you’re going to not have fun? I’m a pretty smart audience member and I just don’t have that attention span, so I want to figure out if I can get a better version of that while still upping the ante of what you’re putting on the screen and the humor and the dialogue.
Click on the link below to read the entire indepth interview. It’s a good one
Arnold was spotted on the set of Terminator 4. Could he really be “baaack”?:
“I’ll be back,” indeed. California Governor Arnold Schwarzenegger has been photographed and videotaped chatting with actor Christian Bale on the set of Terminator Salvation, the fourth installment in the franchise that began with Schwarzenegger starring as the titular cyborg.
Ever since T4 became a reality, fans have wondered whether the Austrian Oak would be involved with the sequel given his political commitments. According to a scooper for Latino Review, which has posted a snapshot of Schwarzenegger and Bale having a casual conversation on the set, the “premise of Arnie’s involvement is to have a fully rendered digital face of Arnie replacing the recently cast Roland Kickinger (The younger version of Arnie).”
The site adds, “It seems the Director Mc G will in no doubt try all he can to ensure the Governator has some sort of involvement and as a result Arnold was on set providing key ADR (Voice over) for the visual effects guys to reference during post production.”
Click on the link below to read the entire article:
IGN has the scoop on who will fight alongside the Mark III in the sequel to Iron Man:
With the DVD and Blu-ray release of Iron Man right around the corner, IGN had the opportunity to visit the studios of the legendary Stan Winston. While you can expect our full account of the jaw-dropping experience, Iron-fans will be glad to know that we were able to squeeze a small bit of information on the upcoming sequel.
Artist Chris Swift said of the casting for the follow-up:
“The most I’ve heard is that there’s a possibility of the War Machine. That would be Terrance Howard in this next one. I talked a lot with him on set and I said, ‘Get ready. In the comic books, you end up in the suit.’ And I think he’s going to get his opportunity.”