Category Archives: The Big Screen

Top 3 reasons why the new, extended trailer for AVENGERS: AGE OF ULTRON rocks so hard

1) It’s funny, and not in a forced way, like a Saturday Night Live skit that repeats the same joke seventeen times.

The actors seem natural and relaxed.

2) The director lets this scene play out.

Today, that’s rare, with directors eager to bust out the CGI and blow up more stuff that only exists as pixels on giant servers.

Josh Whedon figures he has enough excitement packed into the movie and gives us a long, funny breather. Which is wonderful, because not rushing the payoff for this scene makes is far more powerful.

3) That payoff is amazing, and a completely different emotion than how the scene started.

Ultron showing up like this is not only a surprise, but a shock, and his lines are simply perfect. Unsettling and dark and wonderful.

Well done, Josh the Whedon, well done. A far better trailer than the usual Michael Bay explosion-fest that’s required of every big-budget action movie.

 

Top 11 posts about the Big Screen and Such, Because Top 10 Lists are Common and therefore Boring:

The Red Pen of Doom dissects every Batman movie IN HISTORY

Top 5 reasons EDGE OF TOMORROW works — and why it redeems Tom the Cruise

THE WOLVERINE proves Writing Law #1 – Less is More

Seattle superheroes challenged by supervillain Rex Velvet

Hollywood: Sidekicks do NOT need their own stupid sidekicks

Seven movie clichés that must be NUKED FROM ORBIT

MAN OF STEEL and the Invincible Hero Problem

STAR TREK INTO DARKNESS: Why it works

Big, Beautiful Movies with Sad, Stupid Endings

THE AVENGERS + THE BREAKFAST CLUB = AWESOMESAUCE

Like Godzilla in Tokyo, PACIFIC RIM smashes all expectations

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This is Guy Bergstrom the writer, not the Guy Bergstrom in Stockholm or the guy in Minnesota who sells real estate or whatever. Separate guys. Kthxbai.

Guy Bergstrom. Photo by Suhyoon Cho.

Reformed journalist. Scribbler of speeches and whatnot. Represented by Jill Marr of the Sandra Dijkstra Literary Agency.

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Filed under 3 Tinseltown Tuesday, The Big Screen

Many Bothans died to bring us this teaser for STAR WARS: THE FORCE AWAKENS

Long ago, in a galaxy named after a candy bar for some reason, I felt a great disturbance in the Force, as if millions of voices suddenly cried out in terror and were suddenly silenced–because the Mouse had bought the entire Star Wars franchise.

Everybody who grew up on the original Star Wars movies felt this pain.

I prepared myself for Disney princesses with cute neon pink lightsabers, then endless straight-to-video sequels and prequels that would make STAR WARS: THE PHANTOM MENACE look like THE GODFATHER. (Related: Why new STAR WARS movies by Disney are an achy breaky big mistakey)

However: this was before they announced that JJ Abrams would direct the first new movie.

Also: Disney also owns Marvel now, and Marvel is on an insanely successful roll.

All of the Marvel movies since IRON MAN have rocked. I figured the Captain America ones would stink, since it would be easy to make those corny and uber-patriotic, but they nailed both of them. WINTER SOLDIER is darker than dark. Loved it. On the other hand, FOX studios proves you can take a great character and great actor and absolutely blow the thing with two horrible Wolverine movies.

Marvel can’t do wrong. And now JJ Abrams, after rebooting Star Trek into awesomesauce, looks like he’s doing the same thing with Star Wars.

The only way this trailer could look and feel better is if (a) the new Sith uses his wicked lightsaber to make a clean break with the Lucas prequels by (b) slicing Jar-Jar Binks in half.

 

Top 11 posts about the Big Screen and Such, Because Top 10 Lists are Common and therefore Boring:

The Red Pen of Doom dissects every Batman movie IN HISTORY

Top 5 reasons EDGE OF TOMORROW works — and why it redeems Tom the Cruise

THE WOLVERINE proves Writing Law #1 – Less is More

Seattle superheroes challenged by supervillain Rex Velvet

Hollywood: Sidekicks do NOT need their own stupid sidekicks

Seven movie clichés that must be NUKED FROM ORBIT

MAN OF STEEL and the Invincible Hero Problem

STAR TREK INTO DARKNESS: Why it works

Big, Beautiful Movies with Sad, Stupid Endings

THE AVENGERS + THE BREAKFAST CLUB = AWESOMESAUCE

Like Godzilla in Tokyo, PACIFIC RIM smashes all expectations

###

This is Guy Bergstrom the writer, not the Guy Bergstrom in Stockholm or the guy in Minnesota who sells real estate or whatever. Separate guys. Kthxbai.

Guy Bergstrom. Photo by Suhyoon Cho.

Reformed journalist. Scribbler of speeches and whatnot. Wrote a thriller that won some award (PNWA 2013). Represented by Jill Marr of the Sandra Dijkstra Literary Agency.

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Filed under 3 Tinseltown Tuesday, The Big Screen

Was Episode 2 of GOTHAM an epic fail or glorious win?

The pilot episode of GOTHAM tried to pack three hours of characters, action and material into one hour, which is more like 42 minutes with all the commercial breaks.

Did I like it? Absolutely.

Was it 10 pounds of plot shoved into a 5-pound bag? Yes. And part of that couldn’t be helped.

However, we now have Episode 2, in capital letters, to reflect upon and answer the question: Can the writers and showrunners keep this thing exciting while slowing it down and giving key characters more screen time?

Here’s the trailer for the pilot, and while this trailer is well done, it doesn’t do justice to how much they tried to pack into it.

And for comparison, before we chat, check out the promo for Episode 2:

So how did they do? Just fine.

In fact, this is one of the rare shows where Episode 2 is better than the pilot.

Why? This time was slower in a good way. They gave villains time to chew the scenery, with the best bits being the slowest scenes.

The second show reminded me of how Quentin the Tarantino ratcheted up the suspense, higher and higher, with the opening scene of INGLORIOUS BASTERDS.

And that’s only a taste of that scene. It goes on and on, and you don’t care that nothing seems to be happening, that’s it’s simply two men at a table with a glass of milk, talking. Because there’s crazy tension and conflict there without a single gunshot or explosion. Michael Bay would go deep into withdrawal, right?

But slow can work. Slow burns are often the best burns. Gunfights and making things go boom doesn’t mean anything unless you give it meaning.

BREAKING BAD understood this perfectly. There was no shortage of blood on the floor of that set, yet Vince the Gilligan and his creww always took their time to carefully plant setups and build up that tension before finally paying them off.

One of best examples of Chekhov’s Gun ever comes from a literal gun, an M60, they planted in the trunk of Walter White’s car, not knowing when, why or how that gun would go off later in the last season. Brilliant!

Well played, GOTHAM people. Good actors, good sets and good pacing. Keep it up.

What say you, (a) casual Batman fans and (b) intense fanboys who know how to spell and pronounce Ra’s al Ghul? Bring it in the comments.

Related posts:

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This is Guy Bergstrom the writer, not the Guy Bergstrom in Stockholm or the guy in Minnesota who sells real estate or whatever. Separate guys. Kthxbai.

Guy Bergstrom. Photo by Suhyoon Cho.

Reformed journalist. Scribbler of speeches and whatnot. Wrote a thriller that won some award and is represented by Jill Marr of the Sandra Dijkstra Literary Agency.

Leave a comment

Filed under 3 Tinseltown Tuesday, The Big Screen, The Glowing Tube

Big, Beautiful Movies with Sad, Stupid Endings

The First Law of Bad Literary Novels is simple: there are no happy endings.

It’s the same story with Big, Beautiful Movies with Sad, Stupid Endings.

Now, that’s not to say every book and movie needs a prototypical Hollywood happy ending. Tragedies should have sad endings, and there are plenty of classic movies where the ending is ambiguous.

Rocky actually loses his first fight. The victory comes from not getting knocked out – and from the journey from loser to contender. Rocky suffers, sacrifices and grows. That’s why the movie is good: there’s a big contrast between where Rocky is in Act 1 and where he ends up in Act 3.

The trouble with these movies is the audience doesn’t want to see them again, if they ever saw them in the first place, because the ending sours everybody, despite the beautiful imagery and amazing acting.

I’m not saying you can’t make a great movie without being low-brow and throwing in more explosions than Michael Bay ever dreamed possible.

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The trouble with LUCY by director Luc Besson

I’m a huge fan of Scarlett Johanssson and Luc Besson, director of THE TRANSPORTER, THE FIFTH ELEMENT and THE TRANSPORTER PUTS THE FIFTH ELEMENT IN THE TRUNK AND DRIVES IT AROUND EUROPE.

So I saw LUCY last night in this giant building where the floors are sticky and popped corn drenched with fake butter costs $10 a bag.

The previews looked great and word was this movie is interesting, if not weird. Hey, it’s directed by Luc Besson, who I really want to call Jean Luc Besson, so it’s going to be exciting and fast and weird.

Here’s the trailer:

And here’s a great parody trailer:

Is this movie good? Sure. Exciting and different. Worth renting, and maybe watching in the theater.

What keeps it from greatness? The Invincible Hero Problem strikes again. Continue reading

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Giving THE TRANSPORTER a tune-up

THE TRANSPORTER is the break-out movie for Jason Statham, and though I am perhaps the world’s biggest fan of Jason the Statham Kicking Things in the Face, there are clunky bits rattling around in the engine compartment of this film, keeping it from true greatness.

It’s like a classic car with a gorgeous front end, giant engine and gimpy transmission.

So I’m dragging it into the shop and turbo-charging this thing.

Having recently rewatched THE TRANSPORTER using time-travel technology called Blu-Ray, three things stuck out: the beginning, the middle and the end.

The beginning is amazing. The middle sags.

The ending is underwhelming.

Let’s grab plot wrenches, get our hands greasy and figure out why.

Act 1: A Man and His Car

The first scene of the film is amazing. Frank puts on his driving gloves, fires up his exquisite piece of German engineering and picks up his first package to transport, no questions asked. Turns out to be four bungling bank robbers and this opening car chase is thrilling.

The next major scene brings us to the best part of the movie, after his second job goes bad and Frank’s beloved black sedan goes boom while he’s eating a sandwich. Frank returns to that client’s mansion and rings the doorbell. Result? Awesomesauce.

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Top 5 reasons EDGE OF TOMORROW works — and why it redeems Tom the Cruise

Edge-of-Tomorrow-Poster

Not because the movie is great, though it is.

Not because the director the same amazing man behind THE BOURNE IDENTITY. And not because Emily Blunt and the other supporting actors nailed it.

I almost didn’t see this film because of my antipathy for Tom Cruise, and yeah, I’d lost respect for him the last few years. But this bit of cinema goes a long way toward rehabbing Cruise as a blockbuster star, though not for the reasons you’d expect.

Warning: spoilers. Also, I refer to action heroes as “he” for simplicity, and yes, Ronda Rousey and other female action stars are amazing. 

5) Reversal of tough-guy expectations
Most action stars have an actual background in Being a Tough Guy.

Arnold Schwarzenegger was the king of bodybuilding. The rest of the cast of THE EXPENDABLES 12: ANARCHY AT THE AARP MEETING is full of martial arts maniacs, pro wrestling hulks and mixed-martial arts studs.

The fact that Tom Cruise is short in real life isn’t an impediment here. Jackie Chan, Jean Claude Van Damme and Jet Li could all fit in the back seat of a Yugo.

Doesn’t matter. They look big and tough on screen.

The difference? While he did all his own stunts in this movie, just like the toughest Tinseltown tough guys, Tom the Cruise can actually act. Shockingly, acting ability tends to matter on the big screen. Continue reading

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Filed under 3 Tinseltown Tuesday, The Big Screen