Author: The Ultimate Rabbit

‘Superfly’ Remake Has Little Reason For Existing

Posted on by The Ultimate Rabbit

Superfly 2018 poster

The original “Super Fly” directed by Gordon Parks Jr. was a notable blaxploitation classic as it provided many advancements for African-Americans in show business. Many accused it of glamourizing the drug business and of drug dealing in general, but others saw its glorification of drug dealers as a critique of the civil rights movement’s failure to provide better opportunities for black America. Either way, it gave a lot for audiences to talk about, and it provided us with one of the greatest soundtracks of all time courtesy of Curtis Mayfield.

Now it is 2018, and we have the remake of the 1972 movie which the filmmakers have entitled “Superfly” because, you know, why separate the two words? While it made more sense to separate the words “super” and “fly” decades ago, the rules of grammar continue to change for no special reason. But while the original movie still resonates with audiences more than 45 years after its release, I walked out of this remake constantly saying to myself, what was the point? Updating a classic of any kind is one thing, but this “Superfly” has little reason to exist as it offers us the same old tale of a gangster who is looking to go straight after spending too much time in a life of crime, and it offers nothing new or fresh to this story. While it is never boring, this movie will not have the same staying power of its predecessor.

The story remains the same, but this time the action has been moved from New York to Atlanta, Georgia (or ATL as the locals like to call it). Playing Youngblood Priest is Trevor Jackson, a 21-year-old actor, singer and dancer whose taste in clothes and cars is almost upstaged by his silky head of hair. Priest has it all, and this includes a luxurious house which has a beautiful view of downtown Atlanta, a pair of loving and tough-minded girlfriends in Georgia (Lex Scott Davis) and Cynthia (Andrea Londo), and he drives around town in a super-expensive Lexus car which, unlike Ron O’Neal’s 1971 Cadillac Eldorado, needs no customization. One look at it is enough to give you an idea of how well-off Priest is to where putting a spoiler on his Lexus would just look stupid.

Yes, Priest is a career criminal who is now more serious than ever about leaving the Atlanta drug scene, but no one is about to make things easy for his departure, and this is especially the case when one particular drug deal goes horribly awry. From there, those who have seen the original “Super Fly” will not be surprised at the turns the story takes, and those who have not watched it will marvel at how convoluted things become as the remake heads to its largely unsurprising climax.

The first thing I got to say about “Superfly” is when it comes to Jackson, I cannot help but feel he is too young to play Priest. Jackson is not bad as he exhibits a natural charisma and does have the necessary aura of coolness Priest requires, but he never struck me as a gangster who has led a rough and tumble life. Instead, he looks more like someone who just entered the life to where he has yet to show off any of the scars which come with it. Alex Tse’s screenplay does make mention of how Priest started out hustling at the tender age of 11, but even with this realization, Jackson still looks like an intern who just entered this life.

The other big problem is Jackson is constantly upstaged by his fellow actors, several of whomwould have been more believable as Priest. Chief among them is Michael K. Williams, best known for playing Omar on “The Wire,” who plays Scatter, Priest’s chief drug supplier and martial arts teacher. The scene in which they spar with one another is one of “Superfly’s” best moments as their physical moves match up with their mental ones to where you can see them working out scenarios in their heads about surviving into the future. Williams has the look of someone who has worked in the Atlanta drug trade for many years, and he makes Scatter look like someone with more of a reason to retire from this life than Priest does. I think Williams would have been a better fit for the role of Priest, but I guess considerations in regards to demographics were taken into consideration here above all else.

Jason Mitchell, who was fantastic as Easy-E in “Straight Outta Compton,” steals one scene after another as Priest’s right-hand man, Eddie. He keeps you guessing as to what Eddie’s next move will be to where you constantly wonder where his loyalties lie. While Eddie seems eternally dedicated to Priest, Mitchell constantly gives you the sense he may bolt to the other side as being a supporting player in this trade can be infinitely frustrating at times, and his high energy performance is one of “Superfly’s” great delights.

Lex Scott Davis makes Georgia into a formidable girlfriend for Priest to where he needs her more than she needs him. Andrea Londo provides “Superfly” with its most alluring presence as Cynthia, Priest’s other girlfriend. From start to finish, Londo inhabits Cynthia to where she cannot be mistaken for anything other than a fierce self-provider who is more than prepared to fight to the death for her loved ones. Outkast’s Big Boi shows up as Mayor Atkins, a man whose political influence knows no bounds until Priest puts some directly in his path. And I have to single out Jennifer Morrison for her wonderfully wicked performance as the infinitely corrupt Detective Mason. She doesn’t hesitate to show far off to the dark side Mason is as she makes clear how quick she is to bend the rule of the law to her hardened heart’s content, and I could never take my eyes off her whenever she appeared onscreen.

Directing “Superfly” is Julien Christian Lutz, better known by the name of Director X. Whether or not this name is meant to define some sort of political belief I will leave for him to explain. X is best known for making music videos with Drake, Kendrick Lamar and Rhianna among others, and his trademark involves tweaking the letterbox format to where he plays with our expectations with glee. He crafts a strong opening sequence in which we follow Priest into a nightclub whose membership is clearly restricted to a select few, and it reminded me of the scene in Martin Scorsese’s “Goodfellas” when Henry Hill and Karen entered the Copacabana nightclub through the back way. As we follow Priest into this particular nightclub, X makes it feel like an invitation into a side of life many of us never get to experience. After this sequence, everything ends up feeling inescapably routine.

There have been many gangster movies like “Scarface,” “Carlito’s Way,” “Sugar Hill” and “Light Sleeper” which depict their lives in a way which is endlessly fascinating even as the characters are looking to escape the life they were not necessarily aiming to enter. “Superfly,” however, feels stale in comparison as it offers nothing new or unique to the genre. As the movie went on, I kept wondering what the point was of remaking this blaxploitation classic. Many have said how the original glamourized crime and drug dealing, but this remake seems to do this to a shameless extent as the characters sport not only designer clothes, but designer guns which more lethal than the kind we usually see in movies. Whereas O’Neal’s Priest was moving through life the only way he knew how, Jackson’s Priest looks to live the life of the richest 1% in America as drug dealing provides what seems like an unrealistic route to it.

I cannot say I didn’t enjoy parts of “Superfly” as it is never the least bit boring, but this kind of movie has been played out too many times to where this remake serves no real purpose. After all these years, the most memorable thing to come out of the 1972 blaxploitation classic will be Curtis Mayfield’s soundtrack, and even the filmmakers behind the remake could not escape this fact as one of his songs is featured here. If there was a reason to update this story for the year 2018, this is never made apparent here. Besides, there is bigger gangster for Priest to deal with in this day and age, and his name is Donald Trump.

* * out of * * * *

No, I Haven’t Seen It Until Now: ‘Super Fly’ (1972)

Posted on by The Ultimate Rabbit

Super Fly 1972 poster

With the remake about to be released, it was time to check out “Super Fly,” the 1972 blaxploitation crime drama which is considered one of the biggest classics of the genre. I have been aware of this film’s existence for years, and the photo on its VHS cover of Ron O’Neal holding a gun and looking ever so cool in his white suit and pants has been burned into my memory for decades. But like many movies I perused at local video stores, all of which have since vanished, I never got around to watching it until now.

While I certainly understand why “Super Fly” is long considered a classic blaxploitation film, it is not necessarily a great movie. On one hand the signs of its low budget are very much on display throughout to where I was reminded of what John Carpenter once said about the rule of making independent movies: “Shoot as little film as possible and make it as long as you can.” But on the other, it presents us with a New York time which no longer exists in modern day America, and the gritty realism of the city streets is on display throughout to where the movie’s existence is especially important as you can only fake this kind of realism in today’s cinematic world.

Ron O’Neal plays Youngblood Priest, an African-American drug dealer who enjoys a luxurious lifestyle in Harlem, New York. He got the name Priest because of the cross he wears around his neck. While this cross may or may not reflect his belief in God or any religious deity, a closer inspection reveals that the tip of the cross is fashioned in the shape of a spoon, and this allows him to do lines of cocaine whenever he needs a hit. In addition to his high-class apartment, the kind which would fetch at least a million in today’s New York real estate market, he also has a dedicated girlfriend in Georgia (Sheila Frazier), a white girl mistress named Cynthia (Polly Niles), the best set of clothes any man would be lucky to own and wear at the time, and he drives around town in a 1971 customized Cadillac Eldorado. Looking at Priest is to be convinced this is a man who has a lot of power and confidence you would be foolish to question, and this is something he does not have to spell out to anyone in words.

But as successful as Priest is, he yearns for a life outside of the underground drug business. This, of course, leads to him to plan one last “big score” which he believes will allow him to retire and go straight, but those of us who have watched countless gangster movies know this last big score will be the one fraught with the most danger. It gets to where there I expected the one scene where Priest just shakes his head as if to say to himself, “I should have gotten out of the life sooner, and now it’s too late.” Still, Priest is much smarter than his friends and foes realize, and we watch as he plots his way to his biggest drug deal ever, and then attempt to stay one step of everyone else who wants to do him in.

It has been said that the screenplay for “Super Fly” was only 45 pages long, and this is why we get exposed to so many shots of people walking, driving and talking in restaurants. This is the kind of film editing you would never see today as everything needs to move at a fast pace. This ends up dragging the movie down a bit as certain moments play themselves out for much longer than is necessary. Still, it allows us to take a look back at the New York that was before it, for better or worse, was cleaned up to where much of the state if unaffordable to live in. This helps to make up for other scenes which are staged rather pathetically, especially one in which a character gets hit by a car.

O’Neal immediately comes across as the personification of cool from the first moment he appears onscreen. He was in his 30’s when starred in “Super Fly,” but his face has the look of a man who has seen a lot in life up to that point, and this makes his performance as Priest feel all the more powerful and authentic. I never got the feeling he was trying to glamourize Priest’s lifestyle, and he was not afraid to make this character a rough and unlikable dude at times. He simply portrays Priest as a man who makes his way through life the only way he knows how, and his methods as you can imagine are not always morally sound.

As for the rest of the cast, their performances range from okay to pretty good. Charles McGregor, who was released from prison before “Super Fly” began filming, has some good moments as Fat Freddie, and Carl Lee, who plays Eddie, has a strong scene in which he tells Priest if it wasn’t for him, he would have overdosed. This line of dialogue would later prove to be tragically ironic as Lee became a heroin addict, and he died of a drug overdose back in 1986.

When “Super Fly” was released, many African-Americans were said to have been displeased with the way the movie glamourized people like themselves as drug dealers and pimps, but it resonated deeply with others who saw the movie as an example of how to rise up in the American class system. Does this movie glamourize the lifestyles of drug dealers? Well, perhaps it does, but the scary truth is there is always an allure to a life like this as it affords us a wealth which constantly seems out of our reach. Still, it should be noted how we never really see Priest enjoying himself much in the movie. While he has many things a person would want in life, we see right from the start how he has long since tired of his role in society to where it is believable and understandable why he yearns to do something legitimate for a change.

For those who think “Super Fly” provides audiences with a rather ambiguous look at the world of drugs and drug dealing back in the 1970’s, you need to take the time to listen Curtis Mayfield’s soundtrack to it which, by the way, is one of the best of its kind ever. An exhilarating fusion of soul and funk music, Mayfield also provided lyrics which were very socially aware and took an even closer look at drugs and poverty in society. When you read the lyrics of the song “Freddie’s Dead,” you can see the evidence of this very clearly:

“Everybody’s misused him

Ripped him up and abused him

Another junkie plan

Pushing dope for the man

A terrible blow

But that’s how it goes

A Freddie’s on the corner now

If you want to be a junkie, wow

Remember Freddie’s dead

We’re all built up with progress

But sometimes I must confess

We can deal with rockets and dreams

But reality, what does it mean

Ain’t nothing said

‘Cause Freddie’s dead.”

Looking at this, it is no wonder the soundtrack ended up making more money than the movie itself, and the movie did make a huge profit.

So “Super Fly” may not be an example of great filmmaking, but it should be noted how its production succeeded in offering advances for African-Americans. The city of Harlem went out of its way to back the movie financially, and many black businesses helped with production costs. Furthermore, the majority of the crew were in fact African-American, something which was very rare at this time in cinema. Taking all this into account makes “Super Fly” all the more enjoyable as it was a movie made with passion and respect as the filmmakers sought to tell it like it is. Despite its glaring flaws, it is a very cool movie to experience, and I am glad I finally got the chance to check it out, especially before I went out to see the remake.

* * * out of * * * *

Ryan Gosling Flies to the Moon in ‘First Man’ Trailer

Posted on by The Ultimate Rabbit

First Man first poster

After getting all musical with “Whiplash” and “La La Land,” Oscar winning director Damien Chazelle now travels into outer space with “First Man.” Based on the book of the same name by James R. Hansen, it stars Ryan Gosling as Neil Armstrong, the first man ever to set foot on the moon, and it depicts the years leading up to his mission aboard Apollo 11. With this movie, Chazelle appears to be stepping outside his comfort zone as “First Man” does not look at all like a musical, and it represents his first directorial effort where he is working from a screenplay he did not write.

From the outset, this trailer looks amazing as the visuals it shows us are stunning, and this makes me believe the filmmakers really did their research here as this is not a story you can portray without any realism. Seeing Armstrong travel into the atmosphere and beyond is exhilarating, and the moment where the hatch is closed on the Apollo 11 capsule as the crew are left alone in darkness with only their thoughts and the sound of their own breathing is enough to illustrate their isolation. While those who watched breathlessly on July 20, 1969 when Armstrong made that “one small step for man” and felt very much a part of this amazing mission, I imagine he felt like one of the loneliest people in the universe even with the eyes of the world on him.

At the same time, I wonder how “First Man” will compare to other films which have captured an astronaut’s journey into outer space in unforgettable ways. The first film which comes to my mind is Ron Howard’s “Apollo 13,” still his best work to date. Howard took the events of this particular space mission which we all knew the outcome of, and he turned it into a most riveting cinematic experience that had me on the edge of my seat throughout. Furthermore, Howard filmed his actors working in a reduced gravity aircraft to realistically depict the weightlessness astronauts experience in outer space. Did Chazelle do the same? Well, we will eventually find out.

Then there is “The Right Stuff,” Philip Kaufman’s cinematic adaptation of the late Tom Wolfe’s non-fiction novel about the test pilots chosen to be part of Project Mercury, the first manned spaceflight in America. I still have vivid memories of seeing this movie as a kid when it came out back in 1983, and the scene where the capsule containing John Glenn (played by Ed Harris) descended into the atmosphere like a meteor remains forever burned into my consciousness. Can Chazelle match the attention Kaufman paid to even smallest historical details?

And let us never forget Alfonso Cuarón’s “Gravity” in which he made us see the real perils of being in outer space to where James Cameron had to admit someone made a truly realistic film on this subject before he did. For those who watched this Oscar-winning film and remembered its opening titles which exposed us to certain facts about outer space, we could not walk out of the theater and say we did not know what it is like to be up there.

So, while this trailer shows us how “First Man” looks to be very promising, I wonder if can stand up to those three movies as each set the bar high for filmmakers in capturing the reality of outer space and space travel. Well, we will all find out if it does when it is released on October 12, 2018.

Please check out the trailer below.

David Fincher’s ‘The Girl with the Dragon Tattoo’ Stands On Its Own

Posted on by The Ultimate Rabbit

The Girl With The Dragon Tattoo 2011 poster

To call David Fincher’s “The Girl with The Dragon Tattoo” a remake of the excellent 2009 Swedish thriller wouldn’t be fair. Yes, it too is based on the runaway bestseller by the late Stieg Larsson, but Fincher has taken this material and, with the help of ace screenwriter Steve Zaillian, made it his own. His version proves to be one which is neither better nor worse than the original, but one which effectively stands on its own two feet to where any comparisons are not really necessary.

Daniel Craig takes on the role of Millennium Magazine writer Mikael Blomkvist who, at the movie’s start, has lost a libel case against the wealthy but corrupt businessman Hans-Erik Wennerström, a defeat which will seriously deplete his savings account. To escape the prying eyes of the press, he accepts an invitation from retired CEO Henrik Vanger (Christopher Plummer) to investigate the mysterious disappearance of his great-niece Harriet. Vanger believes she may have been murdered by a member of his family, one which proves to be far more dysfunctional than any you may know.

Fincher’s film takes its time in establishing the characters of Blomkvist and Salander, who is played here by Rooney Mara. In fact, they don’t meet face to face until an hour into the movie. While studio executives were probably begging to see these two come together a lot sooner, it gives these actors time to establish their characters to where we feel like we understand them and are eager to see each work with one another.

Stepping outside of the James Bond franchise, Craig is terrific in conveying Blomkvist’s single-mindedness in finding answers which need to be uncovered. This is not a heroic character taking out the bad guys with relative ease, but one who is dedicated to finding out the truth and soon comes to realize just how much danger he is in. But as frightened as he is, Blomkvist is in no position to just give up and go home.

As for Mara, her performance as Lisbeth Salander is nothing short of a revelation. She must have given one hell of an audition for Fincher because very little in her resume, certainly not the bland “Nightmare on Elm Street” remake, could have prepared us for how good she is here. That is, except for her performance as Max Zuckerberg’s girlfriend who dumps him without remorse at the beginning of “The Social Network.”

Having watched Noomi Rapace inhabit this character previously, it was hard to think of another actress who could be anywhere as good in playing Lisbeth Salander. Mara, however, is more than up for the challenge, and her commitment in portraying this understandably anti-social character is utterly complete. I kept trying to find traces of Mara in this film, but I came out of it feeling like I never saw her. Instead, I felt like was watching Lisbeth Salander and no one else. Now this is a performance worthy of awards consideration!

Not to take away from Rapace’s star-making performance, but Mara has the advantage here of dealing with this character’s complexities which were not as deeply explored in the 2009 film. While Mara puts up a tough exterior, she simultaneously allows you to see those cracks of vulnerability hiding just beneath the surface. You fear for Lisbeth even though you know she eventually will kick ass.

There are many other great performances to be found here, and the actors have the fortune of playing characters which are given more depth in this version. Plummer has had quite the year with this and “Beginners,” and he gives Henrik a biting sense of humor which has aided him in dealing with the emotionally sordid history of his family. Robin Wright pulls off a surprisingly confident Swedish accent as Blomkvist’s co-worker and lover Erika Berger. Steven Berkoff of “Beverly Hills Cop” and “A Clockwork Orange” fame is a strong presence as Henrik’s lawyer Dirch Frode, Stellan Skarsgård remains one of the most reliable actors in movies with his performance as Martin Vanger, and Joely Richardson is fantastic as Anita.

Director of Photography Jeff Cronenweth does a superb job of capturing the frozen landscapes of Sweden to where you get frigid just looking at the screen. The scene where Blomkvist desperately tries to warm up the cottage Vagner has provided for him pushes this point across than it would ever need to. I haven’t shivered this much since after I finished swimming the 2011 Los Angeles Marathon.

Fincher’s movie also has a mesmerizing score from Trent Reznor and Atticus Ross, both whom won the Best Original Score Oscar for their work on “The Social Network.” They give the story and its characters a sonic soundscape unlike the typical orchestral score, and it brilliantly captures the growing emotions which get stronger and stronger as the movie reaches its brutal climax.

Speaking of brutal, Fincher never sugarcoats this story or makes it easy to digest down to a PG-13 rating. In retrospect, I’m not sure there was a way he could as it deals with serial killers and features a vicious rape perpetrated on the main character. As with the majority of his movies, Fincher’s vision of the world is a dark one where the characters can be as cold as the snowy weather, but his vision also remains one of the most powerful in today’s cinematic world.

When it comes to comparing the 2009 and 2011 movies, this one has an upper hand in that it’s far more cinematic. The original Swedish film was actually a television miniseries which got shortened when released theatrically. That one remains a great thriller worth watching, but David Fincher’s version of “The Girl with The Dragon Tattoo” threatens to be more compelling as it builds on the original without taking away from it. I have yet to see him make a truly bad motion picture, and yes, that includes “Alien 3.”

* * * * out of * * * *

‘Ocean’s Thirteen’ is a Better Than Expected Sequel

Posted on by The Ultimate Rabbit

Oceans Thirteen movie poster

“Ocean’s Thirteen” was one of the few threequels from 2007 which really delivered without any frustration, and I was relieved how it did not suffer from an overabundance of plot and characters. True, the story and twists in plot are a bit hard to follow at times, but this was also the case in the last two movies in this trilogy, so why should this one be any different? This is a movie which invites you to sit back and relax and to have some fun, and for me it delivered.

The gang is back with the exception of Julia Roberts who was in the previous two movies, and Catherine Zeta-Jones who appeared in the last one. It’s just as well because there really is not much they could do here. They would have been wasted in bit parts which would not have required much from their presence. As George Clooney and Brad Pitt point out at the beginning in regards to the characters Roberts and Jones played, “IT’S NOT THEIR FIGHT!”

This one starts off with their friend Reuben Tishkoff (Elliot Gould) in the hospital where he is recovering from a nasty heart attack. This was brought on when he got screwed out of a partnership by the devious Willie Bank (Al Pacino) who is legendary in Las Vegas for stabbing everyone who ever worked for them in the back without any remorse. None of Ocean’s gang is happy about this, and they quickly begin to plot their revenge against him. Their plan is to essentially bankrupt Willie on the opening night of his new casino, and whether or not they win is irrelevant as long as he loses big time.

Clooney and Pitt are as cool as ever in returning to Las Vegas, the scene of their insidiously clever crime from the first movie. They never miss a beat as their confidence remains unbreakable while they attempt to screw over Pacino’s character. Matt Damon is great as always as Linus, the guy who always wants to put more into the plan, and he remains convinced of how he can pull it off if those around him would just give him a chance. However, I could easily spot who his character’s father was from a mile away. Don Cheadle has some great scene stealing moments as Basher Tarr, especially when he tries to divert Pacino’s attention in one key scene.

Pacino has been ridiculed for some time now as he is constantly accused of giving the same bombastic performance over and over again. Ever since his Oscar winning turn in “Scent of a Woman,” people keep saying he overplays every role given to him, and while there is a lot of evidence to this fact, I don’t think it’s always the case (“Donnie Brasco” anybody?). He succeeds in underplaying his role here, and his usual bombast is not on display as much. He has a quiet menace in some scenes which really works, and Clooney plays off of it very effectively to where they both generate some good chuckles along the way.

It’s also great to see Ellen Barkin again and reuniting with her “Sea of Love” co-star Pacino as his chief assistant, Abigail Sponder. She still looks very hot, and it’s nice to see her acting again instead of hearing about all those divorce stories between her and her millionaire ex-husband. She is a lot of fun to watch here, and there is a great moment where she ends up getting seduced by Matt Damon’s character, and the way she plays her inevitable seduction is both hilarious and quite believable.

Carl Reiner and Elliott Gould return as well to the Ocean’s franchise, and their presence is very welcome. Hollywood is as always obsessed with youth, so it’s nice to see two older guys still being allowed to make their mark in a big Hollywood movie like this. And I don’t want to leave out Shaobo Qin who plays Yen. Qin gets more to do here than he has in the other Ocean’s movies, and his acrobatic skills come into focus when he has to make his way across a very unpredictable elevator system.

Andy Garcia is also back as Terry Benedict, and the Ocean crew is forced to partner with him in order to complete their revenge against Pacino’s character. How Garcia’s character gets done in is too good to spoil here, and it results in one of this sequel’s most inspired moments.

Steven Soderbergh, or Peter Andrews if you really want to call him that, keeps the coolness factor up and running, and he provides us with what this movie is supposed to give, a good time at the movies. With a movie like this, you can’t ask for much more. This must serve as a vacation for Soderbergh from all his more serious movies like “Traffic” and “The Good German,” and it is always great to see him jumping from one genre to another.

Whereas a lot of sequels have underwhelmed mostly because of constant overhyping, this one is smart enough not to fall victim to that. I was always surprised when I heard they were going to do a sequel to “Ocean’s Eleven,” and then another sequel after “Ocean’s Twelve.” Each one delivered for me, and this one does as well.

* * * out of * * * *

 

First ‘Halloween’ Trailer Has Been Released, and it Looks Awesome!

Posted on by The Ultimate Rabbit

Halloween 2018 teaser poster

I have not been as excited for a movie trailer as I have been for this one. Sure, there were the ones for various “Star Wars” movies, particularly “The Force Awakens,” which got me all excited, but this one feels especially thrilling. It is a direct sequel to one of the scariest horror movies ever made, and it dares to retcon a franchise which has seen a large deal of retconning throughout a number of sequels. Plus, with the director of “Pineapple Express,” “Joe” and “All the Real Girls” at the helm, I cannot help but anticipate something more than just another dumb horror sequel. I am of course talking about David Gordon Green’s upcoming “Halloween,” and after a week filled with teasers, the first full trailer was released, and damn it looks awesome!

Unlike “Halloween H2O: 20 Years Later” which was a direct sequel to 1981’s “Halloween II,” this “Halloween” serves as a direct sequel to John Carpenter’s original 1978 film. The trailer indicates that, instead of disappearing even after being shot six times by Dr. Loomis, Michael Myers was in fact captured and has been imprisoned in an asylum ever since. Gone is the implication of Laurie Strode actually being Michael’s sister, and this is made perfectly clear by Allyson, Laurie’s granddaughter, who is played by Andi Matichak. There’s no battle this time between brother and sister, but instead between a survivor who has no choice but to believe in the boogeyman, and a man who, as Dr. Loomis once said, isn’t even remotely human.

Right from the trailer’s first frame, I already love the look of this “Halloween” as the visuals are stark and ominous. I was taken aback at the production values on display here as horror movies in general are made on very low budgets to where the filmmakers are forced to cut more corners than they would ever want to. But here it looks like everyone at Blumhouse Productions and the filmmakers have crafted a true horror film where the shadows prove to be as ominous as ever, and we all remember how easily Michael can disappear into them.

In several interviews, the filmmakers behind this “Halloween” have said this film will ignore the continuity of the sequels, but that it will allude to them in one way or another. The scene in which the two reporters, both whom we see attempting to interview Michael, are stuck a deserted gas station and are stalked by him quickly reminded me of similar scene from “Halloween 4: The Return of Michael Myers.” When Michael approaches the female reporter while she is in a bathroom stall, it brought to my mind of when Ken Foree tried to explain why he wasn’t finished dropping the kids in the pool in Rob Zombie’s “Halloween.” It will be interesting to see what other allusions Green and company have in store with us in a few months.

After the first poster for the movie was released, many complained about how Michael Myers’ mask looked way too similar to the one used in Rob Zombie’s “Halloween” and “Halloween II.” Seeing it in the trailer here, it doesn’t look the least bit similar, and it instead looks very much like the one Nick Castle donned all those years ago. Many of the “Halloween” sequels had Michael wearing a different mask in each one, and it made me miss the original as it had an infinitely creepy look none of the others could match. But seeing Michael put on this particular mask once again had my excitement levels going through the roof.

And of course, it is so great to see Jamie Lee Curtis back in her star-making role as Laurie Strode. While Curtis portrayed Laurie as a barely functioning alcoholic in “Halloween H20,” she looks to play this character here as a survivor whose scars are more apparent on her psyche than on her body. As Laurie tells a police officer, played by Will Patton, how she always hopes Michael will escape again so she can have a chance to kill him, we see her shooting guns at various targets to where we can believe she has been practicing her aim for a very, very, very long time. Curtis is always a fantastic presence in any movie she stars in, and to see her make Laurie Strode into a true badass here has me looking forward to this “Halloween” movie even more.

I also have to say how much I loved this trailer’s last image of a young boy asking his babysitter to shut his closet door. Boy does this bring back memories of when we were young and believed there was a monster hiding in our closets. As we get older, we stop believing in monsters as real life proves to be far more terrifying, but in this scene certain characters are shocked to see there is one inside this particular closet. Whether or not you believe in monsters, we are once again reminded of how the boogeyman is real and that evil never dies.

Ever since learning David Gordon Green was working with Danny McBride on a new “Halloween” screenplay, I have been super excited about this project. Having Jamie Lee Curtis come back as Laurie Strode makes me even happier, and I have to applaud Jason Blum for managing to bring John Carpenter himself back to this franchise for the first time since “Halloween III: Season of the Witch” as securing Carpenter’s involvement could not have been easy. Carpenter serves as executive producer, and he will also be scoring the film along with his son, Cody Carpenter (YAY!). Furthermore, Carpenter made it clear how this addition to the “Halloween” franchise will bring Michael Myers back to his original roots as he always saw this character as not a real person, but instead as an almost supernatural force and the embodiment of evil. With all these talented people involved, I cannot help but have huge expectations for this upcoming horror film, and the trailer makes it seem like this endeavor will be worth the wait.

I also have to say I am glad this one isn’t titled “Michael vs Laurie” as it would have cheapened what we see here. Granted, this movie is to contain the final confrontation between these two, and I would hate to see it end when they both realize they have mothers named Martha.

“Halloween” is set to be released on October 19, 2018, a date which cannot come soon enough. Please check out the trailer below and be sure to subscribe to our YouTube channel if you haven’t already.

 

Lisbeth Salander is Resurrected in First Trailer for ‘The Girl in the Spider’s Web’

Posted on by The Ultimate Rabbit

The Girl in the Spider's Web poster

Lisbeth Salander returns to the silver screen after a long hiatus (7 years to be exact), but you may notice something a bit different. Despite the success of David Fincher’s cinematic adaptation of “The Girl with the Dragon Tattoo,” studio executives felt it should have made more money than it did. After efforts to follow up “Dragon Tattoo” with the next book in Stieg Larsson’s Millennium series, “The Girl Who Played with Fire,” fell through, Sony and MGM decided to do what they called a “soft reboot” of the franchise with “The Girl in the Spider’s Web” which is based on the book by David Lagercrantz who wrote it following Larsson’s death. Now with its just-released first trailer, we do see some changes, but I am also reminded of what Snake Plissken said in “Escape From LA:”

“The more things change, the more they stay the same.”

Is this good or bad? Well, let’s take a look.

Taking over the role of Lisbeth Salander here is Claire Foy, an English actress best known for playing the young Queen Elizabeth II on Netflix’s “The Crown.” It is my understanding many people right now are having some difficulty accepting Foy as Salander because they can’t quite get the image of her playing the Queen out of their heads. I, on the other hand, do not have the same baggage as I have not watched “The Crown,” so perhaps this gives me an advantage here.

From her first appearance in this trailer, Foy owns this role with a strong confidence as we watch her subdue an abusive husband who has just used his wife as a punching bag like Ike Turner did with Tina Turner years ago. As Salander tells this spineless fraction of a man how she plans to transfer money from his accounts to the two prostitutes he was acquitted of beating up, we know right away this character is in the hands of the right actress. As the abused wife threatens to call security on Salander, the brilliant but antisocial heroine informs her she will be getting the rest of his money. The wife then puts down her phone, grabs her child and leaves. Just as she did with the hideous Nils Bjurman, Salander has cornered this man into a position he cannot undo, and we revel in her success in making him pay for the crimes he has committed. While I am bummed Rooney Mara, who earned an Oscar nomination for her work in Fincher’s film, is not returning, Foy looks to be a good choice to inhabit this unforgettable literary character.

The one question I did have, however, was this: how did Salander know this man would be in the exact position he needed to be in so she could capture him in a rope which would leave him dangling helplessly from the ceiling? It seems impossible she, or anyone else, would be able to pull this off, but then again this is Lisbeth Salander, and her brilliant mind has already managed to ensnare this man in a web of his own making to where he has no choice but to realize how karma is a bitch.

I was struck by the look of this movie from the trailer as it seems to match the icy cool visuals of Fincher’s film, and it makes this project look like much more than the average adaptation of a best-selling novel. Directing “The Girl in the Spider’s Web” is Uruguayan filmmaker Fede Alvarez who helmed the “Evil Dead” remake which I thought was just okay. But then he gave us “Don’t Breathe,” a horror thriller which kept us on the edge of our seats in a way few movies do these days. The screenplay was written by him, Jay Basu and Steven Knight, the screenwriter behind “Dirty Pretty Things,” “Eastern Promises” and “Locke” which he also directed. Looking at this, it feels like this “soft reboot” is in good hands.

But the most interesting thing about “The Girl in the Spider’s Web” is how it introduces Salander’s main antagonist. We hear a female narrator saying how Salander is “the righter of wrongs” and “the girl who hurts men who hurt women.” Those of us who have seen the previous cinematic adventures of Lisbeth Salander can attest to this, but the narrator reveals herself to be the one woman Salander did not succeed in saving, and as a result, she is quite bitter. This woman is revealed to be Camilla Salander, Lisbeth’s estranged twin sister who is played by Sylvia Hoeks, the same actress who gave us a most lethal replicant in “Blade Runner 2049.” Learning Lisbeth will face a female antagonist here instead of a male one makes this film seem especially intriguing to where this “soft reboot” seems like it was worth the effort. Mara, Daniel Craig, Trent Reznor and Atticus Ross may be gone, but those taking over this franchise seem ready to give us something we will not easily forget.

“The Girl in the Spider’s Web” is set to premiere in theaters on November 9, 2018. Please check out the trailer below.

Luca Guadagnino’s ‘Suspiria’ Unveils its First Trailer

Posted on by The Ultimate Rabbit

Suspiria 2018 poster

Like it or not folks, a remake of “Suspiria” is officially on its way. Dario Argento’s 1977 horror film remains one of the most unforgettable ever made as the Italian filmmaker turned the act of murder into a work of art, and he gave us visual set pieces which were things of incredible beauty. Surely no director, however talented, could top what Argento gave us 40 years ago, could they? Well, with the now-released teaser trailer for the remake of “Suspiria,” it turns out the filmmakers are not even attempting to try.

According to its director Luca Guadagnino, who last year scored a critical triumph with “Call Me by Your Name,” this “Suspiria” is meant to be an “homage” to Argento’s film and reflect the “powerful emotion” he felt upon first seeing it. But what is especially striking about this teaser trailer is how muted its color palette proves to be. Guadagnino has described his film’s look as being “winter-ish, evil, and really dark,” and this certainly comes across here. As before, the story is set a renowned dance academy in Europe where Suzie Bannion, now played by Dakota Johnson, enrolls at to study dancing. But considering how bleak the setting is here, it makes me wonder if the students, once they arrived there, said out loud, “This looks nothing like what I saw in the brochure!”

I don’t mean to make this sound like a criticism as the lack of primary colors shows, among other things, how Guadagnino is attempting to make this material all his own. What especially pleases me is how this trailer makes his take on “Suspiria” look like much more than the average horror film, something I always feared a remake like this would end up being. With its scattering of images featuring Johnson, the infinitely cool Tilda Swinton, Chloe Grace Moretz, Mia Goth, Lutz Ebersdorf and, if you closely enough, original “Suspiria” star Jessica Harper, this does look to be an unnerving motion picture which deals more with the horrors of real life than in the realm of fantasy.

In addition, I enjoyed the Kubrick-like stares Swinton and others exhibit throughout as, like the ones in “Full Metal Jacket,” they appear to go on for a thousand yards. It also looks like a scythe will be the weapon of choice instead of a shiny razor this time around, and we do get an image of a female student levitating in her room, something I don’t remember seeing in the 1977 original.

Whether or not this “Suspiria” equals the original or comes close to doing so, I admire how Guadagnino has given us something which looks strikingly different to where it appears more like a trailer for the next Lars Von Trier cinematic opus. Then again, the trailer for “The House That Jack Built” had far more color in it.

“Suspiria” is set to arrive in theaters on November 2, 2018. Please check out the trailer below.

All-Time Favorite Trailers: ‘Die Hard 2’

Posted on by The Ultimate Rabbit

I so wish I saw this particular movie trailer in a theater when it first came out. Instead, I first watched it on the Movietime Channel which would later become E, Entertainment Television. One of my dad’s friends, however, told me of when he saw the “Die Hard 2” teaser trailer on the silver screen and of the reaction it generated. At first, it looked to him and the rest of the audience like just another action movie as the narrator went about describing Dulles International Airport even as there were title cards showing us exactly what he was saying. In my mind, I could see the audience repeating what they saw onscreen in a lifeless way as they waited impatiently for this trailer to end and for the movie they came to see begin.

But then Bruce Willis appeared as John McClane, and the audience burst into spontaneous applause as “Die Hard” quickly became an all-time action movie classic upon its release, and to see the former “Moonlighting” actor bringing this character back to the big screen made them super excited. With John McClane, Willis gave us a new kind of action hero which was so different from the superhuman ones Arnold Schwarzenegger and Sylvester Stallone among others gave us time and time again. As a result, McClane proved to be more human than any other action hero many of us had seen previously.

When it comes to this particular teaser trailer, what I love is how it has all these sound effects going on even as the narrator narrates away, and it forces you to imagine what is going on at this airport during one of the busiest travel seasons ever. We have all been to the airport during the holidays and have experienced the craziness and insanity of getting checked in and of the flight delays which are usually inevitable, and this teaser pokes at those fears and anxieties we have while waiting to travel home to see our families.

Once we see the title card which says “but tonight on Christmas Eve,” I began to realize this might be the “Die Hard” sequel we had been waiting for. Then Bruce Willis enters and says, “How can the same thing happen to the same guy twice?” It makes perfect sense that McClane would say this as, like I said previously, this is an action hero more human than the average one we had been exposed to for many years. Furthermore, I was happy to see Willis say this as many sequels strand characters like McClane in the same situation, and yet the filmmakers would treat it as though the previous movie never happened. But with this simple exchange which spells out how he spent Christmas this way last year, I became even more enthusiastic about this sequel as the filmmakers knew in advance that they had to deal with this inescapable fact.

Even after all these years, I still love watching this “Die Hard 2” trailer as it raises my excitement level to a very pleasurable degree, and it takes a lot for a movie trailer to do this for me these days.

WRITER’S NOTE: In addition to the teaser trailer above, I am also including the two trailers which came after it. Back then, this proved to be the first time when I realized movie studios were never content to release just one trailer for a summer blockbuster. Each of them was thrilling to watch, and this sequel was released back in a time when my expectations for a motion picture were much higher than they are now. These days, I am very guarded in my expectations as I usually expect them to not be met.

All-Time Favorite Trailers: ‘Austin Powers – The Spy Who Shagged Me’

Posted on by The Ultimate Rabbit

It was December of 1998, and “Star Trek: Insurrection” just opened in movie theaters everywhere. At the time, I was a student at UC Irvine, and I had just wrapped up the last of my finals in the first quarter. To say that I was relieved was an understatement as I was minoring in English and made the mistake of taking three classes which left me with a boatload of reading and not nearly enough time to have a life outside of school. Once I was done, I didn’t even hesitate to celebrate, and I drove straight out to the Irvine Spectrum Center where “Star Trek: Insurrection” was playing.

But while the theater was filled with many people ready to boldly go with the crew of the starship Enterprise to where no one has gone before, the one thing foremost on our minds was if “Insurrection” would be preceded by the just released trailer for “Star Wars Episode I: The Phantom Menace.” It had been almost 16 years since “Return of the Jedi” came out, and now that a new “Star Wars” movie was on the horizon, it felt to many like the second coming of Christ.

As the lights went down, I could feel everyone around me holding their breath in anticipation and praying that the first movie trailer shown would be for “The Phantom Menace.” Sure enough, once we got past “the following preview has been approved for ALL AUDIENCES by the Motion Picture Association of America” title card, we were thrust into outer space and shown what looked to be the wreckage of the last Death Star. As the camera zoomed in on the chair where Emperor Palpatine once sat, the audience got super excited and started to cheer as they were convinced the first look at the next “Star Wars” movie was about to be unveiled. Instead, the chair turned around to reveal Michael Myers as Dr. Evil who, while holding Mr. Bigglesworth, said, “You were expecting somebody else?”

It was a brilliant move on the part of Myers, director Jay Roach and New Line Cinema to promote “Austin Powers: The Spy Who Shagged Me” in this way as it played on what we know about “Star Wars” and exploited it to great effect. Once we realized what was actually being promoted, we all responded enthusiastically as Myers danced with abandon as the title character and sported those glasses and the inescapably large teeth he had. Yay baby indeed!

I also loved it when the trailer’s narrator said the following:

“If you see only one movie this summer, see ‘Star Wars.’”

You have to admire New Line Cinema for admitting this as even they had to admit there was no way this long-awaited sequel was going to beat “The Phantom Menace” at the box office. Instead, they presented it as an underdog to where it was kindly asking audiences to give it a look after they watched the latest “Star Wars” movie for a second time. Hollywood and the studios which inhabit it are always out to promise audiences how this movie is a must-see, and yet here this particular studio, which has since been absorbed by Warner Brothers, admitted this one was not going to use the force the same way Lucasfilm was going to, and it worked to the advantage of this “Austin Powers” adventure.

This is one of those movie trailers, let alone teaser trailers, which has stayed with me after so many years. I still remember the great feeling and humorous effect it had on me and the rest of the audience. As a result, it has long since earned its place on my list of the greatest movie trailers ever made.

We did eventually get to see the first “Phantom Menace” trailer before “Star Trek: Insurrection” began, but while the audience gave it a thunderous response, there was no forgetting the mark Mr. Powers left on us beforehand.