Joseph Kahn’s Detention had me from its first knowingly self-aware trailer, and while word out of SXSW was polarizing — a love it or hate it kind of deal, by many accounts — it’s one of my more anticipated films of the spring. True, the competition this season isn’t too stiff, but still! Watch Josh Hutcherson (of next months The Hunger Games , perhaps you’ve heard of it?) as a cute hipster kid get ready to take a beating from the school tough guy while an actual killer runs rampant through town and tell me this isn’t worth putting on the calendar for April. Here’s the film’s full trailer, to give you a sense of what we’re in for. Admittedly, the nonstop pop culture references schtick has been almost fully exhausted by now but good, clever high school comedies never get old. Call it Not Another Not Another Teen Movie , if you will/must. Adding to the intrigue: Detention was shot half a year before Hutcherson was cast as Peeta in The Hunger Games , so the timing of release here is obvious. Will Hunger Games fans flock to the R-rated horror comedy to see a new side of Hutcherson in what may be the edgiest/darkest/ballsiest project since he graduated from family flicks? Detention will be released in select theaters on April 13. [via Badass Digest ]
Remember Shame ? The NC-17 one featuring Michael Fassbender as a sex addict, Carey Mulligan as his off-kilter sister, a couple of notorious ” late-night lovers ” and a thriving awards-season profile that imploded a month ago like a dying star, seemingly having taken the film with it? Right, that one. Now, as per the rules of the cosmos and/or art-house schemes in Columbia, S.C., that star has finally exploded back into consciousness in perhaps the best way possible. The flier pictured above was spotted in and around Columbia over the holiday weekend, urging local moviegoers to avoid the “den of sin” known as the Nickelodeon Theater. The 75-seat venue had finally booked Shame for a run, and without the benefit of a sustained Oscar campaign for erstwhile front-runner Fassbender , the fliers seemed to play right into the hands of Nickelodeon management. Too good to be true? WLTX Channel 19 is on the scene ! (Sorry in advance about the commercial.) The Onion would be proud. Sort of. Anyway, nicely played, Andy Smith! [ WLTX via Pullquote ]
“What the box office success of the re-released Special Editions told Hollywood is that the only way to create another global phenomenon is to make a new STAR WARS movie. 1997 was the start of the modern-day fanboy/geek culture that now runs Hollywood. Fanboy culture (Comic-Con, Harry Potter, Twilight , The Hunger Games, The Lord of the Rings , J.J. Abrams, Joss Whedon, Marvel comics, Game of Thrones, The Walking Dead, Glee , Aint-It-Cool-News, Attack of the Show ) is a groupthink mentality that claims to be democratic, what with its we-know-what’s-best-because-we’re-fans ethic, but is really pop culture fascism. And it’s the fans’ demand (remember, fan is short for fanatic), that led to Star Wars: Episode I – The Phantom Menace — the most hyped (and possibly most reviled) blockbuster in movie history.” [ Some Came Running ]
With her impressive awards-season run so far, ‘The Help’ star Octavia Spencer has this category wrapped up. By Kara Warner Octavia Spencer in “The Help” Photo: DreamWorks The nominees in this year’s Oscar race for Best Supporting Actress, along with their respective nominated films, might be one of the most diverse groups of women to be recognized in recent years, and yet each and every one of the five ladies nominated has a thing or two in common in the fact that they all delivered scene-stealing and perhaps career-making performances in four very different films. The only downside to the announcement of this category’s winner come Sunday night is the fact that there can be only one. Of the very talented, worthy ladies up for Best Supporting Actress — B
Hunger Games fans, here’s your chance to be among the first to see Lionsgate’s highly anticipated YA novel adaptation — Movieline is giving away a pair of tickets to the Los Angeles premiere of The Hunger Games , starring Jennifer Lawrence as teen warrior Katniss Everdeen, based on the novels by Suzanne Collins. To decide our winner, we’re holding a Cornucopia of words: A Hunger Games Haiku contest! Channel your inner mockingjay and get to composing in the comments below. [ UPDATE: Only one day left to enter, so get your entry in now! ] To celebrate the 50-day countdown to the Hunger Games nationwide release on March 23 (Twitter hashtag #HUNGERGAMES50), Movieline’s Hunger Games Haiku contest will close February 22 at 5pm PT/8pm ET , so make sure to enter with your best, most inspired Hunger Games -themed haiku. Winners will be announced on February 29. [ Browse Movieline’s Hunger Games cast gallery here ] In order to be eligible, entries must follow these guidelines: – Haiku entries must follow the 5-7-5 syllable format (otherwise that ain’t a haiku, duh). – Entries must be original writings. Write it in Katniss’s voice! As an ode to the series! Compose a ditty about pretty baker’s sons! Run wild with it! – Entrants must be 18 years of age and must be able to attend the premiere in Los Angeles at the Nokia Live on March 12, 2012. – Entrants must register with their email address in order to be contacted if selected. – Only one entry per person. Now remember, candidates: Entries will be judged by Movieline’s editors so put your best haiku forward! Elegance, wit, and razor-sharp concision are key, along with a healthy dose of Hunger Games knowledge. Wow us, and as always — may the odds be ever in your favor. For more information on the Hunger Games movie and premiere info, head to Facebook . Follow Movieline on Twitter .
After much speculation Brown joins ex-girlfriend Rihanna on the remix putting a three year battle to an end. Photo: Kevin Mazur/ WireImage Related Artists Chris Brown Rihanna
Woody Allen will most likely be rewarded for ‘Midnight in Paris,’ but we have our hearts set on ‘A Separation.’ By Kevin P. Sullivan Owen Wilson and Rachel McAdams in “Midnight in Paris” Photo: Sony Pictures Classic One of the major complaints about this year’s Academy Awards race is that most of the winners feel decided already. Sure, “The Artist” is going to win Best Picture. Viola Davis probably already has Best Actress locked up. But the competition for Best Original Screenplay doesn’t even feel like a competition at all. The Academy has already spoken, and they’re going with an Oscar favorite. What’s really unfortunate here is not that the category is so predictable, but that the Academy didn’t venture more into independent film to find their nominees. “A Separation” stands out as one of the more refreshing nominees, but as the obligatory “indie” nominee, “Margin Call” could easily be swapped out for the likes of Jeff Nichols’ “Take Shelter” or Sean Durkin’s “Martha Marcy May Marlene.” Of all the films nominated for original writing, here are our predictions for the category in 2012: Who Will Win : Woody Allen for “Midnight in Paris.” After 40-plus years of making movies, Allen delivered a film that went on to become his most financially successful ever. An achievement by a writer/director of his caliber will rarely go unrewarded at the Oscars, and deservedly so. “Midnight in Paris” is perfectly all right with being ridiculous, even going as far as to not explain the main character’s time-traveling abilities. More importantly, the film was about something, the allure and emptiness of nostalgia, in a year that’s been obsessed with traveling back in time emotionally. Even if the plot became repetitive at times, even the most cynical viewers had to find some joy in watching the like of Hemingway and the Fitzgeralds speaking words written by Allen. Who Should Win : Asghar Farhadi for “A Separation.” Anytime the Academy has an opportunity to do something utterly unexpected, that’s where my heart will lie. A win for the Iranian film would not only buck old Academy stereotypes, but reward a truly deserving film. “A Separation” follows a married couple as they decided whether to stay in Iran and care for an ailing parent or leave to better the life of their young daughter. Launching from that already provocative starting point, the film goes unexpected places while keeping the audience’s attention every step of the way. The MTV Movies team has the 2012 Oscars covered! Stick with us for everything you need to know leading up to the awards show, and on Sunday, February 26, tune into MTV.com at 5:30 p.m. ET for our three-hour red-carpet live stream and updates on the night’s big winners. Related Photos 2012 Oscar Nominees
At one point following the critical and commercial success of his 2007 post-apocalyptic blockbuster I Am Legend , director Francis Lawrence entertained the notion of coming back with star Will Smith for prequel, but eventually that possibility trailed off and Lawrence casted doubt onto his involvement with the potential project. But today Warner Bros. announced a deal with Akiva Goldsman and Overbrook Entertainment , who have tapped screenwriter Arash Amel to write a follow-up to the $584M hit. Whether or not it’ll be a prequel or some sort of direct sequel is unknown, though it’s reportedly being created for Smith. Let’s speculate away: Just how WB can possibly pull off another installment? What makes the project a curious — and, frankly, conspicuous — one is the way in which Lawrence wrapped up I Am Legend , based on Richard Matheson’s 1954 sci-fi novel. [Spoiler alert] Following a global pandemic that wiped out 90% of the world’s population, scientist Robert Neville (Smith) had only just discovered a cure when, at the film’s conclusion, he faced an onslaught of mutated vampire-people solo and seemingly met his own demise. Of course WB wants their star and his famously potent box office draw to headline another I Am Legend movie. A prequel would explain Smith’s presence most easily, but Deadline suggests that won’t be the case. So how might they bring Smith back otherwise? Retcon the last scene in the first film, using the alternate ending in which Neville makes grudging peace with the vampire thingies? Maybe the survivors colony has cloning capabilities? Hell, why not bring in a long-lost twin brother for Neville who became a brilliant virologist as well – I Am Also Legend ? Whatever it turns out to be, at least it has a shot at being ” one of the greatest movies ever made ,” amirite? Warner Bros Plans More ‘I Am Legend’ With Will Smith [Deadline]
I mean, obviously : “Now, anyone who’s ever been grossed out in hindsight by the big smooch Leia gives Luke in A New Hope (whose renaming here is way too hysterical for us to give away) be forewarned: The incestuous high-jinks go way, way further in this version. For one, in an effort to earn her freedom, Leia (Allie Haze) blows daddy-o Darth Vader (Lexington Steele—speaking of which, at what point exactly did Anakin turn bla … never mind). For two, Luke (Seth Gamble) joins Han in double-teaming Sis as celebration of blowing up the Death Star. And the effects! Yes, we’ve seen a lot of highly impressive effects in adult productions over the last several years, but this undeniably and unequivocally sets a new bar. The lightsabers, the battle ships, the droids, the Death Star … if you didn’t know any better, you’d think someone from Lucasfilm actually had a hand in crafting this.” [ AVN , link NSFW]
A trade report last month suggested that Disney’s March sci-fi tent pole John Carter was in serious trouble owing to Pixar vet Andrew Stanton ’s relative inexperience directing live-action film, citing rumors that production reshoots and late-game rejiggering had bloated the budget from $200 million to as much as $300 million. Speaking with press Thursday, Stanton called the report “a complete and utter lie,” insisting that he stayed on time and on budget – but it’s easy to see how the Pixar way of moviemaking may have made for a bumpy transition for the filmmaker. John Carter , adapted from Edgar Rice Burroughs’s Barsoom sci-fi/fantasy series (created in 1912), introduces a hero and world that influenced many an iconic property that followed, from Star Wars to Avatar ; Stanton, a lifelong fan of the series, makes his live-action directing debut with the pic which combines live-action and CG to create an entirely new world on which its titular hero ( Taylor Kitsch ) finds himself a stranger in a strange land populated by eight-foot tall, four-armed aliens and fantastical creatures. The scope and detail of John Carter ’s alien world and its inhabitants is ambitious, which is both the draw and the risk. The Hollywood Reporter ’s Jan. 19 report cited insiders close to the production and talent in its assessment calling the costly Disney actioner out as being plagued with various problems stemming from Stanton’s inexperience with live-action filmmaking. “Industry sources with links to the project believe it might lead to a staggering write-down,” wrote Kim Masters, portending doom for the ambitious potential trilogy-starter. At the film’s press junket, Stanton and Co. were eager to refute the rumors. “I want to go completely on record that I literally was on budget and on time the entire shoot,” Stanton said. “Disney is so completely psyched that I stayed on budget and on time that they let me have a longer reshoot because I was such a good citizen, so I find it ironic that we’re getting accused of the opposite.” That said, Stanton and producer Lindsey Collins confirmed that the process of hammering out the John Carter story was a long and laborious one even after a first cut of the film was submitted. Collins, a Pixar producer who worked with Stanton on WALL-E , described it as a learning process for translating the Pixar way of doing things into huge-scale live-action filmmaking – first working out the basics, then moving around the pieces until a satisfying film falls into place. “It’s the way we’ve always worked and certainly at Pixar that’s how we work – we get it all up there and put it up and we watch it and go, ‘That’s not working, let’s move that over here,’” she said. “So it doesn’t surprise me at all that that’s how Andrew worked on this one.” That process has resulted in stellar storytelling at Pixar, where films are famously developed and worked over for years with seasoned teams of writers and animators before coming together. The problem comes when that way of working is applied to a project like John Carter , in which live-action footage must first be shot with actors against green screen, sent off to VFX houses to be merged with CG environments, creatures, and effects, and then returned in order to even begin the editing process. Because of his background, Stanton was involved in the animation process more than many directors might have been. The level of involvement was unusually demanding of visual effects vendors who were working on various moving parts with the director, according to Collins. “[Stanton] himself was drawing in all of these draw-overs,” she said, “because when you shoot that stuff 90% of it’s not there. He’s actually cut together these shots of Taylor, by himself, acting to nothing. Andrew was like, for us to be able to look at it narratively I have to be able to draw in these other characters that should be there. It was the only way that we could watch it as a narrative film and see what’s working and what’s not, ‘That’s dragging or that’s playing too fast’ or ‘I don’t understand what’s happening here.’” As reported by THR , even after putting together a first cut Stanton was rewriting major character arcs and story sequence. The lead female character of Martian princess Dejah Thoris, played by actress Lynn Collins, wasn’t quite as strong initially as she is in the final cut, according to producer Collins. Stanton then rearranged key character reveals and scenes — nothing new or shocking to any filmmaking process, live-action or otherwise, but a process that could become incredibly demanding of resources if story was still being hammered out after principal photography. Meanwhile, rumors of skyrocketing budgets aren’t the only issues facing John Carter , which opens March 9. Poor tracking numbers and audience confusion about the project are also concerns Disney is trying to address in the weeks leading up to release. The film’s title, for one, was changed from John Carter of Mars to John Carter to avoid too much of a science fiction/genre association to general audiences, but the truncated title now leaves those unfamiliar with the Burroughs book scratching their heads wondering what John Carter is about. Despite a great initial trailer , subsequent spots have lent too much of a Star Wars feel to the proceedings, and the studio is scrambling to convey that the John Carter of Mars tale isn’t derivative of many of the genre properties of the last few decades, but is in fact the series that spawned many of them. But while nobody’s talking yet in definitive terms about sequels, Stanton’s already prepared to continue; he’s already outlined a full trilogy, filtering the entire John Carter saga down from eleven books, and last week delivered a 25-page outline for the first sequel. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
