Facebook.com – Become a Fan! Twitter.com – Follow Us! Chris Rock and Julie Delpy were in New York at the Tribeca Film Festival on Thursday for the premiere of “2 Days in New York”. The film, a sequel to “2 Days in Paris” released in France last month and is now making its way through the film festival circuits!
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Chris Rock and Julie Delpy at the premiere of "2 Days in New York"
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Tagged 2 days in new york, 2 days in paris, chris rock (tv actor), detected, festival, film, Film Festival, Hollywood, invalid, julie delpy, now-making, paris, Premiere, thursday
The Five-Year Engagement begins where a lot of movies would end, with a proposal. Tom (Jason Segel), a chef, is driving to a New Year’s Eve party with his girlfriend of a year, Violet (Emily Blunt), a psychology postdoc. He’s so visibly nervous that she’s worried he’s unwell, questioning him until he pulls over to the side of the road, slams down a box containing a ring and confesses that he was going to ask her to marry him that night. He still does, and she still insists on going through with his plan of a surprise rooftop romantic dinner at the restaurant in which he works. That’s because Tom and Violet are in love, and they’re also nice, down-to-earth, well-intentioned people, qualities that suffuse the film as well, generally for the better but sometimes to its detriment. The Five-Year Engagement is the most recent collaboration between director Nicholas Stoller and star and co-writer Segel, who have worked together on the likes of The Muppets , Forgetting Sarah Marshall and Get Him to the Greek. This film is their most ambitious not because of its long arc but because its dramatic currents are so submerged and minimal — there’s never any doubt that Tom and Violet belong together, just that they may not find the right place in which to do so. This unhurried comedy is devoted to realistic relationship issues like having to quit your job to move somewhere with your significant other, which is commendable while also posing a challenge. Tom and Violet sometimes feel like cuddly side characters in search of a main plot rather than anchors to base a film around; they’re solicitous of each other’s feelings to the point where they don’t acknowledge their own. It’s a good thing these characters are played by Segel and Blunt, who share enough dorky charisma to carry The Five-Year Engagement through a sprawling runtime to a deservedly happy ending. As Tom, Segel riffs comfortably on the beta male persona he’s honed over the years, portraying an accommodating guy who thinks he should be fine with putting his career on hold to head to Michigan when Violet gets accepted to a psych program there, even though he actually feels miserable and emasculated. And Blunt, who’s capable of being cut-glass chilly when a role calls for it, is funny and warm as the ambitious Violet, who’s torn between being uncomfortable with the sacrifice Tom’s making for her and knowing that in her chosen field, her options are limited. So Tom and Violet set up a life in Michigan and agree to postpone the wedding until the moment’s right. Meanwhile, elderly grandparents start dying off; Tom’s best friend, Alex (the always welcome Chris Pratt), becomes a success in the job Tom left behind; and Violet’s sister Suzie (Alison Brie) faces unexpected but felicitous motherhood. One reason the film’s central couple at times seem inadequate is that there’s so much comedic talent in the smaller roles. Pratt and Brie, MVPs on Parks and Recreation and Community , respectively, make a great accidental couple-turned-model pairing. Brian Posehn is very funny as Tom’s gourmet sandwich shop boss, as is Chris Parnell as a stay-at-home dad whose knitting hobby leads to some of the film’s best visual gags. And I was especially charmed by Violet’s psych department, overseen by Rhys Ifans’ Professor Childs and incidentally diversely staffed by Mindy Kaling, Randall Park and Kevin Hart; they’re genial colleagues whose interactions are lightly spiced with competition for limited academic positions. The overt theme of The Five-Year Engagement is that there’s no such thing as “the perfect moment,” but the underlying one is “for the love of God, just say what’s on your mind.” As plausible as long campaigns of passive-aggressiveness may be (Tom, for instance, suddenly declares that he doesn’t want kids during one family visit, noting that “sometimes the biggest balls are the ones left unused”), they’re not terribly fun to watch on-screen. Any investment in Tom and Violet’s endangered coupledom starts to get eroded by frustration with their lack of communication as the months tick by and they drift apart. There’s a lot of downtime between gags, though when they do arrive they’re generally good, whether involving an accidental arrow shooting or an alcohol-fueled chase down a wintry street in which Ifans’s character demonstrates some impressive parkour skills. The Five-Year Engagement is, for a movie in which a guy fakes an orgasm and (in a separate incident) stuffs a dead deer in his car’s sunroof, very grown-up. It’s grown-up in its assessment of how making sacrifices for someone else can also be a selfish act, and it’s grown-up in its consideration of how, while love is all very well and good, you also have to make practical decisions about where and how you’ll live. Sometimes, watching it, you wish it’d be a little less grown-up and a little more flexible in terms of what works as a comedy. (It sometimes feels like a lighter, happier take on Like Crazy or Blue Valentine .) But it’s rare to see main characters as grounded and plausible as Tom and Violet are, and when they finally find their way back into each other’s arms, it feels earned. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .
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REVIEW: Ambitious Five-Year Engagement Explores the Confusion of Couplehood in Grown-Up Ways
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Tagged alison brie, chris-pratt, director, emily blunt, engagement, film, first-pitch, home-at-wrigley, image, Love, Movies, nicholas stoller, professor, review, wedding
Superhero movie, due Stateside in early May, is already breaking records in foreign markets. By Kevin P. Sullivan Chris Evans as Captain America In “The Avengers” Photo: Walt Disney Studios The Avengers have already started to assemble overseas, and early box-office reports are spelling very good things for Marvel’s tentpole. The superhero movie that brings together Captain America, Iron Man, Thor and the Hulk has reportedly made $12.5 million in a handful of foreign markets and is already breaking records, according to The Hollywood Reporter. In Australia, ” The Avengers ” has already banked $7 million, a total that has only been beaten by ” Harry Potter and the Deathly Hallows, Part 2 ,” which earned $8 million during its Down Under debut. The foreign rollout has proven lucrative elsewhere, too, as France added $3 million to the total. Early tracking estimated that “The Avengers” could make more than $150 million during its early May opening weekend in the U.S. That would put the film in the same class as “Spider-Man 3,” “The Hunger Games,” “The Dark Knight” and “Deathly Hallows, Part 2.” This could potentially mean the biggest debut for a Marvel Studios movie yet. ” Iron Man 2 ” currently holds that honor. The Robert Downey Jr. sequel opened to $128 million back in 2010. That’s followed by the first ” Iron Man ” at $98 million. “The Avengers” has the added advantage of higher ticket prices. The film is playing both in 3-D and in IMAX 3-D, so each individual ticket will add more to the final total. “Harry Potter and the Deathly Hallows, Part 2” saw a large bump in its record-breaking run thanks in part to higher prices attached to 3-D showings. Check out everything we’ve got on “The Avengers.” For breaking news and previews of the latest comic book movies — updated around the clock — visit SplashPage.MTV.com . Related Videos Talk Nerdy Assemble Yourself For ‘Avengers’ Sneak Peeks
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‘Avengers’ Already A Smash Overseas
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Tagged avengers, bennyhollywood, celeb news, disney-studios, film, Harry Potter, Hollywood, invalid, live, Music, music-news, News, news article, show
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Fox has released a new ‘making-of’ clip for Ridley Scott‘s Prometheus, and just as with all the other footage we’ve seen from the film, it makes the film look spectacular. This is basically an electronic press kit (EPK) type clip, packed with brief interview bits in which the actors talk about how wonderful it is Broadcasting platform : YouTube Source : /Film Discovery Date : 26/04/2012 02:19 Number of articles : 2
‘Prometheus’ Making-Of Clip Features More Exciting New Footage
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Tagged actors-talk, context, denver, features-more, film, from-the-film, kevin durant, video
Quentin Tarantino’s Western also stars Christoph Waltz. By Kevin P. Sullivan Leonardo DiCaprio in “Django Unchained” Photo: Columbia Pictures/EW For years, Quentin Tarantino has toyed with the Western, peppering homages to directors like Sergio Leone into ” Kill Bill ” and “,” but now the director is finally taking on the genre with ” Django Unchained ,” albeit in his own twisted way. Most of Tarantino’s secrets have stayed on the set, but Thursday (April 26) Entertainment Weekly debuted the first official look at just how far west Tarantino is going in “Django Unchained.” What separates the film from your usual Western is that it’s actually what Tarantino calls a “southern,” taking place primarily in the pre-Civil War South. The first photos show off the unique style of the film and reveal what Jamie Foxx , Leonardo DiCaprio and Christoph Waltz will look like when “Django Unchained” opens in theaters on December 25. The photo of Foxx and Waltz could be straight out of a traditional Western. Foxx, as title character Django, carries his saddle over his shoulder and wears a prototypical cowboy hat. His companion, Dr. King Schultz, played by Waltz, is a German dentist-turned-bounty-hunter, and his more sophisticated getup reflects that. It isn’t until we see DiCaprio’s evil plantation owner, Calvin Candie, that we find the connection to the Deep South. In the photo, DiCaprio is dressed up like a fine Southern gentleman, but he poses menacingly with a hammer in his hand. EW spoke with Foxx about working on the sure-to-be controversial film, which addresses slavery like never before. “There’s a beautiful way [Tarantino] found for the characters to talk to each other. It’s mind-blowing. You’ve never heard it this way,” Fox told the magazine. “You’ve seen movies deal with slavery — or Westerns that never dealt with slavery — do it the safe way. This way is like … wow.” Check out everything we’ve got on “Django Unchained.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com .
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‘Django Unchained’ First Look: Leonardo DiCaprio Heads South
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Tagged film, Hollywood, news article, Pictures, sergio leone, show, tarantino, unchained, unique, western
Director also opens up on ‘Beetlejuice’ sequel and whether he’d return to ‘Batman.’ By John Mitchell, with reporting by Josh Horowitz Johnny Depp in “Dark Shadows” Photo: Warner Bros Fans of the classic late-’60s soap “Dark Shadows” were surprised when the trailer for the film made it seem like director Tim Burton had reimagined his subject matter as a farcical comedy rather than the dark, Gothic soap opera fans remembered. Since then, there have been whispers that the film is far darker than it is being marketed, so we went straight to the source to find out what is really up with the buzzed-about film. At CinemaCon 2012, MTV News asked Burton if he felt the trailer is reflective of his film, which hits theaters May 11, and while he admits there are humorous elements to the film, he said he doesn’t believe it can be classified as a comedy. “Everything that’s in [the trailer] is in the movie,” Burton told MTV News. “It’s a funny film for me, because I never considered it a comedy. I was always trying to capture the weird vibe of ‘Dark Shadows,’ which is a weird thing to try to capture. It was a weird daytime soap opera.” Burton, a longtime “Shadows” fan who said he “recalls the show affectionately,” said that whatever humor is in the film is there because the situation Barnabas is in when he is unearthed 200 years after being buried is innately humorous. “It’s not like I’m being campy with it or anything,” Burton said. “The guy’s been locked in a box for 200 years, and [when] he comes out … something weird is going to happen.” As for comparisons to his previous films, most notably “Edward Scissorhands,” Burton said he can see the link, but confessed that there are many subtle differences between Barnabas Collins and any other character he’s put onscreen. “Edward Scissorhands was more of a naive character. Barnabas has been around the block a few times,” Burton told MTV News with a laugh. “There is something about a character who doesn’t quite fit into the world, which is similar, just in this case, he’s been around a long time.” Burton also gave us up-to-date news on one project many of his biggest fans are very excited for: “Beetlejuice 2.” The film is being written by “Shadows” scribe Seth Grahame-Smith, and for Burton, that’s as far as things have gotten. “He’s working away on it,” the director said of Grahame-Smith, “so I’m just waiting to see what he does.” As for whether we can expect him to make a return to “Batman,” the film franchise he started with the original 1989 blockbuster, he was straight to the point, saying, “I think I have enough on my plate.” Check out everything we’ve got on “Dark Shadows.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Videos MTV Rough Cut: CinemaCon 2012 Related Photos Five Key Scenes From The ‘Dark Shadows’ Trailer
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Tim Burton ‘Never’ Considered ‘Dark Shadows’ A Comedy
Just when you think you might have had enough of James Franco , along comes Francophrenia to either whet your appetite for more of the actor-director’s avant-garde pursuits — or officially turn you off to them forever. I might be overdramatizing a bit, but not by much, judging by the walkouts sporadically punctuating the experimental doc/pseudo-soap opera’s recent North American premiere at Tribeca. And with the skies pissing cold rain on Manhattan that evening, you really had to want to leave Franco’s tongue-in-cheek exploration of identity as cast through the prism of his infamous guest stint on General Hospital , reshaped into a sort of leering emo-psychodrama by co-director and editor Ian Olds. Not that Franco didn’t anticipate this. “I’m sure there’ll be different kinds of reactions to it,” he said before the screening, introducing the film with Olds. “But I’m just very glad it’s here at Tribeca. It’s my third film here (after Good Time Max [2007] and Saturday Night [2010]); we love the Tribeca Film Festival. We kind of knew that this film would be not…” Franco paused. “We’ve had mixed reactions. We sort of enjoy that now. I’m sure some of you will be very into it and some won’t. It does take a little bit of… engagement , that’s all. Otherwise, it’s very, very fun.” That’s fair. Francophrenia doesn’t take much of anything seriously, least of all the spectacle around the June 2010 GH episode that brought Franco’s eponymous, homicidal artist to a massive outdoor installation filmed at L.A.’s Museum of Contemporary Art. There, the killer continued his torment of Port Charles’s finest before — spoiler alert? — a protracted gun battle and, finally, his fatal, tuxedoed tumble from the roof. (The sequence provides the film’s subtitle, Don’t Kill Me, I Know Where the Baby Is .) Fans and casual observers alike had both privately and publicly reckoned with the performance-art nature of Franco’s character to that point; “Who is this guy playing, if anybody?” we asked ourselves, to the extent we cared at all. And in 2010, with the then-32-year-old actor at the seeming height of his creative (and, uh, academic) powers — and well before co-hosting the 2011 Oscars in another performance-art torpedo to his A-list celebrity goodwill — we did care a bit. Which, as Francophrenia asserts in its long, deconstructing takes of hair sessions, set-roaming and other behind-the-scenes banality, was really kind of foolish of us. But in daring to sniff at the inviolable absurdity of fame, the spirit of actor/director Franco’s enterprise equivocates. Is his grinning mask while signing autographs and taking photos with fans just garden-variety, all-in-a-day’s-work magnanimity? Or is it a vulgar showcase for Franco’s cynicism, his “art” shielding him from the plebes? Who’s taking the piss here? It’s not as open a question as it seems, especially as drops of whispery voice-over (written by Olds and Paul Felten) trickle into the sound design before flooding it with equal parts self-aggrandizement and self-effacement. On the one hand, Franco can’t trust the GH director, has to find his way “back to the world,” and asks, “What am I doing here?” as he glowers over the scene, reassuring himself with Marxist polymath Guy Debord’s observation that “Separation is the alpha and omega of the spectacle.” But Olds and Felten leaven all the high-minded paranoia with riffs on Franco’s mythology: “I went to graduate school for a reason, people,” he reminds the viewer at one point — when he’s not, say, craving a cookie or calling his producer Vince Jolivette a “prophet of lies and false consciousness.” Mostly, though, Franco — the character hovering somewhere between the real man and the GH hyperparody — is constantly undermined by the camera itself and even a torrent of gossip promulgated by the icons on the sign outside the men’s bathroom. They chirp about how high and/or pretentious Franco is, deflating his airier platitudes with such brusque dismissals as, “Transcendent my ass!” Conceptually, anyhow, Francophrenia is nothing if not inspired — half-Malick, half- Mystery Science Theater 3000 , a postmodern meltdown superimposed on one of TV’s longest-running melodramas. “It’s easy to see the film as a kind of a gimmick if it’s just riffing on all this culture surrounding James’s celebrity,” Olds said following Sunday’s Tribeca premiere. “It’s a lot of fun to do, but there’s something that interested…” He paused. “The idea is: How can you sort of bend the documentary footage so it serves this artificial narrative, but at the same time, how can you reframe the documentary footage so you can see it with new life? So you can say, ‘What they hell are they doing here? What is all this energy going into? What are they building?’ In a sense, the clearest thing I could think about is that in some ways, it’s maybe like a deranged portrait of the labor behind the spectacle.” But here’s the thing: Franco and Olds have been here before. Francophrenia perhaps works most interestingly as a companion piece to their previous collaboration Saturday Night , another backstage opus also framing what Olds on Sunday called “this sort of mundane human labor.” In that case, it was an all-access glimpse at what goes into producing one episode of Saturday Night Live : the pitch meetings, the grueling all-nighters, the set designs and musical arrangements, the ruthless slashing of material and the general stresses that accompany creating in Studio 8H. Yet where Saturday Night glimpsed those phenomena with a kind of meandering introspection, Francophrenia sends them up with abandon. It’s as though one show is good enough for Franco’s guileless intellect, while the other can only withstand a lengthy frisk before the actor sends it on its way. A viewer Sunday asked Franco about his intentions here, hinting at the double standard that you could just as easily apply to his recent work as Very Serious Artists like Allen Ginsberg ( Howl ) and Hart Crane ( The Broken Tower ). “I really enjoyed working with those people,” he said of the GH crew. “Some of the people I worked with have sadly been fired from General Hospital ; daytime is having a hard time right now. But they’ve gone on to other shows, and I’m going to work with them. Part of my initial impulse to go on General Hospital before this project was even conceived of was to try and examine and break down this kind of hierarchy people have in their minds about levels of entertainment — that movies are better than soaps, or that kind of thing. So I just wanted to insert myself there and experience it and see what it was all about, and I found that there are many things you can do in daytime that movies can’t do, and I really loved it. “I think maybe what you’re reading is because the soap opera is our subject,” Franco continued. “We’re using it as material to examine certain things. But I don’t think the project was ever to make fun of soap operas. It’s just using it like they use me and my image as material to examine certain ideas.” He later elaborated on the ultimate spirit of the project, citing the evaluation of James Franco’s identity by those other than James Franco as his reason for handing the 40-plus hours of GH footage off to Olds. “All along the way, it’s been about turning myself over to these different entities and letting them do what they will with my image,” Franco said. “I look at the film and I see the slicked-back hair and you’ve got all the shots where I’m looking crazy. And that’s exactly how it needs to be! It’s slightly embarrassing. It can’t ever be something where I’m trying to look cool or make you like James Franco or something. It needed to have somebody else manipulating the material and not me, since that’s one of the subjects of the movie.” Again, though: Do we care? I mean, Joaquin Phoenix has demonstrated how much more cynical this could all be, so Franco has at least a little further to go before his whims fall in a forest with nobody around to hear. But to paraphrase Paul Sunday’s admonition in There Will Be Blood , I would like it better if Franco didn’t think I was stupid — or at least if the variation of Franco that appears in Francophrenia didn’t think I was stupid, or that the protean puppeteer above it all didn’t think we can’t spot the hypocrisy calling out from earlier acts of this same show. It’s certainly a show worth watching, an adventure too funny, too playful, too thought-provoking to write off for its cheap shots and rectitude. Still, I hope the curtain comes down soon — and that its mastermind has better ideas ahead. Francophrenia screens again at Tribeca this Saturday, April 28, at noon. Read all of Movieline’s Tribeca 2012 coverage here . Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter . [Photo credits: Doug Chamberlain / Tribeca Film Festival ]
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Francophrenia, or: How is James Franco F***ing With Us This Week?
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Tagged celeb news, Documentary, expectations, film, francophrenia, Hollywood, labor, London, museum, north, Saturday Night, tribeca film festival
The film : Strange Fruit: The Beatles’ Apple Records (2012), available on DVD via Chrome Dreams Why It’s an Inessential Essential : Clocking in at a mammoth 162 minutes, Strange Fruit: The Beatles’ Apple Records is an exhaustive new documentary about the short-lived record and film label that the Beatles used to release such artists as Badfinger and James Taylor. And while the absence of Ringo Starr and Paul McCartney and the lack of archival interview footage of the Beatles is striking (John Lennon only chimes in around the 135-minute mark), that’s also sort of liberating: The film takes a semi-critical look at why Apple, a label that was meant to have established artists promote new artists, never really took off. One could easily accuse talking heads like The Iveys’ bassist Ron Griffiths of having an axe to grind. Griffiths bad-mouthed Apple and said he was disappointed in their non-existent promotion of the band. But others, like Mojo Magazine’s Park Paytress, Apple biographer Stefan Granados and Beatles biographer Chris Ingham, all clearly know their stuff and hold no grudges. They also all have their own unique takes on the artists and history of the Beatles (Paytress is especially fond of Yoko Ono’s debut album Yoko Ono/Plastic Ono Band). Ultimately, Strange Fruit works because the filmmakers don’t have to be beholden to the Beatles’ sides of the story. That approach is almost immediately rewarding, too: The film quickly establishes that part of the reason why Apple was created was to help the Beatles pay less tax money than they otherwise would have had to. Apple Records’ financial failure is, after all, mostly due to creative mismanagement. It’s great to see Badfinger guitarist Joey Molland defuse tension by saying that he’s not mad at the Beatles but rather at the music industry in general. But it’s also more directly the Fab Four’s fault for not following through on their ideas and leaving almost all of their new artists in the lurch by not properly promoting them. How the DVD Makes the Case for the Film : There’s an interesting supplementary feature on the DVD where Stephen Friedland (aka: Brute Force) provides an emblematic example of why Apple artists like himself never really had a chance. Friedland was mystifyingly approached by George Harrison in 1968 to release “King of Fuh,” a bratty and deliberately button-pushing song that Friedland thought, at the time, was a sign of his “genius.” Along with McCartney, Harrison at the time was the only Beatle to take Apple’s mandate to discover and develop new talent seriously. But, after basically stumbling upon Friedland’s album thanks to a friend of a friend of a friend, Harrison casually called up Friedland, saying, “‘Hello, this is George Harrison. Just want you to know that you have a record on Apple Records.’” Because of the song’s risqué nature (Geddit? “Fuh King?”), both the BBC and FCC refused to play it. So as the documentary filmmakers relate through intertitles, even though Harrison “add[ed] string arrangements from the London Philharmonic,” EMI, the Beatles’ own record label, “refused to press or distribute [the single],” and, “it remained unreleased for years except for a small pressing by Apple of 3,000 copies.” Other Interesting Trivia : Of Strange Fruit ’s many interesting anecdotes, some of the most interesting are the ones about the artists that crossed paths but didn’t make establish any kind of working relationship with Apple or the Beatles. For example, apparently David Bowie and Crosby, Stills, Nash and Young were both considered to be Apple acts but didn’t quite make it that far. In the long run, that may not be such a bad thing… PREVIOUS INESSENTIAL ESSENTIALS The Last Temptation of Christ The Sitter Citizen Ruth The Broken Tower Dogville Night Call Nurses Simon Abrams is a NY-based freelance film critic whose work has been featured in outlets like The Village Voice, Time Out New York, Vulture and Esquire. Additionally, some people like his writing, which he collects at Extended Cut .
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Strange Fruit Tells the Epic, Enthralling Story of The Beatles’ Failed Apple Records
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Tagged apple, bbc, cinema, dvd, expectations, film, inessential essentials, john lennon, London, mma, New Movie, texting, time
We’re still waiting with bated breath for Sarah Silverman ‘s full-frontal nude debut in Take This Waltz here at Skin Central, but a lucky crowd at the Tribeca Film Festival in New York got an eyeful of Sarah and co-star Michelle Williams this weekend at a special advance screening. Afterwards Sarah and other members of the cast sat down for a Q&A, and as is only snatch ural (sorry, couldn’t help it) the Q’s quickly turned to Sarah’s nude scene, about which she was more than happy to A: ” The thing, and I want to be able to say this because [director] Sarah Polley isn’t here, but she always says she wrote that scene because women are naked together all the time, ” she said, causing all the male reporters in the audience to suddenly snap to attention. ” You’re in the shower at the Y or one of you is in the tub and one of you is reading a magazine, you’re hanging out and trying on clothes…it’s such a common, every day thing for women that’s never reflected in movies .” Sarah went on to describe in detail her snatch-shaving procedure for the film: ” The actual day wasn’t bad. It was very supportive and you forget it once you do it, but the morning leading up to it, I overgroomed, ” said the famously brash comedienne. ” You know when you even and even and even until nothing’s left? It was bad. Never try to even from the top. Let the top be the top… It was alright. I wish it was fuller. Michelle’s was so full and awesome. ” You’ll be able to compare Sarah Silverman and Michelle Williams ‘ hair pies when Take This Waltz hits theaters on June 29, but for a sneak peek at what to expect check them out right here at MrSkin.com!
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Sarah Silverman Still Talking Twat at Take This Waltz Screening
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Duke goes early and so does London in the brand-new trailer for ‘G.I. Joe: Retaliation,’ from ‘Never Say Never’ director Jon Chu. By Josh Wigler Dwayne Johnson in “G.I. Joe: Retaliation” Photo: Paramount Crashing through the sky comes the fearful cry of Cobra, but I feel no fear at the laser-blasting terrorist organization’s coming arrival. For one, we all know the Joes have this battle in the bag. For another, there’s a second “G.I. Joe” movie heading our way in just two short months, and by the looks of it, it’s the movie that fans have always wanted. Bring on Zartan, Firefly and the rest of them, I say! Cobra Commander and his minions are out in full force in the brand-new “G.I. Joe: Retaliation” trailer that arrived Tuesday (April 24) courtesy of Machinima . Featuring an introduction from leading man Dwayne “The Rock” Johnson, the two-and-a-half minute trailer embraces everything we loved about that first “Retaliation” spot and ups the ante considerably. Keep reading for the five scenes from the trailer we were most excited to see. The Duke Of Hazard “Just don’t kill Duke. That’s really my only request,” MTV.com reader Adam wrote in response to the arrival of the first “Retaliation” trailer some months ago. Unfortunately, Adam, I don’t think your wish will be granted: Rumors have long been swirling about the early exit of Channing Tatum’s “Rise of Cobra” hero, and his limited appearance in the “Retaliation” trailer only fuels that fire further. If there’s a silver lining, it’s that Duke appears to have grown among the Joe crowd quite a bit since last we saw him. He’s got a strong relationship with Roadblock, so much so that he happily volunteers to babysit his fellow Joe’s little girls for a weekend. Duke might not last long in “Retaliation,” but expect his departure — however it comes — to weigh heavily on Roadblock as the film unfolds. The Country Is At War There’s only one man who could destroy G.I. Joe in one crushing move, and The Rock voted for him. Viewers well know that the president of the United States is Zartan in disguise, using his influence to push Cobra into the public eye and assert its dominance over the globe. If you thought the rise of Cobra meant the death of the former president, however, you’d be mistaken: The trailer reveals that the real president (played by “Pirates of the Caribbean” veteran Jonathan Pryce) is still alive, if not exactly well. Two Cases of Thin Mints With few allies left to turn to, Roadblock takes his surviving Joes — Flint and Lady Jaye — and teams up with the reclusive General Joe Colton, the man who started it all. The hero, played by action legend Bruce Willis, has gone from complaining about his high cholesterol to demanding Girl Scout cookies in this newest trailer. And he wonders why his blood pressure is all out of whack! London Bridge Is Falling Down “Rise of Cobra” saw the destruction of the Eiffel Tower. It looks like London’s going to undergo a similar “everything must go” sale when “Retaliation” rolls around. What, you really thought that President Zartan wanted world peace? He and the Cobra gang are behind the massive terrorist assault on the United Kingdom, and it’s going to be up to Roadblock and his pals to prevent further destruction from happening. Ninja Wrap So. Many. Ninjas. But never enough ninjas. There is no such thing, as Snake Eyes and Jinx battling an army of sword-wielding Cobra loyalists on the side of a mountain will surely tell you. Recently, Chu revealed that a nine- to ten-minute, dialogue-free ninja battle would occur in “Retaliation,” and going by the previous trailer and this latest one, it looks like this snow-covered mountain is where it’s all going down. Awesome. What do you think of the new “G.I. Joe” trailer? Sound off in the comments below! Check out everything we’ve got on ” G.I. Joe: Retaliation .” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Photos “G.I. Joe: Retaliation” Character Photos Cast of G.I. Joe: Retaliation | Toy Fair 2012
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‘G.I. Joe: Retaliation’ Trailer: Five Kick-Ass Moments
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