Whether you loved Prometheus or were left frustrated by it, everyone who’s seen Ridley Scott ‘s sci-fi pic can agree it leaves you with a plethora of unanswered questions . So maybe it’s good news that Scott has revealed the eventual DVD/Blu-ray release will feature deleted scenes and a 20 minute-longer extended cut of the film — even if Scott is perfectly happy stymieing audiences with his theatrical cut. Scott’s chat with Collider sheds light not only on what the Prometheus home video release might contain, but on Scott’s attitude toward bonus materials and post-theatrical cuts and the film nerds who love to pore over every second of supplemental materials. “[The theatrical cut] is fundamentally the director’s cut. But there will be half an hour of stuff on the menu because people are so into films — how they’re made, how they’re set up, and the rejections in it. That’s why it’s fascinating. So this will all go on to the menu.” Riiight . So Fox wants to issue a bonus-packed Prometheus extended cut DVD/Blu-ray package. Who’s Scott to get in the way? He’s a business, man! (Ka-ching!) It sounds like Prometheus ‘s theatrical cut is Scott’s ideal director’s cut, but he promises a half hour of bonus material for fans who want to go deep into detail: “I’m so happy with this engine, the way it is right now. I think it’s fine. I think it works. It can go in a section where, if you really want to tap in, look at the [DVD] menu. To see how things are long, and it’s too long.” And my favorite part of the chat (emphasis mine): ” Dramatically, I’m about putting bums on seats. For me to separate my idea of commerce from art — I’d be a fool. You can’t do that. I wouldn’t be allowed to do the films I do. So I’m very user friendly as far as the studios are concerned. To a certain extent, I’m a businessman. I’m aware that’s what I have to do. It’s my job. To say, ‘Screw the audience.’ You can’t do that. ‘Am I communicating?’ is the question. Am I communicating? Because if I’m not, I need to address it.” Along the lines of those scenes that viewers might agree are “too long,” Scott describes a scene that wound up on the cutting room floor, seemingly for good reason: [ SPOILERS ] [In the deleted scene described by Scott, Noomi Rapace’s Shaw fights with the remaining Engineer in a hand-to-hand fight.] “The problem about it is, while she gives as good as she gets with an axe… he’s so big, for him to be clouted with a conventional weapon somehow diminished him. It’s subtle. It’s drama. I didn’t want to diminish him by having this person who has a weapon to be able to back him off. It minimized him.” [ END SPOILERS ] Hmm, let’s see now. “Am I communicating?” Scott claims he asks himself. Well… that’s debatable. (See Movieline’s discussion of the still-unanswered questions and dumb script moves in Prometheus .) As for future Prometheus alternate/extended versions, I guarantee folks on both side of the Prometheus fence will clamor for a gander. The question is, will we get any real answers? [via Collider ] Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Ridley Scott’s Prometheus opens stateside today, which means no more tiptoeing around spoilers for those who’ve seen it. ( Obviously, spoilers will follow. You’ve been warned. ) The number one complaint among folks who have now seen the highly anticipated Alien kinda-prequel? So. Many. Unanswered. Questions. So let’s jump right into the spoiler goo and get to deciding (and, hopefully, answering) the biggest question prompted by Scott’s gorgeous, murky space opus that is left yet unanswered. I’ll start: WHY? Why does pretty much anyone in Prometheus make any of the decisions they make? Like… – Holloway (Logan Marshall-Green) with the helmet-taking off. Really, is sniffing (and contaminating) the alien world atmosphere on the planet you just landed on and know nothing about such a good idea? – Vickers (Charlize Theron), running in the one direction that will lead her to being squashed by a giant falling spaceship? – Millburn the dumb biologist (Rafe Spall), who just wants to reach out and make friends — even with the squishy alien penis-snakes? – Space crew guy, walking straight up to his recently deceased, re-animated fellow shipmate who has spider-crawled his way across a space desert to space-murder everyone? Most of these aren’t necessarily unanswered questions, just incredibly stupid decisions that inform and support the characters in facepalm-worthy strokes. Holloway is a risk-taker! Vickers is a sheltered, prideful ice queen with probably little field experience who would rather try to outrun death than roll, like her unassuming and practical brunette counterpart, out of its way! Crew guy is, well, a redshirt, for lack of a better term. Yes, yes. There are reasons to be found here, if not particularly great ones. The bigger questions have to do with two still-opaque entities: The Engineers and David, the increasingly creepy mayhem bot, Lawrence of Robotica. In the prologue we see one Engineer take a dose of black space goo and tumble, dead and transmorphing, into the water — thus presumably starting human life on Earth. So what is the goo? Prometheus builds a tech-driven world filled with great flying ships and alien holograms and C-section machines but is more concerned with ideas: Of creators and creation, of life and death cycling endlessly across the universe between humans and aliens, parents and offspring, scientists and their inventions. All children want to see their parents dead, according to David, who seems to be counting himself in that equation. What is the goo, then? Is it the proto-material of a xenomorph? How does it work, exactly? Why would anyone feed it to the cute Tom Hardy-looking guy? And who created the Engineers, anyway? Does it even matter when the real question is asking why we create, and in the process, destroy? The brilliance of Prometheus ‘s stubborn insistence on not feeding us the answers is that they’re not really important in the grand scheme of things, unless you require your movies to make sense. You know what else refuses to share vital information, instead choosing to provoke and see what happens? David. David, who has spent years in space flight amassing the breadth of human knowledge and yet cannot feel (or can he?), who has the answers — or, at least, the instructions the Engineers have written in their mystery language on the sides of their sweaty weapons of mass destruction like how-to manuals — and yet can’t understand why it is that Noomi Rapace’s Elizabeth Shaw MUST understand. David, played marvelously by Michael Fassbender, remains the biggest mystery . He’s tasked with one directive: Help Weyland find a way to live forever. You could build a strong case that everything David does is indeed in service of this goal. Weyland’s mistake is in trusting a machine that doesn’t think in human terms, but in practical ones; if there’s no alien magic out there to Benjamin Button old man Weyland back into handsome, young Guy Pearce, David finds another way to help his master live forever: Through his legacy, by altering the course of human history (gladly, it seems) via one or two devious deceptions. Consider the legacy of the man at the center of David’s favorite film, as seen in Prometheus ‘s sublime opening sequence. T.E. Lawrence was born in 1888, helped upset order in the Arab world in 1916, was immortalized on celluloid in 1962’s Lawrence of Arabia , and then, years later in the world of Prometheus , inspired an android to not only imitate his blond coif but instigate the beginnings of the Alien universe in 2093. Lawrence is really the key to understanding David; in helping Weyland achieve his immortality by way of launching the destruction of humanity, David is immortalizing himself, and a part of me thinks that a part of him yearns to express this measure of often foolhardy human emotion. Or maybe he’s just designed to be a close, but not close enough, imitation of the humans who built him? The more I think of David as a stand-in for Prometheus the movie at large, the less I care that Idris Elba figured out in five minutes what the Engineers were up to on this rinky dink planet, or that we’ll never know what David whispered to the last remaining Engineer, a la ScarJo and Bill Murray in Lost in Translation . Those quibbles seem minor given the vast provocations the film leaves behind. To an aggravatingly obvious extent, the gaping abyss of understanding that Prometheus leaves puts us, the viewer, in the position of Shaw — still searching, desperately, for answers, with only a soulless computer brain as her guide. We are Shaw, and maybe the internet is our David, offering knowledge and spoilers at our fingertips but, unless Ridley Scott and writers Jon Spaihts and Damon Lindelof hop on a Reddit AMA session, no ready answers and plenty to be wary of. Big things come in small packages, and that goes for space goo, blond robots, and universe-expanding ideas. So, all that said, what unsolved mysteries irked you the most in Prometheus ? Sound off in the spoiler-friendly comments below and let’s figure this sucker out. — Our colleagues at (PMC-owned) Beyond the Trailer pose a relevant question: “Is Prometheus an intellectual sci-fi thriller, or a pseudo-intellectual sci-fi thriller?” See what other real folks say in their impromptu exit poll. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Ridley Scott’s Prometheus opens stateside today, which means no more tiptoeing around spoilers for those who’ve seen it. ( Obviously, spoilers will follow. You’ve been warned. ) The number one complaint among folks who have now seen the highly anticipated Alien kinda-prequel? So. Many. Unanswered. Questions. So let’s jump right into the spoiler goo and get to deciding (and, hopefully, answering) the biggest question prompted by Scott’s gorgeous, murky space opus that is left yet unanswered. I’ll start: WHY? Why does pretty much anyone in Prometheus make any of the decisions they make? Like… – Holloway (Logan Marshall-Green) with the helmet-taking off. Really, is sniffing (and contaminating) the alien world atmosphere on the planet you just landed on and know nothing about such a good idea? – Vickers (Charlize Theron), running in the one direction that will lead her to being squashed by a giant falling spaceship? – Millburn the dumb biologist (Rafe Spall), who just wants to reach out and make friends — even with the squishy alien penis-snakes? – Space crew guy, walking straight up to his recently deceased, re-animated fellow shipmate who has spider-crawled his way across a space desert to space-murder everyone? Most of these aren’t necessarily unanswered questions, just incredibly stupid decisions that inform and support the characters in facepalm-worthy strokes. Holloway is a risk-taker! Vickers is a sheltered, prideful ice queen with probably little field experience who would rather try to outrun death than roll, like her unassuming and practical brunette counterpart, out of its way! Crew guy is, well, a redshirt, for lack of a better term. Yes, yes. There are reasons to be found here, if not particularly great ones. The bigger questions have to do with two still-opaque entities: The Engineers and David, the increasingly creepy mayhem bot, Lawrence of Robotica. In the prologue we see one Engineer take a dose of black space goo and tumble, dead and transmorphing, into the water — thus presumably starting human life on Earth. So what is the goo? Prometheus builds a tech-driven world filled with great flying ships and alien holograms and C-section machines but is more concerned with ideas: Of creators and creation, of life and death cycling endlessly across the universe between humans and aliens, parents and offspring, scientists and their inventions. All children want to see their parents dead, according to David, who seems to be counting himself in that equation. What is the goo, then? Is it the proto-material of a xenomorph? How does it work, exactly? Why would anyone feed it to the cute Tom Hardy-looking guy? And who created the Engineers, anyway? Does it even matter when the real question is asking why we create, and in the process, destroy? The brilliance of Prometheus ‘s stubborn insistence on not feeding us the answers is that they’re not really important in the grand scheme of things, unless you require your movies to make sense. You know what else refuses to share vital information, instead choosing to provoke and see what happens? David. David, who has spent years in space flight amassing the breadth of human knowledge and yet cannot feel (or can he?), who has the answers — or, at least, the instructions the Engineers have written in their mystery language on the sides of their sweaty weapons of mass destruction like how-to manuals — and yet can’t understand why it is that Noomi Rapace’s Elizabeth Shaw MUST understand. David, played marvelously by Michael Fassbender, remains the biggest mystery . He’s tasked with one directive: Help Weyland find a way to live forever. You could build a strong case that everything David does is indeed in service of this goal. Weyland’s mistake is in trusting a machine that doesn’t think in human terms, but in practical ones; if there’s no alien magic out there to Benjamin Button old man Weyland back into handsome, young Guy Pearce, David finds another way to help his master live forever: Through his legacy, by altering the course of human history (gladly, it seems) via one or two devious deceptions. Consider the legacy of the man at the center of David’s favorite film, as seen in Prometheus ‘s sublime opening sequence. T.E. Lawrence was born in 1888, helped upset order in the Arab world in 1916, was immortalized on celluloid in 1962’s Lawrence of Arabia , and then, years later in the world of Prometheus , inspired an android to not only imitate his blond coif but instigate the beginnings of the Alien universe in 2093. Lawrence is really the key to understanding David; in helping Weyland achieve his immortality by way of launching the destruction of humanity, David is immortalizing himself, and a part of me thinks that a part of him yearns to express this measure of often foolhardy human emotion. Or maybe he’s just designed to be a close, but not close enough, imitation of the humans who built him? The more I think of David as a stand-in for Prometheus the movie at large, the less I care that Idris Elba figured out in five minutes what the Engineers were up to on this rinky dink planet, or that we’ll never know what David whispered to the last remaining Engineer, a la ScarJo and Bill Murray in Lost in Translation . Those quibbles seem minor given the vast provocations the film leaves behind. To an aggravatingly obvious extent, the gaping abyss of understanding that Prometheus leaves puts us, the viewer, in the position of Shaw — still searching, desperately, for answers, with only a soulless computer brain as her guide. We are Shaw, and maybe the internet is our David, offering knowledge and spoilers at our fingertips but, unless Ridley Scott and writers Jon Spaihts and Damon Lindelof hop on a Reddit AMA session, no ready answers and plenty to be wary of. Big things come in small packages, and that goes for space goo, blond robots, and universe-expanding ideas. So, all that said, what unsolved mysteries irked you the most in Prometheus ? Sound off in the spoiler-friendly comments below and let’s figure this sucker out. — Our colleagues at (PMC-owned) Beyond the Trailer pose a relevant question: “Is Prometheus an intellectual sci-fi thriller, or a pseudo-intellectual sci-fi thriller?” See what other real folks say in their impromptu exit poll. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
People with a strong sartorial sense know the difference between what’s elegant and what’s merely elaborate. It’s not the same in the movie world, where big and overcomplicated is so often mistaken for better, when really it’s only…big and overcomplicated. Ridley Scott ’s Prometheus , designed as a sort-of prequel to the director’s 1979 terror-in-space aria Alien , is elaborate all right. But it’s imaginative only in a stiff, expensive way. Scott vests the movie with an admirable degree of integrity – it doesn’t feel like a cheap grab for our moviegoing dollars – but it doesn’t inspire anything so vital as wonder or fear, either. Prometheus has been one of the most anticipated pictures of the summer, but its lackluster payoff is summed up perfectly by one of its chief characters, a scientist who travels a long way from Earth in the hope of meeting the allegedly superior beings who created us humans: “This place isn’t what we thought it was.” [ Some spoilers follow. ] That character, Elizabeth Shaw ( Noomi Rapace ), is an archeologist who, in one of the movie’s early scenes, circa 2089, stands hand-in-hand with her partner and beau Charlie Holloway (the exquisitely, painfully dull Logan Marshall-Green ) as the two gaze in wonder upon an Earth cave drawing they’ve just discovered. The pictogram shows a couple of unearthly creatures standing tall and pointing at something-or-other. Are they gods who created us, or just random visitors? Shaw thinks they may be the former, and she’s eager for a meet-and-greet. “I think they want us to come and find them,” she says, voicing one of those really bad ideas that make the world of science fiction go ’round. Before long the two have joined a crew of 15 others, all headed to an undisclosed destination in space where they will freely and joyfully act upon yet more bad ideas, including packing a severed alien head into a space baggie and reaching out to touch a slimy tadpole-penis-head thing. But let’s not get ahead of ourselves. The others aboard the all-too-appropriately named Prometheus include a tall, icy businesswoman named Vickers ( Charlize Theron ), a representative of the corporate behemoth that’s funding the trip; the ship’s captain, Janek (played by the appealing, casual Idris Elba); David ( Michael Fassbender ), an android a la Ian Holm’s character in Alien , who has learned a healthy handful of ancient languages as a way of possibly communicating with whatever godlike forebears the crew may encounter; and a random Asian guy who wanders around idly in the background of a few shots until, inexplicably — mini-spoiler alert — he becomes one of the story’s heroes. (This disposable Asian is played by Benedict Wong, who also appeared in Duncan Jones’ 2011 Moon .) There are a bunch of others – including some dumb geologists/biologists (Rafe Spall and Sean Harris) and a doctory-scientist type (Kate Dickie) – but the cast of Prometheus suggests that 17 crew members on a movie space ship is about 10 too many. (The Nostromo , after all, carried 7, and Scott and writer Dan O’Bannon made it easy to distinguish one from another.) But Prometheus , both ship and movie, is overloaded in every way: Scott and screenwriters Jon Spaihts and Damon Lindelof have packed the picture full of noble themes, most of them having to do with the way our yearning to understand the unknown jostles uncomfortably against our desire to explain everything through science. “I just want answers, babe,” the logic-mongering Holloway tells the dreamier Shaw, though this is before – and here, take note of another mini-spoiler alert – a wriggly wormlike thing starts poking out of his eyeball. What do Shaw and the others discover on the mysterious planet to which they’ve trekked? They make their way into a cave where the air is actually breathable – they lift off their bubble helmets and take in deep gulps of the stuff, which seems inadvisable, but what the heck? Deep in the cave’s recesses they find a magnificent hallway replete with majestic murals and a large sculpture surrounded by a formation of conga drums covered with sweaty spores. Prometheus features a host of effects designed to make you say, “What the heck?” and yet none of it stirs real curiosity, awe or dread. The crew also encounters, of course, some variations on the magnificent spoodly pinky-gray creatures designed by H.R. Giger for the earlier Alien pictures. Perhaps these thingies are supposed to be bigger, more impressive and more realistic, whatever that might mean. Yet there’s a business-as-usual quality about them, and they herald their presence openly rather than lurk menacingly in the shadows, as if announcing cheerfully, “You expected to see us, and here we are!” That’s not to say there aren’t some lovely effects in Prometheus , including a sequence in which a group of hologram ghosts appear as shimmery dots and dashes of light – they rush toward and through our intrepid explorers, on their way to, or away from, something. But we never find out who they are or what they’re running toward or from. In fact, there are dozens of loose ends in Prometheus , hanging like so many squirmy, dangly tails. Fassbender’s android commits a significant, malicious act for reasons that are never made clear: We know he has no soul, and thus probably no conscience, but his actions seem like the result of some deeply human traits — Scott never bothers to explain. The geography of the ship is carelessly delineated: Creatures show up in one passageway or another – it’s never clear what room or area they’re coming from. One of these slimy, willfully malevolent wrigglers emerges at a significant climactic moment, and it’s unclear whether it’s a random critter or a larger version of a baby we’ve seen earlier – the lapse represents a missed opportunity, a possible means of fleshing out some of the movie’s ideas about the relationship between gods and the creatures they create (or destroy). Scott is trying to make sure Prometheus is about something, and his ideals may have distracted him from the more prosaic task of just getting on with the storytelling. When Brian De Palma presented, with Mission to Mars , a much more passionate, and more narratively sound, version of this sort of interplanetary spiritual idealism, it was treated as a “bad” science fiction movie. Prometheus , on the other hand, is tasteful even in the midst of all its squirm-inducing gross-outs, and that’s a liability: It’s impossible to have tasteful passion. The actors mostly seem lost here: Rapace comes off as a doll-like naïf, pretty but wholly lacking in charisma or even science-fueled ardor. Guy Pearce appears in heavy age makeup which, if you ask me, is a total waste of a perfectly good Guy Pearce. Theron and Fassbender have much more presence: Theron, at least, gets to suit up and fire a flamethrower – the vision of her big bubble-helmeted head perched upon a body that seems to consist mainly of two lily-stem legs is something to behold. And Scott gives Fassbender the quietest, most poetic sequence in the movie: Early in the picture, the robot David wanders the ship while the rest of the crew are still deep in their hypersleep dreams. He busies himself with assorted tasks, and then sits down before a massive wraparound screen, where he watches Lawrence of Arabia with rapturous admiration. David finds a physical, if not spiritual, twin in O’Toole’s T.E. Lawrence, a model for the man he’d like to be, if only he were a man at all. But Scott doesn’t, or can’t, sustain the eerie, resonant beauty of that sequence. Prometheus isn’t a piece of junk. It feels as if Scott has tried very hard to please us, his audience, in an honest if costly way. He surely knows how high the stakes are: With Alien , Scott gave us one of the great science-fiction films of all time, a picture that was at once glorious and austere; when I looked at it recently, I was struck by how wonderfully slow-moving it was, and yet every minute is taut. But Prometheus is a world apart, a far more unwieldy picture that tries hard to defy this new, noisier age of movies and doesn’t have the agility or the suppleness to do so. You can practically hear Prometheus groaning under the weight of its ambitions; it’s a far cry from the sound Scott was going for, the music of the celestial spheres. Follow Stephanie Zacharek on Twitter . Follow Movieline on Twitter .
Elizabeth Olsen looks modestly dressed in her Victorian-era full-length dresses and hats for her role in the erotic thriller Therese Raquin , which she is currently filming in Budapest, Hungary. Olsen plays the title character Therese Raquin in this project, directed by Charlie Stratton and also starring Harry Potter ‘s Tom Felton and Jessica Lange. Her character is apparently forced into a loveless marriage with her sickly cousin Camille, played by Fenton. Young, beautiful and sexually repressed, Therese casts off innocence for a sizzling affair with her husband’s best friend Laurent, played by Drive actor Oscar Isaac. Needless to say, her dress gets ripped off on numerous occasions, according to The Daily Mail , which featured a number of photos of Olsen on set. Lange plays Therese’s controlling aunt, Madame Raquin, and the story crescendos as Therese’s dalliances with Laurent produces disastrous outcomes. “Some of the film’s themes will include the subjects of imprisonment and punishment, temperament and the human animal,” noted The Daily Mail. Olsen, 23, won praise last year for her starring role in Sundance indie Martha Marcy May Marlene and she will be seen this week in the Jane Fonda and Catherine Keener starrer Peace, Love, & Misunderstanding , which opens Friday. [via Daily Mail ] [Photo credit: WENN.com]
Sometimes TMI is just TMI, says writer and critic Dave White, reviewing Scotty Bowers’ Full Service: My Adventures in Hollywood and the Secret Sex Lives of the Stars : “Stalker-y internet gossip site TMZ is its own TV show now and they’ve got a bus that runs all day long so tourists from Indiana can see where Chris Brown beat up Rihanna….It’s a time in Hollywood history when Mel Gibson takes up with his mistress, puts a baby in her, screams weird racist things on the phone , they laugh about it on The View and then Jodie Foster turns around and puts him in her next movie…And even if [Katharine] Hepburn was a lesbian with a bad complexion and [Spencer] Tracy a conflicted bisexual alcoholic, what purpose does it serve if I also know that Scotty Bowers provided her with as many as 150 paid female ‘companions’ over her lifetime?” [ Los Angeles Review of Books ]
Can’t get enough of this Friday’s Prometheus ? Then you’ll want to watch this shot-for-shot fan trailer that recreates every moment of Ridley Scott’s second Prometheus trailer with paper and flashlights, which is at once the antithesis of the effects-laden sci-fi pic and a neat-o celebration of its fantastical imagery. Plus: Paper Fassbender! Still hot. Obviously I have a fondness for animated fan trailers, but this one takes the form to a new level. It’s inventive, detailed, and meticulously reconstructed, and whoever drew these characters did an especially fine job on Paper Idris Elba. I’d probably watch an entire Prometheus movie made of paper. [via Film Drunk ]
Also in Friday morning’s news round up, The Weinstein Company picks up a pair of films (including a documentary by Bernard-Henri Lévy), Boy Toy gets a leading lady, North America is set to Sleep Tight , and more… Cannes: Cate Blanchett and Mia Wasikowska Set for Carol The project is a new adaptation of Patricia Highsmith’s novel Carol , aka The Price of Salt , directed by John Crowley. Carol follows the burgeoning relationship between two very different women in 1950s New York: One, a girl in her 20s working in a department store who dreams of a more fulfilling life, and the other, a wife trapped in a loveless, moneyed marriage desperate to break free but fearful of losing her daughter in the process. The film is being sold in Cannes by Hanway. Blade Runner Screenwriter In Talks for Ridley Scott Sequel Hampton Fancher is in talks to reunite with his Blade Runner director Ridley Scott to develop the idea for the original screenplay for the Alcon Entertainment, Scott Free, and Bud Yorkin-produced follow up to the 1982 science fiction classic. The project is intended to be a sequel to the original, taking place some years after the first film concluded. Cannes: Weinsteins Pick Up Rights to Qadaffi Doc The Oath of Tobruk The Weinstein Company has locked up U.S. rights to the documentary directed by French philosopher, journalist and filmmaker Bernard-Henri Lévy, who captured the unfolding of the war and the spontaneous popular revolt that became a revolution toppling the longtime Libyan dictator Muammar Qadaffi. The film charts the efforts of the Libyan people in their country and in major cities including Paris, London and New York; it will screen May 25 in Cannes as part of the festival’s Official Selection. Lisa Ray Joins Boy Toy Cooking with Stella actress Lisa Ray will star writer/director Craig Goodwill’s Boy Toy , which is based on the filmmaker’s award-winning short film Patch Town . It tells the story of an abandoned toy whose dream is to be reunited with his long-lost adoptive mother. The film begins shooting in November. MPI Grabs Sleep in North America Rights to the psychological thriller Sleep Tight have been picked up by MPI Media Group. The film revolves around Cesar, an apartment building doorman who keeps very close tabs on his residents’ private lives and whose only happiness comes from others’ misery. Jaume Balaguero’s movie will be released theatrically in the fall of 2012 through MPI’s genre arm, Dark Sky Films. The theatrical release will be followed VOD and DVD availability. Around the ‘net… Weinsteins Acquire French Culinary Pic Haute Cuisine TWC has acquired Christian Vincent’s French comedy Haute Cuisine from Wild Bunch. The film is based on the true story of Danièle Delpeuch, the private cook to the late French president François Mitterand. Deadline reports .
Fox has been going all-out with the last couple weeks of promotion for Ridley Scott‘s Prometheus, and as I’ve said before, we’ve hit the point where I’m trying not to watch too much of the new clips and trailers. But this little video, Quiet Eye, is part of the ad campaign Fox is doing with Broadcasting platform : YouTube Source : /Film Discovery Date : 16/05/2012 15:49 Number of articles : 2
Technically the plot of Prometheus is still fairly unknown from the trailers and clips Fox has unleashed, at least insofar as what it is that befalls the intrepid space crew that ventures into unknown horrors in Ridley Scott’s June sci-fi action thriller. But the latest TV spot seems to reveal an awful lot of said horrors — flashes of frights and things and scenes that seem to give good reason for that R rating — so watch at your own risk, because these 30 seconds are at once both awesome and a tad too revealing. Spoilers ahead! Behold, the squirmy delights ahead of us all in the June 8 release. All those times Ridley Scott waved away Alien connections as relatively loose associations seem moot after seeing space snakes crawl up into someone’s head and glimpsing whatever it is that’s going on in Noomi Rapace ‘s belly. “Get it out of me!” is the new “Cut it out!” of Prometheus promo catchphrases. And can we just talk about that hulking space man for a second? I have no idea what is actually going on here, but I’m getting flashes of Sunshine , if you know what I mean. Taking all speculations in the comments below. [via i09 ]
