Tag Archives: remake

Poster for Point Break remake…Wait, this is actually happening?

26 May

“Fear causes hesitation, and hesitation will cause your worst fears to come true.”  – Bodhi (Point Break 1991)

The people behind the remake of Point Break did not hesitate; that is clear. If they had, fear would have forced them to reconsider their hair-brained plan to make another Point Break. But before we get into the diatribe, here is the eye candy:

Point Break Poster

So, clearly there will be skydiving in the remake. I guess that is neat, except that Fast and Furious 7 had cars dropping out of planes. Come on Point Break–step up your game!

The 1991 film was not good, but it has attained a certain level of cult-film status (Important Note: gaining the status as a cult-film does not make a movie retroactively good. More often than not, the film becomes popular because it is awesomely bad. There might be an idea for a post in here). As bad as the 1991 version was, it seems like the 2015 iteration is setting up to be worse.

In 1991, the movie managed to attract one major movie star, a well-known secondary character, and an up-and-coming youngster. Patrick Swayze was coming off of Dirty Dancing, Ghost, and Road House. An odd combination I know, but his work had broad appeal–he was a star that could be sold to both men and women. Gary Busey…what can be said about Busey? He is great and supplied a level of fun and crazy that cannot possibly be replicated…ever. And then Keanu Reeves rounds out the headlining trio. Reeves was still relatively new on the scene, the Bill and Ted movie was really his only major success, but he was born for this role. Reeves was born to play a naive, surfer dude-turned-criminal. Again, this a role that cannot be replicated.

Reeves and Swayze

It appears that the leaders of the remake did not even try to recreate the (limited) charm of the original. Instead, they cast a series of bit players who have ZERO name recognition.

Wow! I’ll leave you with this from 1991 Bodhi: “What’s the matter with you guys? This was never about the money, this was about us against the system. That system that kills the human spirit.” It looks like the studio’s desire for money won this time.

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Studio in talks with actor to play Pennywise in ‘It’ remake

5 May

Pennywise is responsible for plaguing an entire generation with Coulrophobia (the fear of clowns). The character is coming to the big screen for a pair of films, and we know the director’s first choice for the role.

Variety reports that Will Poulter is working on a deal to play Pennywise.

“True Detective” director Cary Fukunaga plans to split Stephen King’s original novel, into a pair of movies. I would ordinarily balk at the two film announcement, but King’s novel is 1,100+ pages and Fukunaga has pledged to stay true to the source material.

It follows the story of a group of kids who are outcasts, but come together one summer to take on a monster that has been plaguing their town.

Pennywise represents one of scariest characters ever portrayed on screen (as if communal showers weren’t scary enough in middle school)

Tim Curry owns that role. And now, they are turning to a young actor who is best known for his role in a YA Science-Fiction movie (Maze Runner) and a YA Fantasy novel (Chronicles of Narnia). Maybe Fukunaga deserves the benefit of the doubt–True Detective was ridiculously good–but, this is a big risk.

Look at this:

Pennywise

And now imagine this in a clown suit, and try to get scared:

L14A7881.DNG

‘21 Jump Street’ remake to feature Channing Tatum and Jonah Hill?

10 Nov

You heard it right, folks. Reports are being leaked that there’s a new 21 Jump Street movie in the works, and that G.I. Joe’s Channing Tatum and Superbad’s Jonah Hill are at the top of the list to star. Deadline.com has released news that Sony Pictures is heavily courting Tatum to star alongside Hill in the remake of the high school cop drama, which Hill has already been working on with fellow actor and Scott Pilgrim vs. the World scribe, Michael Bacall. People close to the project are giving a big thumbs-up to Tatum, whom they say the studio likes because he looks youthful, and he tested well with Hill. The film is set to be directed by Phil Lord and Chris Miller, the guys who brought us Cloudy with the Chance of Meatballs. No word yet if the film is going to be a straight up comedy, but with Hill’s hands all over it, we can’t imagine this tackling the serious issues of teen angst/crime that the original television series covered.

Now, the coverage of this story over on MTV.com is heavy on Johnny Depp cameo rumors, with Hill and Depp themselves being a bit cagey on the subject, with Depp commenting, “If we find the right thing to do, it could be very funny.” Would Depp reprise the role that jump-started his career, or will he just stop by to say ‘hi,’ well that’s anyone’s guess, but if Depp can be trusted, it looks pretty promising. Now the only question that remains is who’s going to sing the theme song?

True Grit

2 Oct

By brian

Eye patch, check.  14 year old girl on a mission, check.  Reluctant hero, check.  Movie based on a 1968 western novel, check.  That is about where the similarities will end for the 2010 version of True Grit

The first thing we see, we see with our ears.  The mood of the spot is already set with the eerie singing of children who sound like they grew up in the time of the plague.  Their innocence is gone and, as adults, we know they won’t get it back.  A young girl who’s too small to fit the clothes she puts on, let alone carry out the ‘adventure’ on which she’s about to embark, picks up a gun.  Her father dead, she looks upon his body with steeled eyes confirming what her mind has already made up.  She must find the man who did it and make him pay.  Fatal revenge enacted at the hands of a child is always chilling to consider, and even more so when we see that Joel and Ethan Coen will pull her weeping soul out and dare us to turn away.

John Wayne made the character of “Rooster Cogburn.”  In this version we have Jeff “The Dude” Bridges taking the reins.  When you realize the same actor could play both a pot smoking, Creedence loving bowler with a concern for Feng Shui, and a battle hardened, liquor glutton who’s been kicked in the nuts by life, skepticism sets in.  But I don’t think another actor could take on this role today.  Some would argue that Josh Brolin could, but he lost that chance with Jonah Hex.  Besides, he’s already in the movie and that brings a broad smile to my face.  The Coens like to work with actors.  That seems dumb to say, but I mean aaactors.  They find something in somebody that no one else can see.  Whoda thunk John Goodman could shine after King Ralph?  Whoda thunk Jeff Bridges was more than a B actor after King Kong, TRON, The Fisher King and Blown Away?  I never would have thought Josh Brolin would have a career because he all but disappeared after The Goonies, and didn’t return until his out-of-nowhere rise starting in 2007 with Grindhouse and No Country for Old Men.   The Coens know how to do what no one else thought of – they’re inventors; adventurers in cinema.  That is why everyone will be talking about the young Hailee Steinfeld after this movie.  Oh yeah, and did I mention that Matt Damon’s in it too? 

So, will it suck? 

No….and a, “Hell No!” at that.  Bridges will be better than he’s ever been, which is saying a lot coming off his acclaimed performance in Crazy Heart.  Matt Damon will surprise us until we remember how good he was in Good Will Hunting and The Talented Mr. Ripley.  The Coens will be in the running for an Oscar.  And the eye patch will become what Michael Jackson’s glove was in the 80’s…okay, maybe not, but there’s going to be a lot of “Rooster Cogburn” costumes come Halloween 2011.

Let Me In

14 Aug

By josh

Hollywood has a nasty habit called the “remake,” and when they’re not stealing from themselves, they’re ripping off the foreign markets. Ever since the Lumiere brothers began making motion pictures in the late 19th century, American filmmakers have been copping ideas and remaking them for English speaking audiences, almost always ruining them in the process. For instance, I just watched The Vanishing – the original 1988 Dutch version – a masterpiece of a mystery thriller. Now for some reason, Hollywood decided to remake this movie, five years later, using the same director. I can only tell you the remake is a miserable hatchet job – with director George Sluizer neutering his own work – and the main culprit to blame can solely rest on the shoulders of the Hollywood system (and maybe a little bit on Kiefer Sutherland).

Fast forward fifteen years and head this time to Sweden, where Let the Right One In was released in 2008; a vampire movie so haunting in its stillness, that it made all the blood and gore scenes that much more visceral. A genre defining film, the story of a young vampire girl who befriends a lonely boy in a suburban arctic town, was a breath of ice cold air in the wake of the industrial vampire action movies that had flooded the market as of late (not to mention a certain teen vampire romance). Well, the Hollywood system wasted no time in remaking this for American audiences, as production began almost immediately after the film was first screened. Two years later, Let Me In, directed by Matt Reeves of Cloverfield fame, is ready for audiences, and the trailer mirrors the original surprisingly well:

The setting appears to be the same – small mountain town, where the white snow will only accent the red, red blood. The scenes depicted almost ape the original’s trailer, and it appears to be a true to form remake. The only notable difference – the industrial music that creeps throughout – leads to show the American audiences were pandered to in one instance. Where the original seemed to crawl at times, building suspense, the new one amps it up with a chugging score – the first, but only indication that Hollywood executives were scared that American ADD audiences would lose interest in such a slow paced film. A good initial sign, but skeptics will argue that one instance of pandering only begets several more once the full film is released.

One of the biggest things making this reviewer excited about the trailer, is the sight of Chloe Moretz as the young vampire. Moretz, as the adorably vicious Hit-Girl, was easily the best part about this year’s Kick-Ass (if you don’t count Nicolas Cage’s prosthetic moustache). A precocious little girl, Moretz is just as believable being nice as she is chopping off limbs, and her star turn gave her heat-seeking strength in Hollywood, and gave me chills watching her pump lead into henchmen. The hardest part about pulling off a role of a little girl who can at once be soft to the touch, and another minute savagely suck the blood of the unsuspecting, is finding the right person to play it, and I am more than convinced Moretz can do it. To her credit, Kirsten Dunst was a pretty believable bratty bloodsucker in Interview With the Vampire, but she doesn’t have the credentials of the c—t-spewing Hit-Girl, so Moretz, this one’s yours to lose.

So, will it suck?

No. It’s hard to say that any remake is not going to suck, but even if this movie hits half as good as the original, it’s going to be leaps and bounds above any of the vampire movies that have come out in the past 10 years. Plus, judging by the seeming shot-for-shot recreation by Reeves, it appears he’s remained true to the original. Now I know how awful a shot-for-shot recreation can be –no need to remind me – and as with the aforementioned Vanishing, even bringing the same director on board for the Hollywood remake can end in complete disaster. But what The Vanishing did wrong was to completely change the ending, and it’s clear that Hollywood is going to have their grubby hands on Let Me In, however I have hopes that Moretz and Reeves can carry through with only minor bumps and scrapes. Read my lips: the studio will speed the pacing up for American audiences, and there will definitely be a couple of the more conventional Hollywood scares conspicuously added in, but on a marquee of American vampire movies, Let Me In will stand out amongst the jumble of teenage schlock that they’ve been shamelessly handing us lately.

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