It's Episode #151 for Fast & Furious 6, in which our protagonist marvels at the tenacity and testicular fortitude of this particular franchise, is happy to see more going on than cars and writhing women at street races, and apologies to Ludacris for getting his name wrong. To be fair, I was punished for doing so by gravity's karma.
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It's Weekend Justice: the Internet's #1 audio trainwreck--the podcast that wants Martha Stewart and Snoop Lion to get together and do...whatever. Cook. Fight crime. Smoke weed. Whatever. Just film it.
Special thanks to all our supporters! It's Episode #150 for Star Trek Into Darkness, in which our protagonist applauds trailers that obfuscate for the good of mankind, is pleased that the franchise still knows what genre it's in, and imagines that the world is going Wicked Batch Crazy.
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Written by: Alex Kurtzman, Damon Lindelof & Roberto Orci, based on the series created by Gene Roddenberry
Directed by: J.J. Abrams
Starring: Chris Pine, Zachary Quinto, Benedict Cumberbatch, Zoe Saldana, Karl Urban, Simon Pegg, John Cho, Anton Yelchin, Bruce Greenwood, Peter Weller, Alice Eve
All you know about Into Darkness is just a smoke screen.
Where to begin? How about some rules. A contract if you will, between you, the reader, and me, the reviewer. I ask you to stay away from any and all spoilers. I ask you not to speculate with others about this movie before you see it. In return, I will write a review that will sail around those spoilers and still serve you enough information to make a decision whether or not you want to see it.
With the second Star Trek by J. J. Abrams though, this spoiler-or-no-spoiler problem is key. How so? You have to consider that the marketing campaign--including every interview and every word that Abrams himself has said--are part of the game and the experience. After watching the movie I can summarize the effect the campaign had in one, simple formula: The more you know about the (old) universe of Star Trek and the less (i.e. spoilers) you know about this movie, the bigger the fun will be for you.
Written by: Charudutt Acharya, Nipun Dharmadhikari & Rohan Sippy, based on the original story by Benoit Graffin & Pierre Salvadori
Directed by: Rohan Sippy
Starring: Ayushmann Khurrana, Kunaal Roy Kapur, Pooja Salvi, Gaelyn Mendonca
Nautanki Saala has generated a lot of publicity thanks to it being the follow-up to Ayushmann Khurrana's highly successful and acclaimed Vicky Donor. Also it marks the return of Rohan Sippy to the director's chair after the blow-hot/blow-cool Dum Maaro Dum in 2011. Saala is an official remake of AprÃ¨s vous... (After You...), a French movie. I have not seen the original, so do not have any reference to pit it against. As a stand-alone product, the movie works well up to a certain extent...and then the length kills it!
The story revolves around RP (Khurrana) who is a theatre actor/director in a famous mythological Ramayana play. One day, on his way back home, he saves a jobless, depressed and lovelorn Mandar Lele (Kunaal Roy Kapur) from committing suicide. Soon after that he starts feeling responsible for Lele. He starts helping Lele develop a positive attitude towards life, gets him a job and tries to get Mander's love life back on track. However, RP's involvement results in complications aplenty in his work, his relationship with his girlfriend Chitra (Gaelyn Mendonca) and his relation with Mander's ex-girlfriend Nandini (Pooja Salvi). Whether RP succeed in achieving what he set out to do or destiny has other plans for him--this question forms the main plot.
Kids, this is a scenario where I'm not going to tell you to ask your parents. I'm just going to flat out tell you myself. There once was a time when you couldn't make any damn thing you wanted show up in a movie using a computer. You used to have to use practical FX...exclusively. And so when you wanted something that shouldn't ordinarily move around on its own--say, a skeleton with a sword or a Gorgon--you would need to take a model of said thing, take a picture, move it, then take another picture and so on with excruciatingly slowness. Eventually, you could piece together all the pictures with their very, very slight changes and play them at speed...and you get the illusion of movement. Stop motion.
The granddaddy of visual effects and the King of Stop Motion was Ray Harryhausen. From 1949 to 1981, if you dug a genre film that used stop motion...there was a pretty good chance Harryhausen was the man behind it. Exhibit A comes after the jump.
Hey folks. Other than that AWESOME NEIL GAIMAN ANNOUNCEMENT it's been a while. I was still kind of recovering from Fringe, to be honest. Anywhoddle, as you know, Bob, part of my remit here is that I talk about cyborgs, robots, artificial intelligence, time travel, magic, alternate realities, and human augmentation, and all the ways those things show up in popular culture; and so, with that in mind, if you thought I was going to miss out on seeing Iron Man Three as soon as was inhumanly possible, then you didn't read that last clause back there. Yeah, that one.
I've been looking forward to IM3 since it was announced, and since they started talking about what the screenplay was going to be based off of (more on that below)--so when we got to the theater and that theater was mostly empty, I was a little sad. I'd wanted a big crowded experience, and there were literally about twenty people in our showing. But still, I was with friends and I was content to enjoy this highly anticipated film in their company. That, plus the new Thor 2 trailer the manager was gracious enough to splice in for us guaranteed that it was a really fantastic time.
Episode #148 for Iron Man 3 3D, in which our protagonist explains how to get his brain to shut up (finally), thinks we should figure out how to get another contract for Downey starting right now and generally heaves a sigh of relief about Phase Two of the Marvel Cinematic Universe.
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