Two of the world’s deadliest CIA operatives are inseparable partners and best friends – until they discover that they’ve fallen in love with the same woman. Deciding to keep their friendship a secret from her, they pull out their full arsenal of fighting skills and high-tech gadgetry to defeat their greatest enemy – each other…
Every year in the ruins of what was once North America, the nation of Panem forces each of its twelve districts to send a teenage boy and girl to compete in the Hunger Games. Part twisted entertainment, part government intimidation tactic, the Hunger Games are a nationally televised event in which “Tributes” must fight with one another until one survivor remains.
Pitted against highly-trained Tributes who have prepared for these Games their entire lives, Katniss is forced to rely upon her sharp instincts as well as the mentorship of drunken former victor Haymitch Abernathy. If she’s ever to return home to District 12, Katniss must make impossible choices in the arena that weigh survival against humanity and life against love…
Amanda Seyfried Poster
8 in. x 10 in.
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Lily Collins has joined The English Teacher, an indie comedy from Artina Films and director Craig Zisk.
The story centers on Julianne Moore’s title character, a passionate teacher who convinces her former star pupil (Michael Angarano) to put on his unproduced play at the high school. Lily Collins will portray a popular student who clashes with the teacher. Nathan Lane and Greg Kinnear also star.
Craig Zisk is directing The English Teacher from a screenplay by Dan Chariton and Stacy Chariton. Production is scheduled to start later this week in New York City.
The movie marks the feature directorial debut of Craig Zisk, who has directed episodes of Weeds, Hung, Nurse Jackie, Nip/Tuck, and The Big C.
The English Teacher comes to theaters in 2012 and stars Julianne Moore, Greg Kinnear, Nathan Lane, Lily Collins, Michael Angarano. The film is directed by Craig Zisk.
With the second Sherlock Holmes: A Game of Shadows just around the corner December 16th, Warner Bros. has hired on Drew Pearce to script the third installment of the period detective adventure movies starring Robert Downey Jr. as the infamous detective and Jude Law as his stalwart partner Watson.
Drew Pearce is the creator of the British superhero TV satire No Heroics. No production date has been set.
Sherlock Holmes: A Game of Shadows comes to theaters December 16th, 2011 and stars Robert Downey Jr., Jude Law, Noomi Rapace, Stephen Fry, Jared Harris, Gilles Lellouche. The film is directed by Guy Ritchie.
It has been 12 years since directors Eduardo Sánchez and Daniel Myrick made indie horror history with The Blair Witch Project in 1999. Eduardo Sánchez is doing press for his new movie, Lovely Molly, and the director recently revealed he and Daniel Myrick still plan on making The Blair Witch Project 3. Here’s what Eduardo Sánchez had to say below, indicating that the ball is currently in Lionsgate’s court.
“It’s completely up to Lionsgate. Dan and I are ready to do it. We’ve been toying around with a sequel idea that we really like. It’s just a matter of getting our schedules in line and having Lionsgate sign off on the idea. We’ve been ready to do a Blair Witch movie for a long time. We’re as close as we’ve ever been to making it happen but it’s still not a guaranteed thing.”
The director also said the sequel will completely disregard Book of Shadows: Blair Witch 2, the failed 2000 sequel which Eduardo Sánchez and Daniel Myrick executive produced.
“I actually liked the sequel but at the same time it exists in a world outside of the movie. So if we want to do a sequel to The Blair Witch Project, we have to stay in that world, which Book of Shadows didn’t stay in that world. Book of Shadows created a different world. It’s like if the sequel to Jaws started with shots of people lined up to see Jaws in the movie theater. For Book of Shadows it worked in a certain way but to me my biggest gripe with Artisan was you shouldn’t have called it ‘Blair Witch 2.’ It would’ve been fine to call it Blair Witch Chronicles. It wasn’t really a sequel to our movie. So it would be a direct sequel to our film living in that mythology of Burkittsville, being possessed, haunted by something.”
The stars of The Blair Witch Project – Heather Donahue, Joshua Leonard, Michael C. Williams – will likely return for The Blair Witch Project 3, although not as the main characters.
“The plan is to have them [back]. They’re probably not going to be the main characters but they’re definitely characters in the sequel.”
Moneyball Movie Theatrical Poster
27 in. x 41 in.
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Centers on the 2002 Oakland Athletics baseball team, who were led by general manager Billy Beane (Brad Pitt) to an excellent season despite having the lowest payroll in the major leagues. In addition to scouting and more conventional methods of assembling a team, Beane introduced statistics and mathematical analysis into player evaluation, to the chagrin of many traditionalists.
Cool beauty Uma Thurman has gone from cult heroine to the star producer of a romantic comedy. She explains why she’s still searching for the fairy tale.
”It’s funny,” beams Uma Thurman, “but in Hollywood, you don’t hear the word `bitch’ as much as you used to. Up until recently, if ever a woman was doing well or achieving something, that term was liberally applied. Women were called all sorts of names.” Sitting in the comfortable confines of London’s Dorchester hotel, looking remarkably fresh in her earth-coloured trousers and top, and acting especially chirpy for someone who stepped off a transatlantic flight just four hours earlier, Thurman is musing on Hollywood’s perception of female writers and directors. A trio of women screenwriters crafted her latest movie, The Accidental Husband.
“I think female writers and directors have been getting more work in recent years,” she continues, her slender fingers fiddling with the fine blonde hair scraped back from her face. “The slow move towards Hollywood accepting women in the employer and leadership positions is getting better. I think we’re all growing up more and more. There is some positive movement, and that makes me happy.”
An undoubtedly happy Thurman – she giggles throughout the interview – has hopped into the realm of leadership herself. She is credited as a producer on her new film, buying the rights to the story in early 2001 and spending the succeeding years working with writers, financiers and her first-choice director, her long-standing friend Griffin Dunne, who is perhaps best known for his work as an actor, starring in John Landis’s An American Werewolf in London and Martin Scorsese’s After Hours before graduating to the director’s chair.
The film is her second outing as a producer, following 2002′s HBO feature Hysterical Blindness, and whereas the latter is a rather gritty black comedy, her latest is a slick romantic comedy, starring the genre mainstay Colin Firth as Thurman’s intended fiancé. He is a rather stiff publisher who represents a “safe bet” for her character, Emma Lloyd, a radio presenter who encourages her listeners to plump for the more anodyne choice in their relationships, before suddenly pursuing the opposite option herself. Reflecting a world where marriage licences could, or at least should, be printed on an Etch a Sketch, the film allows Thurman to display her comedy chops, blending the slapstick with the poignant.
“I bought the rights and developed the story because nobody at the time was letting me do comedy,” explains the 37-year-old New Yorker, a hint of frustration creeping into her otherwise sanguine tone as she recalls the earlier stages of her career.
“So I found this script, which was a good high-concept romantic comedy – something Meg Ryan or Julia Roberts would do, but which I wouldn’t even get a meeting to do. I wanted to bust into another genre, and this seemed the only way. But during the film’s long journey, coming to life, dying and coming to life again about three times, I actually broke into comedy on my own elsewhere, with things like Prime and My Super Ex-Girlfriend. But back then, it was forbidden fruit. I was all serious drama and corsets.”
Spider-Man 3 Double Sided Poster
27 in. x 41 in.
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About the Visual Effects
“The audience always demands new things, to be taken to new places,” says director Sam Raimi. “When it comes to visual effects, that means you either rely on existing technology and apply it in new ways or develop new technology to bring about these fantastic sights. You’re always asking yourself, ‘What haven’t I seen before?’ Well, if you haven’t seen it before, there’s probably no technology to bring it about. In almost every case, we had to develop the means to pull off the effects for Spider-Man™ 3.”
For visual effects supervisor Scott Stokdyk – the man charged with bringing the visual effects to the screen – those words were the beginning of a two-year process to develop the technology that would make Spider-Man™ 3 the most visually stunning film in the series so far. As great as the challenge to bring Sandman to the screen was for the practical effects departments, perhaps no group faced a greater hurdle than Stokdyk’s team.
“When we began the pre-production process, the computer programs had not yet been developed which could achieve the look of Sandman and his capabilities that Sam wanted to see,” recalls producer Grant Curtis. “However, Scott Stokdyk and his team created new technology to manipulate every piece of sand on our character. The existing technology allowed management of thousands of particles at once – but to animate Sandman the way Sam wanted to, we would have to be able to render billions of particles. In the end, the new software they wrote required ten man-years to code.”
A team of programming engineers, led by Douglas Bloom, Jonathan Cohen, and Chris Allen, stepped up to deliver the software that would give the animators the tool they needed to do their job.
Producer Avi Arad notes that before any work could begin, the animators first had to know what they were up against. “We had to understand how sand behaves. Only after we did that could we work out the mathematical equations to know how to manipulate it.”
Stokdyk saw from the very beginning that to bring Sandman to the screen would require his team to step up their game. “We knew from the start of this movie that we were facing a huge challenge from an effects and character animation perspective – sand,” says Stokdyk. “Sam wanted the on-screen sand to be controllable, but not magical. The sand had to flow in a very realistic fashion. We’ve all seen falling sand, so that had to sell as real. But the sand would also have to flow up and form into a human being.”
Stokdyk says that he and his team prepared for the challenge by first observing how sand moves in the real world. “One of the first things we did was to organize a sand shoot with Sam and Bill Pope, the director of photography,” Stokdyk continues. “We shot footage of sand every way we would need it – thrown up, thrown against blue screen, over black screen. John Frazier, the special effects supervisor, shot it out of an aero can at a stuntman. Anything we could imagine sand doing in the film, we shot.”
What they found was a new way to think about sand. “Sand has unique challenges in that it behaves sometimes like a solid – you’ll often see individual grains flying – and sometimes like a liquid – think of rolling sand dunes,” Stokdyk continues. “We knew that raw particle count was going to be our big challenge – not only from a technical standpoint, but from an artistic one, combining effects animation of sand flying around with character-driven animation.”
As Stokdyk and the effects animators were working out the “quantum mechanics” of the motion of sand, Spencer Cook, the animation supervisor on Spider-Man™ 3, began the process of designing the character. “Sandman is really an interesting challenge in that he requires such integration between character animation and effects animation,” he says. “The sand, and the way sand moves on his body, and the way he moves are all intimately tied together. Not only did we have to animate the character realistically and in line with Thomas’s performance, but all while chunks of sand are falling off the character.”
“There’s a character there, emoting, but it’s just a pile of sand,” says Stokdyk. “If we’ve pulled together enough grains of sand to make people feel something, then we’ve pulled it off.”
In the end, the artists were all extremely proud of their creation. “Sony Pictures Imageworks delivered on Spider-Man™ and Spider-Man™ 2, but for Spider-Man™ 3 it changed the industry standard,” says Curtis.
Sandman, of course, was not the only character that posed a considerable challenge for Cook; animating the black-suited Spider-Man required subtle changes to reflect the character’s more aggressive personality. “He’ll move a little quicker here and there, hunch his shoulders a little more, pull his elbows up a little higher when he’s stuck to a wall. We tried to find poses that the classic Spider-Man would not do – where the redsuited Spider-Man was graceful and elegant in his motions, black-suited Spider-Man is more blunt, rough, and reckless.”
In creating Venom, Stokdyk notes that the character has at least three distinct stages. First, of course, is the initial transformation, in which Topher Grace’s skin is pulled away from his body and tendrils of goo cross his face until they completely envelop him. “As he gets angrier, he turns into more of a monster, more of a beast,” Stokdyk notes. First, he becomes a kind of double for Spider-Man, played by Grace. By the very end of the film, he becomes an entirely CG character – the classic Venom from the comic books, with a menacing, unhinged jaw and full mouth of very sharp teeth.
Grease Movie Photographic Print
24 in. x 36 in.
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In the summer of 1959, local boy Danny Zuko and vacationing Sandy Olsson meet at the beach and fall in love. When the summer comes to an end, Sandy, who is going back to Australia, frets that they may never meet again, but Danny tells her that their love is “only the beginning”. The film moves to the start of the seniors’ term at Rydell High School. Danny, a greaser, is a member of the T-Birds, consisting of his best friend Kenickie, Doody, Putzie and Sonny. Meanwhile, the Pink Ladies arrive, consisting of Betty Rizzo, Jan and Marty to “rule the school”. After her parents decided not to return to Australia, Sandy enrolls at Rydell and befriends Pink Lady Frenchy, who considers dropping out of school to become a beautician. Oblivious to each other’s presence at school, Danny and Sandy tell the T-Birds and Pink Ladies their respective accounts of events during their brief romance.
Upon learning Danny is Sandy’s lover, Rizzo arranges for the two to reunite, but Danny is forced to maintain his badboy attitude in front of his friends, upsetting Sandy. Frenchy invites the girls to a sleepover, but Sandy falls ill from trying a cigarette and drinking. The T-Birds almost crash the party, but a guilty Danny leaves, followed by Rizzo to make out with Kenickie, actually her boyfriend. The two are disturbed by Leo, leader of the T-Birds’ rival gang, the Scorpions, and his girlfriend Cha-Cha, who bump into Kenickie’s fender. Kenickie yells at Leo for dinging the fender. Wishing to win his way back into Sandy’s affection after Danny spies her flirting with Rydell’s muscular football star, Danny turns to Coach Calhoun to get into sports, eventually becoming a runner. He reunites with Sandy and they attempt to go on a date, but their friends crash it, resulting in Kenickie and Rizzo breaking up over a fight. Left alone, Frenchy is visited by a guardian angel who advises her to return to school.
Run! Bitch Run! Framed Art Print
12 in. x 18 in.
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What I Spit On Your Grave was for the seventies, and MS 45 for the eighties Run Bitch Run will be THE revenge movie for the, how do we call it, the first decennial of the new millennium. This is a pure revenge movie I can tell you that. so you know what that means, girls got raped, girl survive girl starts killing. Mostly the killings are done off camera so no gore galore in this flick, but that doesn’t matter. It’s weird enough. Were in I Spit a scene was cut in the bathroom, you geeks surely know what I mean, because it wasn’t boy friendly we also have a scene here were guys will think, ooowie my ass.
The only problem I had was the fact that after 45 minutes the movie slows down a bit. The scene at the bar takes a bit too long. But the acting is believable, they all have been type casted. The fact that playboygirl Christina DeRosa goes naked makes it a movie for the guys, in fact, there is a lot of frontal nudity. And included as extra on the DVD is the movie that the guy is watching at home, again, full frontal nudity. But also have a look at those faces, the bad girl, what a face, perfect casting. And the face of Cheryl Leone, man, isn’t that a seventies face or what. The score is perfect too and the colors are washed too to make it a drive in flick. Be sure to watch it, it’s a trip down memory lane.
Bitch Slap Movie Poster
11 in. x 17 in.
Bitch Slap Movie Poster
11 in. x 17 in.
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“Bitch Slap” is a post-modern, thinking man’s throwback to the “B” Movie / Exploitation films of the 1950′s – 70′s as well as a loving, sly parody of the same. Inspired by the likes of “Dragstrip Girl”; “Faster Pussycat, Kill, Kill”; “Kung Fu Nun” and the pantheon of Blaxploitation films, “Bitch Slap” will mix girls, guns, outrageous action and jaw-dropping visuals with a message… don’t be naughty!
At its core, “Bitch Slap” follows three bad girls (a down-and-out stripper, a drug-running killer and a corporate powerbroker) as they arrive at a remote desert hideaway to extort and steal $200 Million in diamonds from a ruthless underworld kingpin. Things quickly spin out of control as allegiances change, truths are revealed, other criminals arrive for the score, the fate of the world hangs in the balance and they are forced to confront a villain much worse than they ever expected… themselves. It’s the ultimate morality tale as, one by one, they realize the whole she-bang was a set-up and one of them may not even be human…
Starring: Lucy Lawless, Kevin Sorbo, Renée O’Connor, America Olivo, Michael Hurst, William Gregory Lee, Karen Austin, Debbie Lee Carrington
Directed by: Rick Jacobson
Screenplay: Eric Gruendemann
Release Date: January 8th, 2010
MPAA Rating: for Brutal violence, strong sexual content and language throughout, and brief drug use.
Box Office: $17,365 (US total)
Studio: IM Global, Epic Slap
Movie Database 200 Vintage Movies
