The first official trailer for Twilight New Moon has been released.
The newly released New Moon Trailer, first shown during the MTV Music Awards this evening (May 31) builds on the original early part leak and takes views through a range of scenes not yet seen.
Edward explains to Bella: “You’re my only reason to stay … alive. If that’s what I am.” We get a birthday scene, where Bella cuts her finger, causing a vampire show down. I won’t spoil it all…
Hollywood superstar Brad Pitt is to abandon his heart throb image and turn into a wrinkled and balding man for the upcoming drama 'The Curious Case of Benjamin Button'.
Directed by David Fincher, the film is adapted from the 1920s story by F. Scott Fitzgerald - about a man who is born in his 80s and ages backwards.
Set in New Orleans, Los Angeles, the film charts the character Button's (Pitt) journey from the end of World War I in 1918, into the 21st century.
Releasing Dec 25, the film also stars Cate Blanchett in the lead.
Shutter is a film that comes from the executive producers of The Grudge and The Ring. In Shutter, a newly-married couple discovers disturbing, ghostly images in photographs that they develop after a tragic accident. They investigate the scene further and stumble upon the fact that past mistakes can lead to an eternity of vengeance. Ben (Joshua Jackson), a photographer and his wife Jane (Rachael Taylor) arrive in Tokyo for Ben’s assignment on a fashion shoot. The couple takes their trip to the Japanese capital as a working honeymoon.
As they make their way towards Mt. Fuji, their car smashes into a woman standing in the middle of the road. The woman appears from nowhere and vanishes into thin air after the crash. Shocked with the incident Ben and Jane try to move on with the assignment.
Ben is no stranger to Japan and is fluent with its language, which makes him comfortable in the alien environment. Jane on the other hand feels alienated and finds it hard to get used to the new city.
Ben discovers mysterious white blurs in his photographs from the fashion show. Jane believes the blurs in Ben’s photos are from the dead girl from the road, who seeks vengeance from them for leaving her to die.
Director Masayuki ochiai
“Shutter is based on a 2004 Thai film of the same name, which became the highest-grossing film in Thailand that year. A girl suddenly appears, gets hit by a car and disappears, only to return to haunt the perpetrators. But with its twists and shocks, the film subverted audience expectations, revealing itself to be much more than a simple ghost story. We remade the film keeping in mind the wider international sensibilities.
"Shutter is based around the subject of paranormal and spirit photography and I must say Japanese audiences are very familiar with it. Everyone in Japan at one point or another has had a sleepless night after being exposed to spirit photography.
"Spirit photography is so popular in Japan because ghosts mean more to the Japanese people than to Americans. In Japan, ghosts don’t have to do anything to be scary. In American ghost stories, they have to wreak all kinds of havoc to make an impact.”
Quantum of Solace is Daniel Craig's second outing as Bond
A new official Quantum of Solace newswrap video has made it’s way online at Reelz Channel featuring the cast and crew as well as location highlights for Daniel Craig’s second James Bond film.
Starting things off, director Marc Forster commented on the importance he places on the exotic locales in the world of 007: ‘The locations, I think, are characters themselves. When you choose a location, the location as much as an actor, speaks for itself.’
The video also highlights the Bond production shooting in then desert at Baja Caifornia, Mexico. Several shots of planes taking off and helicopters are included.
‘We’re down here filming the aerial sequence,’ said producer Michael G. Wilson. ‘We’ve had them throughout the career of the Bond films, but this one we wanted to kind of have a retro dogfight. These are propeller-driven planes, not jet planes. It’s the type of plane that drugrunners would have so it fits the location.’
‘For every one camera position up here in the mountains it takes three helicopter trips in and three helicopter trips out,’ said second-unit director Dan Bradley. ‘So it’s a pretty arduous task.’
Bond 22 director Marc Forster
‘We have aerial cameras. We’ve got two cameras on an Aerostar and spacecams on helicopters. Then we have some very long lens that go on the ground.’
DC3 pilot Skip Evans said of the requirements for this type of filming: ‘To work this airplane in the bottom of the canyons you’ve got to be physically strong just to maneuver the airplane.’
The video then transitions of the Bond production in Panama, highlighting some of the filming in the streets of Panama City, including a brief exchange between Bond and Agent Fields (Gemma Arterton).
‘We’re in Panama City right now and Panama really has a diversity of cities and looks which is really useful for us,’ said Forster.
As earlier mentioned today in the BBC One video, Arterton commented on filming at the location: ‘It was great working on the streets of Panama because you get a sense of what the real Panama City’s like. They’ve got so much life and character to them. It’s a brilliant location.’
Olga Kurylenko is Camille in Quantum of Solace
‘There’s also the party that will be shot here. It’s sort of a ruin I found that I really fell in love with,’ said Forster. The video shows a before-and-after comparison shot between the initial scouting of the location in October 2007 and it’s current redesign for the Quantum of Solace party sequence.
Arterton also spoke about the party location, calling it a ‘brilliant place.’
"The Incredible Hulk" kicks off an all-new, explosive and action-packed epic of one of the most popular superheroes of all time. In this new beginning, scientist Bruce Banner (Edward Norton) desperately hunts for a cure to the gamma radiation that poisoned his cells and unleashes the unbridled force of rage within him: The Hulk.
Living in the shadows--cut off from a life he knew and the woman he loves, Betty Ross (Liv Tyler)--Banner struggles to avoid the obsessive pursuit of his nemesis, General Thunderbolt Ross (William Hurt), and the military machinery that seeks to capture him and brutally exploit his power. As all three grapple with the secrets that led to The Hulk's creation, they are confronted with a monstrous new adversary known as The Abomination (Tim Roth), whose destructive strength exceeds even The Hulk's own. And on June 13, 2008, one scientist must make an agonizing final choice: accept a peaceful life as Bruce Banner or find heroism in the creature he holds inside--The Incredible Hulk.
Aside from the frolicking of the Greek gods, the bedroom high jinks of the European royals may be the closest thing we have to a ready-made literary-historical soap opera. The saga of Henry VIII has always had a special contempo juiciness. Yes, it happened 500 years ago, but it hinges on
the invention — or, at least, the popularization — of divorce, a fact portrayed with indelible flair in such pop cultural touchstones as A Man for All Seasons and The Six Wives of Henry VIII. The latest incarnation of the saga, The Other Boleyn Girl, is a classy romantic cocktail distinguished by its tart yet breezy bite. It was written by Peter Morgan, and here, as in the two celebrated films he scripted in 2006 — The Queen and The Last King of Scotland — Morgan displays a breathless fascination with the lace-on-steel intricacies of power. He turns gossip into art, or tries to.
Early in The Other Boleyn Girl, we're asked to marvel at the unseemliness of the Boleyn men, as they engineer a liaison at the family's country estate between their eldest eligible lass, the dark-haired flirt Anne (Natalie Portman), and King Henry himself (Eric Bana), whose queen has failed, over and over, to provide him with a male heir. It's funny, in a grand way, to see a scandalous extramarital fling orchestrated with the pomp of a debutante ball. At the estate, Henry has a hunting accident that results, indirectly, from Anne's hubris. He returns, in a huff, to the royal court, and the only way that the family can get back in his good graces is to offer up its other daughter, the wholesome, honey blond Mary (Scarlett Johansson). Which makes the whole sordid setup feel like a glorified act of pimping.
The king takes to Mary — to her curves and her amber waves of hair, to her gentle supplicant nature. (Few actresses know how to submit with the parted-lip sensuality of Scarlett Johansson.) That's how the Boleyns, with an ambition that is literally naked, open the door to power. Yet the quality that Morgan, as a screenwriter, is most drawn to is the power of persuasion — the kind that intrigues with its duplicity, that harvests bold choices from limited opportunities. Thus the agent of action the movie revolves around is Anne, who after a brief exile to France returns, ready to exert her influence in a way that's both cold and admirable, ruthless yet nobly feminist. She will have the king after all, but on her own terms. And she'll make him think it was on his.
The Other Boleyn Girl offers the pleasures you want, and expect, from a middlebrow royal-court soaper. The actors playing the scheming Boleyns flex their eyebrows on dastardly cue, and the director, Justin Chadwick, shoots the castle interiors with a grandeur just primitive enough to make parlors barely distinguishable from tower prison cells. As Henry, Eric Bana, huge and mighty and bearded, his eyes aglow, wears his big square layers of decorative fabric with majestic physicality. He's courtlier, less infantile, than the Henrys we're used to, until he gets to the bedroom, where he treats women like legs of mutton — as tasty treats to be devoured.
A disenchanted fairy tale about what happens after its sister Cinderellas move to the castle, The Other Boleyn Girl is crisply enjoyable, its cynicism polished to a high sheen, yet there's also something rigid and slightly locked-in about it. Morgan's characters are a little too abstract this time. They manipulate engagingly, yet they don't fully breathe. Adapting a novel by Philippa Gregory, Morgan imposes a structure that is nearly always visible — far more so than in his modern political dramas (like The Queen or the rise–of–Tony Blair teleplay The Deal), in which the psychology of the scheme is all. Henry, after countless mistresses, is supposed to finally fall hard for the one woman who will stand up to him. But the way the film presents it, his latent swooning is just another piece in the puzzle. You don't quite buy it.
What you do believe is the self-deluded treachery of Portman's Anne. There's a bold new authority to the actress' sensuality. She sparkles with deception, daring to flaunt passion as well as ambition. Anne, a woman ahead of her time, isn't quite shrewd enough about her own time. Yet as she uses her wiles, not merely to seduce the king but to render that seduction legitimate, she fulfills herself and destroys herself, making the world safe for social climbers everywhere. B
Set in the ''80s, a coming of age comedy about two young English boys who are inspired after seeing "Rambo: First Blood" to make a Rambo movie of their own. Will is the eldest son in a family with a strict moral and religious view and has never been allowed to mix with other people, listen to music or watch TV. That is until he finds himself caught up in the extraordinary world of Lee Carter, the school terror and maker of bizarre home movies.
The film glides from the Baltimore subway to the classrooms of the Maryland School of the Arts (think "Fame," if you must) to a backyard salsa dance to the climactic, rain-soaked street dance competition, all hot lights and triumph. The film occasionally talks tough -- "This ain't 'High School Musical'!" disses the roving DJ when our heroine and her misfit cohorts come up short in their first street effort. But really, it pretty much is "High School Musical," with a rough edge or two.
In place of "Step Up's" sullen white boy learning to adapt his moves while wowing the conservatory crowd, "Step Up 2 the Streets" features strapping Briana Evigan as Andie, a sullen white girl who learns to adapt her moves while wowing the conservatory crowd. If Andie can make it at the arts school, while partnering with golden boy Chase (Robert Hoffman), she can make it anywhere. Andie's street crew, meanwhile, doesn't like this new, snooty version of the girl they knew. The multiethnic "410" gang, known for its prankish hit-and-run choreographic dazzle on subways and the like, needs all the bodies it can get to compete in "The Streets," a battle of the hip-hop all-stars.
Not that anyone goes to these things for the acting, but Evigan is easy company and a considerable jump up from the first film's leads. The way Andie's written, she's all defensive sarcasm. (Andie's guardian, played by Sonja Sohn of "The Wire," can't control the dancing fool and threatens to ship her off to Texas.) But Evigan doesn't force the snark, or the melodrama. Her voice strikingly like Demi Moore's, Evigan serves as director Jon M. Chu's primary camera subject in repose or on the move.
The choreography draws on break-dancing, hip-hop, salsa and more, and while too much of it's sliced up into the usual teeny pieces on screen, well . . . the kids allegedly like it like that. (The recent and very good "How She Move" was a rare exception to the general rule, with the dancers showing off their wares in longer-than-usual takes.)
As expected, Hannah Montana’s ticket dominance over amphitheaters carried over to movie theaters, as her 3-D concert film Hannah Montana & Miley Cyrus: The Best of Both Worlds raked in $29 million to set a Super Bowl weekend record. Despite debuting in only 683 venues, Montana still more than doubled the ticket sales as the weekend’s number two movie The Eye, even though that film was on nearly three times as many screens. Rock Daily sent its intrepid video team out on Friday to document the frontlines of Hannah Montana fever, so check back later today for a first-hand look at the Miley madness.
Director: Greg Strause, Colin Strause Producer: John Davis, Robbie Brenner Cast : David Paetkau, John Ortiz, Johnny Lewis, Reiko Aylesworth, Sam Trammell, Shareeka Epps, Steven Pasquale
Producer: Akiva Goldsman, David Heyman, James Lassiter, Neal H. Moritz, Erwin Stoff Director: Francis Lawrence Writer: Akiva Goldsman, Mark Protosevich Release Date: 14-Dec-2007 Cast:
Will Smith, Alice Braga, Salli Richardson-Whitfield, Willow Smith, Charlie Tahan
