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  • Alice in Wonderland Trailer Leaked Early. Today in Film Bloggery 07/22/09

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    With Comic-Con beginning tomorrow, there’s so much movie stuff being talked about today that I almost didn’t know what the biggest topic was/is. And really, the most discussed film-related news of the day was the Sam Raimi/World of Warcraft movie announcement. But WOW fans have apparently gone back to playing the game and aren’t hanging out on the web so much anymore, so it appears the teaser trailer for Alice in Wonderland has taken over as the most exciting thing for movie geeks to drool over right now. Even more than the hot photos of Freddy Krueger, Jeff Bridges on the set of Tron 2.0 and the Megan Fox Fangoria cover.

    All I can say is that if you told me 15 years ago that I’d ever be this uninterested in something involving either Tim Burton or Lewis Carroll, let alone both, I would have called you a liar and then beat you with my Edward Scissorhands DVD (see, the joke is that I was such a big fan back then that I had the DVD before it ever existed). It doesn’t look as bad as Charlie and the Chocolate Factory, I guess, but it looks a whole lot duller than I expected. Maybe this is just too perfect and obvious a pairing that there’s no need for it, in the same way we don’t really need a Terry Gilliam-directed Good Omens or a Chris Columbus-directed Percy Jackson (doh!). I guess that’s the main reason I have no desire to see this movie, but the fact that it somehow looks both murky and meretricious has me turned off completely.

    Let’s see what the rest of the film blogosphere things of the teaser, after the jump:

    • Mack Rawden at Cinema Blend agrees that Burton and Lewis are a perfect match, but he’s far more intrigued than I am:

      If ever there were a human being born to do something, Tim Burton was begotten to direct Alice In Wonderland, like Michael Phelps to swim or Graham Norton to make flamboyant gay jokes…I’m still not even sure how I feel, except that I’m strangely excited to delve into the unknown—and more than a little pleased Tim Burton is my tour guide.

    • Adam Rosenberg at MTV Movies Blog is totally wowed:

      Chills people, real actual chills. That’s what I get from this teaser. Last time I felt this way about a literary adaptation, it was when I saw the first images from “Harry Potter and the Sorcerer’s Stone.” The story could be drek and I wouldn’t care. Burton clearly has a strong idea of what a new “Alice” on film should look like; in a single stroke, he’s erased any doubts I may have had.

    • Mark Graham at Vulture is glad to see it’s not quite as creepy as expected:

      We’ll admit with only the slightest bit of reticence that we’re still occasionally plagued by nightmares brought on by the terrifying Alice in Wonderland stills that were released a few weeks ago. However, after viewing the trailer for the Tim Burton joint that’s scheduled to be released in March 2010, we feel as if there is not nearly as much pants-shitting potential in this film as we had initially feared…All that said, the quick shots of Helena Bonham Carter’s freaky-deaky Red Queen will likely result in us falling asleep this evening in the glow of our nightlight.

    • Kyle Buchanan at Movieiline is pleasantly surprised by one element:

      One thing that shocked me, though, is Johnny Depp’s relatively restrained accent; with the potent combination of Depp, Burton, and a Carrot Top fright wig, I was expecting a voice that sounded like a strangled Shelly Duvall, just for Depp’s kicks.

    • Ross Miller at ScreenRant also has something to say about Depp:

      Apart from the fact that Depp seems to be emulating Heath ledger’s Joker a tiny bit (with less sadistic violence, that is), he nonetheless looks fantastic in character as The Mad Hatter. Just like Burton and the Alice in Wonderland tale, Depp seems perfect for this role and this footage proves that.

    • John at The Movie Blog is surprisingly intrigued:

      It’s no secret that I am NOT a Tim Burton fan…Anyway, I dig the very different visual style. This could be horrible… but I gotta say so far I think it may turn out really great. Who knew?

    • Michelle Collins at Best Week Ever is ready for this, good or bad:

      It’s definitely got a certain Jumanji-ness to it, what with the same technology used in those Iron Jay sketches to create Helena Bonham Carter’s huge head. But putting our Haters Gonna Hate Gif on pause for a moment, we will also add that as usual, Johnny Depp will save the day. This will be one of those big screen adventures that will either be a visual masterpiece, like The Matrix, or the devil’s acid trip, like Speed Racer. Either way, we’re there.

    • Erik Davis at Cinematical just got a whole lot more excited for the movie:

      the thing just looks bloody brilliant…Burton really looks like he was in his element with this one, and after watching this trailer and looking at all the images and concept art, I think I’m anticipating Alice in Wonderland more than his last few big-screen efforts.

    • Sean at Film Junk likes the look of it:

      It’s the kind of thing that’s probably going to be a lot more impressive when you see it on the big screen in 3-D (there’s plenty of stuff flying at the screen), but I still like the look of the characters and the overall feel of the movie…It doesn’t appear to be as dark as I originally thought it might be, but it still looks like a lot of fun.

    • Vince Mancini at FilmDrunk likes one part in particular:

      The quality’s not the greatest and it’s super CGI-heavy, but my favorite part is when Alice drinks a potion and she starts to shrink and her dress falls off.  Excuse me, waiter?  My date will have what she’s having.

    • Anne Thompson at Thompson on Hollywood believes this will be the big hit at Comic-Con:

      Going into Comic-Con, I’m betting that aside from “game-changer” Avatar (see the LAT’s ten must-attend Comic-Con events) Burton’s latest, Disney’s 3-D Alice in Wonderland will be the big pop at Comic-Con. Which means it will be hard to top.

    • Alex Billington at First Showing isn’t certain this will be a huge hit:

      It looks very magical, very whimsical, and very much a fantastical adventure. Though I’m worried not everyone will like what they see.

    • The Playlist isn’t that excited about the trailer:

      Can’t say this appeals to us much, but it seems more aimed at the ComicCon crowd and children (same thing? And hence the reason it was released today)…Also it appears that they’ve beefed up the Mad Hatter role for Johnny Depp here. If he weren’t in this thing, we’re not sure it would be of any interest.

    • Richard Lawson at Defamer wishes there was a more tangible feel to the film:

      it’s… sigh… a bit disappointing. Just because it looks CGI’d and 3D’d to within an inch of its life…actors wandering around in front of a green screen, everything stretched and warped to look weird, man. Depp’s Mad Hatter sounds and looks great, but everything else leaves us feeling a bit empty.

    • Merrick at Aint It Cool News very much dislikes at least one part of the trailer:

      Someone needs to kill that damn floating cat head. Someone just…kill that thing…with extreme, unrelenting prejudice. I don’t like that floating cat head very much. Not much at all.

    • Guy Lodge at In Contention is worried about another matter:

      I don’t know how I feel about it, but suffice to say we can probably fill some 2010 Oscar slots in the tech races.

      I am concerned, however, about the lone star billing of Johnny Depp, and his first-person narration — this story shouldn’t be The Mad Hatter Show.

    Now, here’s the trailer, courtesy of IGN:


    Originally posted on:SpoutBlog

  • IN THE LOOP Review

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    Now as much as ever, Hollywood comedy is heavily preoccupied with pandering to the median. Something like Bruno is clearly designed to make the viewer feel good about their own brain power and education — each laugh is equivalent to an “I’m smart enough to behave better than that” statement, whether it’s “I’m smart enough to not hate gay people” or “I’m smart enough to not get suckered by Sacha Baron Cohen in the first place.” And nobody in the audience of a Judd Apatow film has to work very hard to get the jokes in it, although inevitably it’s suggested that most or all of the protagonists on screen weren’t gifted with the same innate intelligence. So the first thing that marks In The Loop as a break from the norm is its refusal to flatter the viewer’s intelligence; the second, is the way the film forces them to use it.


    Written and directed by Armando Iannucci, a British TV comedy veteran whose credits include Steve Coogan’s faux chat show breakout Knowing Me Knowing You and Loop forerunner The Thick of It, Loop is a satire of modern politics by way of a procedural critique of the rhetoric that animates it. The action starts in London, where Simon Foster (Tom Hollander), a small-time cabinet minister with a Palin-esque way with a soundbite, gives one interview vaguely opposing an impending US/British co-invasion of an unnamed Middle Eastern territory before making another statement vaguely supporting it. The never-seen Prime Minister’s aggressively profane Director of Communications Malcolm Tucker (Peter Capaldi, reprising his role from Thick) tries at first to contain Foster’s self-possessed bumbling, but when liberal American cabinet secretary Karen Clarke (Mimi Kennedy) folds Foster’s first statement into her case for peace, Tucker sets a plan in motion using the unwitting Foster as a crowbar to get inside the US war room. The web is tangled considerably by the arrival of Foster’s new aide Toby (Chris Addison). Initially out of his element under Tucker’s Rahm-reminiscent tyranny (he comes from the Department of Agriculture, where “people tend to not get so sweary about wheat”), Toby’s ambitious plundering of his connections (including Clarke’s bright young assistant, played by Anna Chlumsky) creates a couple of lucky breaks that turn into a number of nightmares.
    Loop unfolds in the author-less mock-verite style most often asociated with The Office, but the film’s lack of talking head confessionals and camera-conscious smirking is not the only thing that muddies up the comparison. The Office and its cultural cousins can be naturally aligned with several strains of this decade’s fine art cinema, thanks to the common use of the awkward pause as a fundamental building block. There are no pauses in In the Loop, awkward or otherwise. The film comes out of the gate at a breakneck pace and never lets up, packing jokes within jokes within cultural references (my favorite: Love Actually used as a derogatory nickname), forcing the viewer to fall into its accelerated meter quickly or never catch up. Even the few moments that find characters in honestly muted contemplation are spiked with off-hand punchlines, such as when the dovish general played by James Gandolfini plaintively explains his opposition to war: ”Once you’ve been there, once you’ve seen it, you never want to go back unless you have to. It’s like France.” (I’m also partial to the way Clarke greets a prickish young aide wandering aimlessly around the office: “Hanging, Chad?”)
    In the Loop assumes the viewer will have a general familiarity with the circumstances of the run up to the war in Iraq (the opposing personalities within the US State department, the role of questionable British intelligence in a United Nations presentation with all the ethical integrity of a press release), but it’s careful to avoid resembling reality so closely as to demand engagement on an ideological level. This is not a film about the rights and wrongs of actual US/UK war policy; it’s not really a film about policy specifics at all, except for where it needs to solidify details in order to better wring comedy out of the concept of strong people using weaker ones to puff up their own agendas. Its ultimate satirical statement is not about ethics, evidence or arguments, but the manner in which the modern political machine works to obliterate all of the above to make way for the manipulation of reality. It is not the first film to suggest that Washington’s process of manufacturing narratives has something in common with Hollywood.
    “Hollywood” is something which In The Loop itself emphatically is not, although for a great portion of its running time, until late in the game when the accumulated pieces of Iannucci’s project click into place, the viewing experience is, surprisingly, incredibly light. A scene depicting a crucial war comittee meeting is given maybe a quarter of the screen time as a number of scenes of various British people running around DC, trying to find the meeting without actually having to admit to any Americans that they don’t know where it is. This kind of thing is where Iannucci’s television roots unavoidably show. Certainly, the visual presentation of In the Loop is almost defiantly non-cinematic; certainly, Iannucci seems to be having the most fun when he’s stretching away from his story, drawing his characters through the way they speak. Consequently, it’s hard to see how this material, seemingly begging for the long-form possibilities of an English-length series, benefits from being constrained to the length of a feature film. Call it a backhanded compliment: In The Loop is a very funny film that plays like great TV.


    Originally posted on:SpoutBlog

  • 10 Worst Orgasms in Movies

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    10 Worst Orgasms in Movies

    In the 76 years since Hedy Lamarr came on the scene with her groundbreaking orgasm in the Czech film Ecstasy, we’ve seen countless onscreen simulations of sexual climax, few of which have been more awful and embarrassing than the one depicted in the new romantic comedy The Ugly Truth. The scene (watch it here) features Katherine Heigl’s character having an awkwardly pleasurable dinner meeting thanks to some vibrating panties and an unknowing kid in possession of the undergarment’s remote control.

    Obviously it evokes all previous dining-scene-set orgasms (there have been plenty), but the bit in The Ugly Truth probably wouldn’t seem fresh or funny even if there were no precedent for scenes of its kind. Though indirect, the fact that it’s a preteen boy causing the orgasm makes the moment a little disturbing, as well. We’re sure that some moviegoers will find humor in it, but we came away from the scene feeling displeasure proportionate to the ecstatic pleasure experienced by the character.

    After the jump, we take a look at ten other orgasms in movies that make us completely uncomfortable.



    10. Faye Dunaway’s Quick Climax in Network (1976)

    Very amusing and very integral to the portrayal of Faye Dunaway’s cold television producer, this is probably the only scene on this list we’re okay with watching again — though we’ll still cringe every time, and we’ll always be surprised at how quickly Dunaway comes. No matter how many times we see the film, the orgasm arrives suddenly and disappointingly. We’re not sure who we feel worse for, Dunaway’s character or her lover in the scene (played by William Holden). Unlike the rest of the scenes below, this is an effective moment in a great film, but we’ve included it because of how horrible it makes us feel.

    9. Kim Cattrall’s Howl in Porky’s (1982)

    There’s a reason Kim Cattrall’s character is nicknamed “Lassie,” and it’s not because she looks like a dog. Rather, it’s due to the sounds she makes during sex. As funny as it is at first, Cattrall’s orgasmic howl is pretty unbelievable. And even if you accept that a woman would make such noises, you have to admit that it’s obnoxious and a complete turn off. Ultimately, the gag plays out too long and becomes more annoying than hilarious.

    8. Caller Orgasms on the Radio in Private Parts (1997)

    Part of what makes radio so interesting is that you can’t see what’s actually going on. So, if a woman calls up The Howard Stern Show and proceeds to have an orgasm over the air, you just have to use your imagination and accept that she’s really getting off by sitting on a stereo speaker. As depicted in this movie, the incident loses all that mystery by showing a hot woman (played by Theresa Lynn) legitimately straddling a vibrating speaker. As if that weren’t enough, though, the scene goes so far as to have the woman partially strip off her clothes, leaving nothing at all to be left to our imagination.


    Cruel Intentions 2 - Horse Lessons - Awesome video clips here

    7. Keri Lynn Pratt Falls Off the Horse in Cruel Intentions 2: Manchester Prep (2000)

    In this over-extended gag the old joke about why girls love horses is visualized, as Amy Adams instructs Keri Lynn Pratt to basically masturbate while on horseback. Somehow not only is the naïve young rider unaware of what’s going on, none of the grown-ups in the scene, including a horse caretaker, appear to be bothered with the gross and inappropriate lesson, either.


    Bruce And Grace Romantic Evening - Watch a funny movie here

    6. Jennifer Aniston is Touched by the Hand of God in Bruce Almighty (2003)

    This scene would get more credit if it weren’t a complete rehash of a more tasteful moment from 1981’s Modern Problems. Still, there’s something disturbing to us about a woman being given an orgasm through such paranormal means. Even if she is the wife of the person doing the magic. It reminds us a bit of the rape scene from Hollow Man, which itself causes us to rethink super-powered shenanigans from seemingly innocent movies like School Spirit and Zapped!

    5. Eric Bana Flashes Back in Munich (2005)

    This sequence was likely meant to be shocking, but in a different way from how most of us experienced it. The real shock was that Steven Spielberg would actually employ something so cliché as a sex scene intercut with a violent flashback montage. The sequence could have been somewhat effective, though, if it weren’t for Eric Bana’s frightening expression when he orgasms.


    Water Orgasm Superb Action Worth - Click here for funny video clips

    4. Elizabeth Berkeley Flaps About in a Pool in Showgirls (1995)

    In its entirety, this is considered one of the worst sex scenes of all time. A lot of the offense, though, has to do with Elizabeth Berkeley’s impersonation of a dying fish while supposedly climaxing. In a way, it could be the most entertaining orgasm listed here, but only if you’re able to laugh at it. Unfortunately, we’re not of the group that finds this movie to be humorous, and we hope to never have to watch Berkeley writhing under that fountain of water ever again.  It seriously hurts us all over just thinking about it.

    3. Shannyn Sossamon Gets Off Without Being Touched in 40 Days and 40 Nights (2002)

    Unless Josh Hartnett’s character has God-like powers, we don’t believe he could bring Shannyn Sossamon to orgasm without touching her. Even with the flowers and the blowing — none of which should be permitted during his holy abstinence anyway. Maybe there’s something going on down there that the camera isn’t showing us (it’s on her face during the actual climax)? It’s okay if she’s finishing the job herself, but for the movie to imply otherwise is too deceiving.

    2. Adam Campbell Forgettably Fakes It in Date Movie (2006)

    After two decades of When Harry Met Sally references and parodies, it’s surprising that the guys behind the “Movie” spoofs would even bother with that iconic scene. But they went there, and it was extremely disappointing. 18 years later and the best they’ve got is an actor basically just impersonating Meg Ryan? It doesn’t help that we don’t like the original scene either (see #1), but then again that should make us more appreciate it being made fun of. Unfortunately, we don’t have any respect for this sorry scene. At least the Meg Ryan orgasm was a somewhat fresh and clever idea at the time.

    1. Meg Ryan Famously Fakes It in When Harry Met Sally… (1989)

    Others may vote this iconic scene as having the greatest orgasm in film history, but we’re not fans in the slightest. And it has nothing to do with the way it reminds men that women unfortunately fake it. Nor does it really have much to do with how it’s been overplayed to death over the last 20 years. Basically, we never found it funny or believable in the first place. Meg Ryan is just way too theatrical, not to mention publicly humiliating, and if we were Billy Crystal, we probably would have just walked out on her forever right then and there. We definitely didn’t want what he was having.


    Originally posted on:SpoutBlog