Found via Fstoppers.
Much more, of course, at Galimberti's site.
Here's how it's done.
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Showing posts with label Catherine Zeta-Jones. Show all posts
Showing posts with label Catherine Zeta-Jones. Show all posts
Thursday, March 14, 2013
Monday, December 17, 2012
Head-Slamming Trailer for 'Broken City'
Hard not to like this movie. It just puts its cards on the table. Refreshing.
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Tuesday, December 11, 2012
Tuesday, December 04, 2012
I Own You
This plays like one of those movies that barely keeps its head above water at the box office but everybody wants to see as a rental or on TV/cable.
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Friday, November 02, 2012
Starts Okay, Gets Better, Ends Great
So. The trailer for 'Side Effects'. I'm watching this thinking it's so 80s, almost made-for-TV. That title... Come on, that's like a paperback you buy at the airport. You know -- with garish cover art that includes a syringe with a drop hanging off its tip and figures in silhouette running away in the background. That kind of novel. A 'pharmaceutical thriller'? Not so much any more. Been there, done that.
What the hell. I click start anyway and, as the trailer rolls it's looking pretty bad. But, it gets better. Something is there among all that soap-opera build up.
And, yeah, I didn't know it was a Soderbergh property until the end (I'm a little embarrassed to admit), when I saw his name, along with writer Scott Burns, and it came as a relief. Suddenly, the pieces fall into place. Oooh, it's a Soooderbeerrgh movie. It's a throw-back genre, sure, but it's Soderbergh, and he's surely delivered a finely wrought rendition (though you don't get much sense of camera/editing style/technique) of Burns' screenplay and the result will probably be very good. Why else shoot dice on this? It has to be, good that is.
And, really, these guys could do anything, any genre, any type of plot, and make it work, make it entertaining and intellectually invigorating. They've proven it before.
And, as far as performances go, Jude Law gives notice. Bit after bit this guy nails it to the wall. He's so good. He's gone from being a supporting actor -- delivering solid craft and all that, but always in the shadow of a 'star', always second fiddle -- to, these days, a leading man whose involvement means the story will get under your skin and, moment to moment, scenes will ring true, characters will seem like people you might know or, at least, have heard about in real life, maybe in a story you read in the paper or overheard at a party or bar.
It's like the transformation of Matthew McConaughey's career, sort of. The two actors aren't alike, yes, don't play the same kind of roles, I know, but both went from being on the sideline in one respect or another to being pure money, go-to. Just having one of them in your movie gives it weight, makes average people want to see it and movie buffs need to see it, whereas a few years ago it meant the average person might give it a pass and movie buffs might give it a spin as a rental, maybe, sometime.
And, that's what I was thinking, watching this trailer, at the beginning. I was thinking I might rent this for Law's performance (some time down the road). I was thinking he was a cut above and I had to see him despite the movie being what it was, or what I thought it was. No hurry, though.
Then, there's hints of quality. Crumbs, tidbits, of a story you can savor, a plot with a spine, more performances that sizzle and, by the midpoint, I'm wondering how this can look so good, how it can seem so interesting when I'm sure I've seen this stuff, this same movie, over and over in years past, mostly late night on television. Then, at the end, I see Soderbergh's and Burns' names and I can't wait to see the movie. At the theater, thank you very much. By the end, I'm not wondering how a B plot could get made these days, I'm wondering what kind of characters actors like Law, Rooney Mara, and Catherine Zeta-Jones signed on to create, what kind of story Burns wrote, and how well actors like Vinessa Shaw and Channing Tatum hold their own in this environment.
So, yeah, I thought it was boilerplate but I changed my mind. The trailer changed my mind.
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What the hell. I click start anyway and, as the trailer rolls it's looking pretty bad. But, it gets better. Something is there among all that soap-opera build up.
And, yeah, I didn't know it was a Soderbergh property until the end (I'm a little embarrassed to admit), when I saw his name, along with writer Scott Burns, and it came as a relief. Suddenly, the pieces fall into place. Oooh, it's a Soooderbeerrgh movie. It's a throw-back genre, sure, but it's Soderbergh, and he's surely delivered a finely wrought rendition (though you don't get much sense of camera/editing style/technique) of Burns' screenplay and the result will probably be very good. Why else shoot dice on this? It has to be, good that is.
And, really, these guys could do anything, any genre, any type of plot, and make it work, make it entertaining and intellectually invigorating. They've proven it before.
And, as far as performances go, Jude Law gives notice. Bit after bit this guy nails it to the wall. He's so good. He's gone from being a supporting actor -- delivering solid craft and all that, but always in the shadow of a 'star', always second fiddle -- to, these days, a leading man whose involvement means the story will get under your skin and, moment to moment, scenes will ring true, characters will seem like people you might know or, at least, have heard about in real life, maybe in a story you read in the paper or overheard at a party or bar.
It's like the transformation of Matthew McConaughey's career, sort of. The two actors aren't alike, yes, don't play the same kind of roles, I know, but both went from being on the sideline in one respect or another to being pure money, go-to. Just having one of them in your movie gives it weight, makes average people want to see it and movie buffs need to see it, whereas a few years ago it meant the average person might give it a pass and movie buffs might give it a spin as a rental, maybe, sometime.
And, that's what I was thinking, watching this trailer, at the beginning. I was thinking I might rent this for Law's performance (some time down the road). I was thinking he was a cut above and I had to see him despite the movie being what it was, or what I thought it was. No hurry, though.
Then, there's hints of quality. Crumbs, tidbits, of a story you can savor, a plot with a spine, more performances that sizzle and, by the midpoint, I'm wondering how this can look so good, how it can seem so interesting when I'm sure I've seen this stuff, this same movie, over and over in years past, mostly late night on television. Then, at the end, I see Soderbergh's and Burns' names and I can't wait to see the movie. At the theater, thank you very much. By the end, I'm not wondering how a B plot could get made these days, I'm wondering what kind of characters actors like Law, Rooney Mara, and Catherine Zeta-Jones signed on to create, what kind of story Burns wrote, and how well actors like Vinessa Shaw and Channing Tatum hold their own in this environment.
So, yeah, I thought it was boilerplate but I changed my mind. The trailer changed my mind.
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Thursday, October 04, 2012
The Poster Was Broken But The Trailer Hums
Okay, yesterday I trashed the poster but I love this trailer. Story with some depth, characters with hidden agendas, twists and turns -- what's not to like.
Most of this takes place at night and the imagery benefits. Nice visuals/camera. Should be easy to watch.
A chewy flick that should make for a good rental/TV night.
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Most of this takes place at night and the imagery benefits. Nice visuals/camera. Should be easy to watch.
A chewy flick that should make for a good rental/TV night.
Saturday, April 21, 2007
No Reservations
Here is a romantic dramedy with spine. In 'No Reservations' Catherine Zeta-Jones is a chef with issues. Here she is serving a raw steak to a customer who complained that the first one was too well-done.
Visual, gets deep into character. Chef is high-maintenance and her food is froufrou. When her sister dies in a car accident Chef must take care of her niece. She is not prepared for a kid in her life, especially under the conditions, and a nervous breakdown follows. When Chef takes time off work to deal with new circumstances Sous-chef, Aaron Eckhart, steps in to keep things afloat at the restaurant. That he is a man (and a brass-tacks Italian chef at that) irks Chef to no end. However, Sous-chef manages what Chef can't -- he connects with niece and helps smooth things out during a difficult time, helping Chef to create a family out of broken pieces and start a new life.
/film has some production stills and I was struck by the genuineness of this one.
Cute but not too too. I like the feel of this movie -- crafted, good story, light but not lite. Zeta-Jones is a draw, and she clicks well with Eckhart. Food, and the preparation of same, serves as the central metaphor here -- these guys did a good job contrasting the pros and cons of Cuisine Nouveau vs. classic dishes and the parallels between quality of food and quality of life.
Director Scott Hicks shot this one with a very grounded look that will balance out the subject matter and appeal to adult audiences. And, Village Roadshow has a great track record with script selection. This one should have a light but long run in theaters and do great business on DVD.
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