By our guest blogger, Ben McCarthy

There has been lots of speculation about the future of the James Bond franchise of the past couple of days, especially with the sale of MGM studios. But this hasn't stopped the producers from starting pre-production on the next Bond any time soon. The producers are currently talking to Sam Mendes for him to direct the 23rd entry in the long lasting James Bond franchising.

Currently, Mendes is in negotiations with the Bond producers to helm the next Bond film. The producers--Michael G. Wilson and Barbra Broccolli--are fast-tracking the production as early as June for a 2011 release. The film is being written by regular Bond scribes Neal Purvis and Robert Wade, along with “The Last King Of Scotland” scribe Peter Morgan.  Daniel Craig will reprise the role of 007. With the sale of MGM pending, this is what the film’s producer, Michael G. Wilson, said a couple of days ago on the MI6 Web site:

“Our timeline's a little up in the air what with the situation at MGM, so we have to be flexible. We just don't know enough about the situation to comment, but we know it's uncertain.”

It’s good to see they are trying to progress with the film’s development during this difficult time at MGM. If Mendes does take the job, it will be a far cry from his previous work, which includes "American Beauty," “Road To Perdition,” “Jarhead,” “Revolutionary Road” and “Away We Go.” This will be Mendes’ first action film--if you don’t count “Road to Perdition” and “Jarhead," each of which mostly was a drama. All in all, he is a very interesting choice, much like Michael Aptad was for “The World Is Not Enough” and Marc Foster for “Quantum Of Solace."  In them, the producers got an actor’s director to take control of a Bond film--and to turn them into a moody and realistic Bond adventure.

So, should he get the job, let's hope the best for Sam Mendes, who is a perfectly capable director. With a good script that isn't designed only to offer action, this could be a fantastic James Bond adventure. And you never know, given that she's Mendes' wife, Kate Winslet might be the next Bond girl.

Source.

By our guest blogger, Ben McCarthy

There has been lots of speculation about the future of the James Bond franchise of the past couple of days, especially with the sale of MGM studios. But this hasn't stopped the producers from starting pre-production on the next Bond any time soon. The producers are currently talking to Sam Mendes for him to direct the 23rd entry in the long lasting James Bond franchising.

Currently, Mendes is in negotiations with the Bond producers to helm the next Bond film. The producers--Michael G. Wilson and Barbra Broccolli--are fast-tracking the production as early as June for a 2011 release. The film is being written by regular Bond scribes Neal Purvis and Robert Wade, along with “The Last King Of Scotland” scribe Peter Morgan.  Daniel Craig will reprise the role of 007. With the sale of MGM pending, this is what the film’s producer, Michael G. Wilson, said a couple of days ago on the MI6 Web site:

“Our timeline's a little up in the air what with the situation at MGM, so we have to be flexible. We just don't know enough about the situation to comment, but we know it's uncertain.”

It’s good to see they are trying to progress with the film’s development during this difficult time at MGM. If Mendes does take the job, it will be a far cry from his previous work, which includes "American Beauty," “Road To Perdition,” “Jarhead,” “Revolutionary Road” and “Away We Go.” This will be Mendes’ first action film--if you don’t count “Road to Perdition” and “Jarhead," each of which mostly was a drama. All in all, he is a very interesting choice, much like Michael Aptad was for “The World Is Not Enough” and Marc Foster for “Quantum Of Solace."  In them, the producers got an actor’s director to take control of a Bond film--and to turn them into a moody and realistic Bond adventure.

So, should he get the job, let's hope the best for Sam Mendes, who is a perfectly capable director. With a good script that isn't designed only to offer action, this could be a fantastic James Bond adventure. And you never know, given that she's Mendes' wife, Kate Winslet might be the next Bond girl.

Source.

Movie Review

"Bronson"

Directed by Nicolas Winding Refn, written by Brock Norman Brock and Refn, rated R, 92 minutes.

By our guest blogger, Kicia Sears

Listening to Nicolas Winding Refn, Danish director of the "Pusher" series, talk about writing and directing "Bronson" is like listening to a pushy film student. Talent aside (and yes, he is talented), he seems to be in awe of himself and his art. When he talks about Charlie Bronson as the creator of his own mythology, he speaks with a note of quiet admiration, like he wished he’d thought of it first. He draws parallels between Charlie’s life, on which the film is loosely based, and his own. However, the film neglects to take a strong stand on the issue of whether Charlie should be in jail, or even what factors contributed to his character. Rather, "Bronson" is a film about expression, perception and of course, the prison system in the U.K.

Charlie Bronson, neé Michael Peterson, is often called “Britain’s most violent prisoner.” He was originally imprisoned in 1974 for armed robbery, but his 7-year sentence was extended numerous times for crimes committed in prison. His offenses included vicious beatings of guards or other prisoners, and hostage taking, though he has never committed murder. He was regarded as mentally ill and spent years in both mental health institutions and specialized hospitals for the criminally insane. Later, when he was declared sane--and after being released and re-arrested twice--he finally was admitted to a specially designed maximum security facility, where he remains today with no pending release. Of the 34 years he has spent in prison, 30 of them have been in solitary confinement due to the danger he poses to other prisoners.

The plot of "Bronson" leaves a bit to be desired. Charlie is seen as a young boy for about five minutes, beating on nearly everyone in sight. The rest of the film consists of brutal violence set to pumping synth and drum machine beats, a disturbing monologue to an imaginary audience, and a strangely sobering take on his brief foray into “normal society.” At times, the film seems to argue, along with Bronson himself, that he is not mad, not sick, just a regular guy who made some mistakes and is now paying for it in a corrupt system.

The message the film leaves the audience with is one that nearly justifies his penchant for violence as an art form or legitimate type of expression. The director attempts to draw attention away from the brutality of Charlie’s life by filming it gorgeously with pounding music and interspersing humor, but much of the nightmarish quality remains if only in the joy Charlie feels while, for example, urinating on an old man after beating him to a pulp.

The palette Refn sets for the film is gorgeous. The movie is shot in high-contrast overexposure, and in a cool temperature that gives each scene a striking mixture of muted blues, bright whites and deep reds. Refn also has a keen sense of framing--there are a few shots and scenes that stick out even among the general loveliness of the way "Bronson" is filmed.

One shot is in a scene where Charlie meets with his wife after first being sent to jail. It opens with a bird’s eye shot of Charlie at the table before his wife arrives. All the audience can see is Charlie’s arms on one side, the partition, and a water bottle on the other side of the partition. The way his forearms are curved makes for a pretty, slightly off-balance depiction of the separation he feels from the rest of the world. Another scene, in which Charlie attacks a fellow patient in the hospital, consists of a stationary wide shot of the hospital’s television area, with cloth partitions interrupting the audience’s view. The timing of the cuts and held shots--as well as the framing and peek-a-boo technique--make for a memorable scene, even without its morbidity.

At the end of the day, Bronson is a beautiful, intense, carnivalesque film about a man that may or may not be insane, based on events that might actually have occurred in his life. It is an artistic statement from a director who seems at times to be more concerned with his own reputation than the subject of his film. It claims to take on the idea of incarceration but feels more like a music video. It is 92 minutes well spent, even though it may leave you with a sour taste in your mouth. If you take nothing else from Bronson, remember this--Charlie Bronson loves Charlie Bronson, and he’ll probably continue to do so in a six-by-twelve cell whether he’s crazy or not.

View the trailer for "Bronson" below.  What are you thoughts?

Movie Review

"Bronson"

Directed by Nicolas Winding Refn, written by Brock Norman Brock and Refn, rated R, 92 minutes.

By our guest blogger, Kicia Sears

Listening to Nicolas Winding Refn, Danish director of the "Pusher" series, talk about writing and directing "Bronson" is like listening to a pushy film student. Talent aside (and yes, he is talented), he seems to be in awe of himself and his art. When he talks about Charlie Bronson as the creator of his own mythology, he speaks with a note of quiet admiration, like he wished he’d thought of it first. He draws parallels between Charlie’s life, on which the film is loosely based, and his own. However, the film neglects to take a strong stand on the issue of whether Charlie should be in jail, or even what factors contributed to his character. Rather, "Bronson" is a film about expression, perception and of course, the prison system in the U.K.

Charlie Bronson, neé Michael Peterson, is often called “Britain’s most violent prisoner.” He was originally imprisoned in 1974 for armed robbery, but his 7-year sentence was extended numerous times for crimes committed in prison. His offenses included vicious beatings of guards or other prisoners, and hostage taking, though he has never committed murder. He was regarded as mentally ill and spent years in both mental health institutions and specialized hospitals for the criminally insane. Later, when he was declared sane--and after being released and re-arrested twice--he finally was admitted to a specially designed maximum security facility, where he remains today with no pending release. Of the 34 years he has spent in prison, 30 of them have been in solitary confinement due to the danger he poses to other prisoners.

The plot of "Bronson" leaves a bit to be desired. Charlie is seen as a young boy for about five minutes, beating on nearly everyone in sight. The rest of the film consists of brutal violence set to pumping synth and drum machine beats, a disturbing monologue to an imaginary audience, and a strangely sobering take on his brief foray into “normal society.” At times, the film seems to argue, along with Bronson himself, that he is not mad, not sick, just a regular guy who made some mistakes and is now paying for it in a corrupt system.

The message the film leaves the audience with is one that nearly justifies his penchant for violence as an art form or legitimate type of expression. The director attempts to draw attention away from the brutality of Charlie’s life by filming it gorgeously with pounding music and interspersing humor, but much of the nightmarish quality remains if only in the joy Charlie feels while, for example, urinating on an old man after beating him to a pulp.

The palette Refn sets for the film is gorgeous. The movie is shot in high-contrast overexposure, and in a cool temperature that gives each scene a striking mixture of muted blues, bright whites and deep reds. Refn also has a keen sense of framing--there are a few shots and scenes that stick out even among the general loveliness of the way "Bronson" is filmed.

One shot is in a scene where Charlie meets with his wife after first being sent to jail. It opens with a bird’s eye shot of Charlie at the table before his wife arrives. All the audience can see is Charlie’s arms on one side, the partition, and a water bottle on the other side of the partition. The way his forearms are curved makes for a pretty, slightly off-balance depiction of the separation he feels from the rest of the world. Another scene, in which Charlie attacks a fellow patient in the hospital, consists of a stationary wide shot of the hospital’s television area, with cloth partitions interrupting the audience’s view. The timing of the cuts and held shots--as well as the framing and peek-a-boo technique--make for a memorable scene, even without its morbidity.

At the end of the day, Bronson is a beautiful, intense, carnivalesque film about a man that may or may not be insane, based on events that might actually have occurred in his life. It is an artistic statement from a director who seems at times to be more concerned with his own reputation than the subject of his film. It claims to take on the idea of incarceration but feels more like a music video. It is 92 minutes well spent, even though it may leave you with a sour taste in your mouth. If you take nothing else from Bronson, remember this--Charlie Bronson loves Charlie Bronson, and he’ll probably continue to do so in a six-by-twelve cell whether he’s crazy or not.

View the trailer for "Bronson" below.  What are you thoughts?

By our guest blogger, Hannah Lawrence

"Furry Vengeance" is about exactly what it sounds like it is--fiercely smart and capable animals ganging up on humans and teaching them the importance of nature conservation. Does that sound familiar? If you're a fan of Steve Carell, I bet a lot of bells are going off in your head right now, and you're right. "Furry Vengeance" is just like "Evan Almighty," where God forced Carell's character to build an arc to understand the value of nature and its inhabitants.

But this time around, we have a significantly beefier main character--Brendan Fraser, who plays a big-time real-estate developer who moves his family to Oregon so he can oversee a the building of a monstrous housing development that's going to wipe out an entire forest and its critters. Despite his reservations, Fraser works to convince himself and his wife (Brooke Shields) that the job is "an opportunity" to do something good for the environment, even though his efforts only reinforce how his new job is isolating him. This notion is furthered when the animals themselves (that's right--more animal actors!) begin to unleash their wrath on Fraser, so as to discourage him from going through with the project and destroying their homely greenery.

If you're unconvinced this movie is a total and unabashed remake of "Evan Almighty," consider this--as we see in the trailer, there's a scene where Fraser is driving in his gas guzzler and a raccoon darts out onto the road. Fraser screams, "Miley Cyrus!" (Presumably because "OHHH Kelly Clarkson!" and "Sheeeeeep!" were used in "The 40 Year Old Virgin" and "Evan Almighty." And for the record, "Miley Cyrus" doesn't convey nearly as much anger or pain as "Kelly Clarkson.")

The point is, "Furry Vengeance" is another studio's attempt at getting children and their parents to care as much about climate change, the environment and endangered species as they would if the movie had hardcore statistics and images of thick, black smoke floating over country sides. Instead, producers wrangled up a bunch of animals and commanded them to go unplug appliances and shoot things into the air by pulling levers with their paws, all in the name of saving the planet. Do I think it will be successful in advocating a greener planet? No. Not only does Fraser make for an unconvincing professional (at least in the trailer), but his steadfast behavior (even though it's part of his character) is a turn-off. And did I mention this movie has already been filmed before?

View the trailer for "Furry Vengeance" below. What are your thoughts?

By our guest blogger, Hannah Lawrence

"Furry Vengeance" is about exactly what it sounds like it is--fiercely smart and capable animals ganging up on humans and teaching them the importance of nature conservation. Does that sound familiar? If you're a fan of Steve Carell, I bet a lot of bells are going off in your head right now, and you're right. "Furry Vengeance" is just like "Evan Almighty," where God forced Carell's character to build an arc to understand the value of nature and its inhabitants.

But this time around, we have a significantly beefier main character--Brendan Fraser, who plays a big-time real-estate developer who moves his family to Oregon so he can oversee a the building of a monstrous housing development that's going to wipe out an entire forest and its critters. Despite his reservations, Fraser works to convince himself and his wife (Brooke Shields) that the job is "an opportunity" to do something good for the environment, even though his efforts only reinforce how his new job is isolating him. This notion is furthered when the animals themselves (that's right--more animal actors!) begin to unleash their wrath on Fraser, so as to discourage him from going through with the project and destroying their homely greenery.

If you're unconvinced this movie is a total and unabashed remake of "Evan Almighty," consider this--as we see in the trailer, there's a scene where Fraser is driving in his gas guzzler and a raccoon darts out onto the road. Fraser screams, "Miley Cyrus!" (Presumably because "OHHH Kelly Clarkson!" and "Sheeeeeep!" were used in "The 40 Year Old Virgin" and "Evan Almighty." And for the record, "Miley Cyrus" doesn't convey nearly as much anger or pain as "Kelly Clarkson.")

The point is, "Furry Vengeance" is another studio's attempt at getting children and their parents to care as much about climate change, the environment and endangered species as they would if the movie had hardcore statistics and images of thick, black smoke floating over country sides. Instead, producers wrangled up a bunch of animals and commanded them to go unplug appliances and shoot things into the air by pulling levers with their paws, all in the name of saving the planet. Do I think it will be successful in advocating a greener planet? No. Not only does Fraser make for an unconvincing professional (at least in the trailer), but his steadfast behavior (even though it's part of his character) is a turn-off. And did I mention this movie has already been filmed before?

View the trailer for "Furry Vengeance" below. What are your thoughts?

By our guest blogger, Rob Stammitti

Pierre Morel, a frequent collaborator with European action auteurs Luc Besson and Louis Leterrier, received a fair deal of recognition last year for his action-revenge film "Taken," starring Liam Neeson. It was his English-language debut and it was certainly a solid effort, more toned down compared to many movies in this more over-the-top oriented era of action films, but still a lot of fun. It also happened to bring in $225 million at the box office, definitely a fiscal success no matter how you look at it, but even moreso when you consider the budget was only $25 million.

So, now Morel is returning with another film set in Paris, this time upping the ante and from the looks of it, creating a crazy action picture much in the vein of his peers Besson and Leterrier.

"From Paris with Love" stars John Travolta as Charlie Wax, a wild and certifiably "badass" FBI agent assigned in Paris for some sort of big mission to stop terrorists. He is partnered with Richard Stevens (Jonathan Rhys Meyers), a far more straight-laced and comparitively less badass embassy worker who doesn't quite know what he's getting himself into.

I'm far from an action aficionado, but I'm certainly of the school of thought that action is at its best when it's not taking itself seriously, and that certainly seems to be the case here. Travolta looks like an absolutely riot wearing a giant leather jacket, his head shaved, running around rooms shooting everything in sight. And Meyers, always more of the straight man, is a perfect partner for this kind of thing.

I really enjoyed "Taken," and Morel has shown some really solid visual flair working as a cinematographer on films like "Transporter," so I can definitely see this being one to look out for. Just a bunch of silly, bloody fun.

The trailer for "From Paris with Love" is below. What are your thoughts?

By our guest blogger, Rob Stammitti

Pierre Morel, a frequent collaborator with European action auteurs Luc Besson and Louis Leterrier, received a fair deal of recognition last year for his action-revenge film "Taken," starring Liam Neeson. It was his English-language debut and it was certainly a solid effort, more toned down compared to many movies in this more over-the-top oriented era of action films, but still a lot of fun. It also happened to bring in $225 million at the box office, definitely a fiscal success no matter how you look at it, but even moreso when you consider the budget was only $25 million.

So, now Morel is returning with another film set in Paris, this time upping the ante and from the looks of it, creating a crazy action picture much in the vein of his peers Besson and Leterrier.

"From Paris with Love" stars John Travolta as Charlie Wax, a wild and certifiably "badass" FBI agent assigned in Paris for some sort of big mission to stop terrorists. He is partnered with Richard Stevens (Jonathan Rhys Meyers), a far more straight-laced and comparitively less badass embassy worker who doesn't quite know what he's getting himself into.

I'm far from an action aficionado, but I'm certainly of the school of thought that action is at its best when it's not taking itself seriously, and that certainly seems to be the case here. Travolta looks like an absolutely riot wearing a giant leather jacket, his head shaved, running around rooms shooting everything in sight. And Meyers, always more of the straight man, is a perfect partner for this kind of thing.

I really enjoyed "Taken," and Morel has shown some really solid visual flair working as a cinematographer on films like "Transporter," so I can definitely see this being one to look out for. Just a bunch of silly, bloody fun.

The trailer for "From Paris with Love" is below. What are your thoughts?

Week in Rewind is pleased to offer a giveaway of Big Love: Third Season!

Own it on DVD January 5, 2010!

Thanks to our friends at HBO for the opportunity!

Week in Rewind is pleased to offer a giveaway of Big Love: Third Season!

Own it on DVD January 5, 2010!

Thanks to our friends at HBO for the opportunity!

(FIRST, DON'T WORRY, NOTHING HAS DISAPPEARED. I HAVE ALL OF YOUR PREVIOUS ENTRIES AND COMMENTS LOGGED.)

UPDATE #1:  NOW YOU MUST TWEET THIS ON TWITTER TO ENTER.  TWEET AS OFTEN AS YOU LIKE--ONE TWEET EQUALS ONE ENTRY, SO TWEET OFTEN. JUST HIT THE TWEET BUTTON ABOVE TO DO SO.

YOU MUST FOLLOW US ON TWITTER FOR THE DURATION OF THE CONTEST.  WE ARE HERE ON TWITTER: @WEEKINREWIND

YOU ALSO MUST BE A MEMBER OF THE SITE FOR THE DURATION OF THE CONTEST TO WIN.  DO SO HERE:

Subscribe to our feed here.

Receive email updates here.

Make sure you comment on this post that you are a member; we'll check and, if you are, you're good to go.  Since this is a $1,700 giveaway, playing will change over the following weeks until we give the iMac away on March 13, 2010 (my birthday!).  This is the first of several updates that will keep the contest interesting.

We hope this giveaway meets your expectations.  Don't forget that we giveaway lots of DVDs and Video Games HERE.  Try your hand at those!

Thanks for coming to the site, and for participating not only in the contests but also by commenting on the other posts.  We know you have a lot to say about the entertainment industry, and we want to be the place where your views can be discussed.  So, you know, participate meaningfully.  It'll be noted.

Finally, this will come in handy later as the contest progresses:

You can join our fan page on Facebook here.

Getting a head start on being a member of our fan page would be a smart move, indeed.

Christopher

View the video for the new iMac below!

(FIRST, DON'T WORRY, NOTHING HAS DISAPPEARED. I HAVE ALL OF YOUR PREVIOUS ENTRIES AND COMMENTS LOGGED.)

UPDATE #1:  NOW YOU MUST TWEET THIS ON TWITTER TO ENTER.  TWEET AS OFTEN AS YOU LIKE--ONE TWEET EQUALS ONE ENTRY, SO TWEET OFTEN. JUST HIT THE TWEET BUTTON ABOVE TO DO SO.

YOU MUST FOLLOW US ON TWITTER FOR THE DURATION OF THE CONTEST.  WE ARE HERE ON TWITTER: @WEEKINREWIND

YOU ALSO MUST BE A MEMBER OF THE SITE FOR THE DURATION OF THE CONTEST TO WIN.  DO SO HERE:

Subscribe to our feed here.

Receive email updates here.

Make sure you comment on this post that you are a member; we'll check and, if you are, you're good to go.  Since this is a $1,700 giveaway, playing will change over the following weeks until we give the iMac away on March 13, 2010 (my birthday!).  This is the first of several updates that will keep the contest interesting.

We hope this giveaway meets your expectations.  Don't forget that we giveaway lots of DVDs and Video Games HERE.  Try your hand at those!

Thanks for coming to the site, and for participating not only in the contests but also by commenting on the other posts.  We know you have a lot to say about the entertainment industry, and we want to be the place where your views can be discussed.  So, you know, participate meaningfully.  It'll be noted.

Finally, this will come in handy later as the contest progresses:

You can join our fan page on Facebook here.

Getting a head start on being a member of our fan page would be a smart move, indeed.

Christopher

View the video for the new iMac below!

By our guest blogger, Elizabeth Hughes

Hot Chip is at it again. No, they’re not a $1.00 addition to your lunch sandwich and soda, but a Grammy-nominated band teetering in that inevitable gray area between being an established indie band with the signature cult-like following, or just another indie band. There newest single is “One Life Stand.” It is off the album of the same name ,which will be released on February 9, 2010.

A bit of advice would be to put this on your IPod now. It is an essential walking song. Hot Chip’s unavoidable beats sync perfectly with every step you’ll take.

The simple lyrics and the smooth voice of the singer offer an interesting combination with the music. The tune itself features Hot Chip’s signature heavy beats, mixed with an almost horn-like effect that mesh together perfectly.

The song is irresistibly catchy--it’s one of those tunes that will get stuck in your head for days, only to come back inexplicably a few months later. It is also a much easier listen that much of Hot Chip's other releases. His voice is much clearer in this track and the music sounds more polished.

This single is almost like a sedated version of Hot Chip. While it is still upbeat and painfully easy to dance to, there is a calm vibe to the song that the group pulls off very well.

These electro-pop dance boys are no strangers to beats like this. This will be their fourth studio album, and if this single is any indication of the rest of the album, it will be terrific.

Check out the video for "One Life Stand" below. What are your thoughts?

By our guest blogger, Elizabeth Hughes

Hot Chip is at it again. No, they’re not a $1.00 addition to your lunch sandwich and soda, but a Grammy-nominated band teetering in that inevitable gray area between being an established indie band with the signature cult-like following, or just another indie band. There newest single is “One Life Stand.” It is off the album of the same name ,which will be released on February 9, 2010.

A bit of advice would be to put this on your IPod now. It is an essential walking song. Hot Chip’s unavoidable beats sync perfectly with every step you’ll take.

The simple lyrics and the smooth voice of the singer offer an interesting combination with the music. The tune itself features Hot Chip’s signature heavy beats, mixed with an almost horn-like effect that mesh together perfectly.

The song is irresistibly catchy--it’s one of those tunes that will get stuck in your head for days, only to come back inexplicably a few months later. It is also a much easier listen that much of Hot Chip's other releases. His voice is much clearer in this track and the music sounds more polished.

This single is almost like a sedated version of Hot Chip. While it is still upbeat and painfully easy to dance to, there is a calm vibe to the song that the group pulls off very well.

These electro-pop dance boys are no strangers to beats like this. This will be their fourth studio album, and if this single is any indication of the rest of the album, it will be terrific.

Check out the video for "One Life Stand" below. What are your thoughts?

By our guest blogger, Gita Gupte

Not often do hip-hop music videos break the mold of stereotype to forgo under-dressed women, clubs and bottles of Cristal for something artistic and worth mention. Jay-Z’s video for “On to the Next One” is a refreshing break from the status quo. Filmed in black-and-white, it features a small cast with approximately three women and four men. Though it still hypes cars, bubbly and sex, it does so tastefully and without misogyny--choosing dance, fashion and art over grinding, nakedness and debauchery.

The video features a young girl in a basketball jersey unsure and a bit scared. We then see a series of basketballs go up in flames as Jay-Z and his back-up track rap, “On to the next one, on to the next one, on to the next one…somebody bring me back some money, please.” There is a strong use of image here--the video shows haunting men in tuxedos, studded skulls, inanimate objects dripping milk, lips dripping lip stick, electric wires, crucifixes--the gamut. I’ll be honest, I don’t quite get the whole story being told here, but I gather that it has something to do with the struggle between good and evil, and balancing fame and fortune without losing yourself in the process.

I must also take a moment to comment on the video’s portrayal of the female dancer. The video depicts the female as a work of art rather than merely a sex object--focusing on fashion and style rather than sex appeal and short skirts.

This video is a healthy departure from most hip-hop videos and something I hope to see more of from Jay-Z and other artists. In this video, Jay-Z shows us that what makes an MC great is not the bling, the babes or the bottles, but rather a sense of individuality that rises above the rest, transforms and goes against the grain.

View the video for "On to the Next One" below. What are your thoughts?

By our guest blogger, Gita Gupte

Not often do hip-hop music videos break the mold of stereotype to forgo under-dressed women, clubs and bottles of Cristal for something artistic and worth mention. Jay-Z’s video for “On to the Next One” is a refreshing break from the status quo. Filmed in black-and-white, it features a small cast with approximately three women and four men. Though it still hypes cars, bubbly and sex, it does so tastefully and without misogyny--choosing dance, fashion and art over grinding, nakedness and debauchery.

The video features a young girl in a basketball jersey unsure and a bit scared. We then see a series of basketballs go up in flames as Jay-Z and his back-up track rap, “On to the next one, on to the next one, on to the next one…somebody bring me back some money, please.” There is a strong use of image here--the video shows haunting men in tuxedos, studded skulls, inanimate objects dripping milk, lips dripping lip stick, electric wires, crucifixes--the gamut. I’ll be honest, I don’t quite get the whole story being told here, but I gather that it has something to do with the struggle between good and evil, and balancing fame and fortune without losing yourself in the process.

I must also take a moment to comment on the video’s portrayal of the female dancer. The video depicts the female as a work of art rather than merely a sex object--focusing on fashion and style rather than sex appeal and short skirts.

This video is a healthy departure from most hip-hop videos and something I hope to see more of from Jay-Z and other artists. In this video, Jay-Z shows us that what makes an MC great is not the bling, the babes or the bottles, but rather a sense of individuality that rises above the rest, transforms and goes against the grain.

View the video for "On to the Next One" below. What are your thoughts?

Week in Rewind is pleased to offer a giveaway of Pandorum on Blu-ray!

Own it on DVD and Blu-ray Disc January 19, 2010!

Thanks to our friends at Starz/Anchor Bay for this opportunity!

Week in Rewind is pleased to offer a giveaway of Pandorum on Blu-ray!

Own it on DVD and Blu-ray Disc January 19, 2010!

Thanks to our friends at Starz/Anchor Bay for this opportunity!

Week in Rewind is pleased to offer a giveaway of 10 Things I Hate About You Anniversary Edition on Blu-ray!

Own it on DVD and Blu-ray Disc January 5, 2010!

Thanks to our friends at Disney for this opportunity!

Week in Rewind is pleased to offer a giveaway of 10 Things I Hate About You Anniversary Edition on Blu-ray!

Own it on DVD and Blu-ray Disc January 5, 2010!

Thanks to our friends at Disney for this opportunity!

By our guest blogger, Matt Jussim

Universal's planned prequel to John Carpenter's cult classic film "The Thing" will begin pre-production in March, reports Production Weekly.

According to Production Weekly: Universal's prequel to John Carpenter's classic thriller "The Thing," is due to begin filming March and continue until June in Toronto.

The story will deal with the initial dredging up out of the ice of the shape-shifting alien life form by researchers at a Norwegian Antarctic facility. The original film, starring Kurt Russell, dealt with the shape shifter as it infiltrated an Antarctic research team, taking the appearance of the researchers that it killed--and thus causing paranoia within the group.

Matthijs Van Hejningen helms the new film from a script by Ronald D. Moore and Eric Heisserer.

The fact that Ronald D. Moore (“Battlestar Galactica”) wrote the script makes this film promising, but I’m wary of remakes that just don’t seem like they will live up to the original. Carpenter’s “The Thing” is considered a classic in its genre and I’m not sure if the new film will be able to live up to its predecessor.

By our guest blogger, Matt Jussim

Universal's planned prequel to John Carpenter's cult classic film "The Thing" will begin pre-production in March, reports Production Weekly.

According to Production Weekly: Universal's prequel to John Carpenter's classic thriller "The Thing," is due to begin filming March and continue until June in Toronto.

The story will deal with the initial dredging up out of the ice of the shape-shifting alien life form by researchers at a Norwegian Antarctic facility. The original film, starring Kurt Russell, dealt with the shape shifter as it infiltrated an Antarctic research team, taking the appearance of the researchers that it killed--and thus causing paranoia within the group.

Matthijs Van Hejningen helms the new film from a script by Ronald D. Moore and Eric Heisserer.

The fact that Ronald D. Moore (“Battlestar Galactica”) wrote the script makes this film promising, but I’m wary of remakes that just don’t seem like they will live up to the original. Carpenter’s “The Thing” is considered a classic in its genre and I’m not sure if the new film will be able to live up to its predecessor.

By our guest blogger, Rob Stammitti

Two years ago, Juan Antonio Bayona's Spanish-language horror film "The Orphanage" was fresh out of the bag, released to critical acclaim and decent box-office receipts.  New Line Cinemas picked up the rights for a remake just after its release and now, after a couple years of stewing, the film finally has itself a director in Mark Pellington, probably best known for the 2002 thriller "The Mothman Prophecies."

The remake was in the works for a while before Pellington was brought on, with word from Slashfilm saying the original attached director, Larry Fessendon, had finished the whole script before leaving the project due to some sort of conflict with the studio. There's no word whether his script will end up being used for the final product.

Having not seen the original film, I can't really say I have too many strong feelings about this either way. Pellington has shown some immense talent for suspense in the past, both in his frighening but flawed "Mothman" and in "Arlington Road," a terrorism thriller starring Jeff Bridges and Tim Robbins. Guillermo del Toro, who produced the original film, also is acting as a producer here, and he apparently had a hand in the screenwriting process, so that may be a good sign of the direction the film will be going in--though I expect Del Toro is so caught up with the "Hobbit" films now that he won't really have time to provide much help on this one.

With a relatively solid director at the helm and Del Toro at least somewhat involved, this could be one of the rare horror remakes that at least comes close to the original.

By our guest blogger, Rob Stammitti

Two years ago, Juan Antonio Bayona's Spanish-language horror film "The Orphanage" was fresh out of the bag, released to critical acclaim and decent box-office receipts.  New Line Cinemas picked up the rights for a remake just after its release and now, after a couple years of stewing, the film finally has itself a director in Mark Pellington, probably best known for the 2002 thriller "The Mothman Prophecies."

The remake was in the works for a while before Pellington was brought on, with word from Slashfilm saying the original attached director, Larry Fessendon, had finished the whole script before leaving the project due to some sort of conflict with the studio. There's no word whether his script will end up being used for the final product.

Having not seen the original film, I can't really say I have too many strong feelings about this either way. Pellington has shown some immense talent for suspense in the past, both in his frighening but flawed "Mothman" and in "Arlington Road," a terrorism thriller starring Jeff Bridges and Tim Robbins. Guillermo del Toro, who produced the original film, also is acting as a producer here, and he apparently had a hand in the screenwriting process, so that may be a good sign of the direction the film will be going in--though I expect Del Toro is so caught up with the "Hobbit" films now that he won't really have time to provide much help on this one.

With a relatively solid director at the helm and Del Toro at least somewhat involved, this could be one of the rare horror remakes that at least comes close to the original.

By our guest blogger, Rob Stammitti

James Cameron must've known what he was doing releasing "Avatar" this past December--after the spectacular opening weekend following its release on the 18th, it was followed by two holiday weekends in a row, the perfect time to get people in the seats, and it has done the film wonders in the box office. Seventeen days into its release and it's already exceeded $1 billion, making it the fourth highest grossing film of all time, and, more significantly, James Cameron's second film to make over $1 billion, thus making him the first director to do so.

How does Cameron do it? What about his films draws in the crowds, even after more than a decade of nobody hearing his name?

Obviousl, his technical prowess and overall tone is a draw. Whereas other big moneymakers like Michael Bay and Roland Emmerich strive for a sort of goofy, messy, mean-spirited and loud tone with their films, Cameron serves up a more quiet and comparitively ponderous blockbuster, where we don't get setpiece after setpiece of things exploding but actually have time to stop and look around at the world Cameron's created. He also uses the hefty running time to good effect, taking time to develop the plot so that he doesn't have to rush exposition through ridiculous dialogue like Bay and Emmerich tend to do.

Cameron also has a way of appealing to a more broad audience than the general blockbuster crowd. By mixing action with more traditional elements of romance and drama (and of course little bits of humor here and there), "Avatar" (and his other big moneymaker "Titanic") draws in crowds of all sorts, from the date crowd to families to film snobs.

Whatever it is Cameron is doing, it's working. Not even a month out and "Avatar" is a bigger moneymaker than I ever expected, and it's sure to continue long into January, which always is a weaker month for film releases.

And, for once, the big moneymaker really deserves it.

By our guest blogger, Rob Stammitti

James Cameron must've known what he was doing releasing "Avatar" this past December--after the spectacular opening weekend following its release on the 18th, it was followed by two holiday weekends in a row, the perfect time to get people in the seats, and it has done the film wonders in the box office. Seventeen days into its release and it's already exceeded $1 billion, making it the fourth highest grossing film of all time, and, more significantly, James Cameron's second film to make over $1 billion, thus making him the first director to do so.

How does Cameron do it? What about his films draws in the crowds, even after more than a decade of nobody hearing his name?

Obviousl, his technical prowess and overall tone is a draw. Whereas other big moneymakers like Michael Bay and Roland Emmerich strive for a sort of goofy, messy, mean-spirited and loud tone with their films, Cameron serves up a more quiet and comparitively ponderous blockbuster, where we don't get setpiece after setpiece of things exploding but actually have time to stop and look around at the world Cameron's created. He also uses the hefty running time to good effect, taking time to develop the plot so that he doesn't have to rush exposition through ridiculous dialogue like Bay and Emmerich tend to do.

Cameron also has a way of appealing to a more broad audience than the general blockbuster crowd. By mixing action with more traditional elements of romance and drama (and of course little bits of humor here and there), "Avatar" (and his other big moneymaker "Titanic") draws in crowds of all sorts, from the date crowd to families to film snobs.

Whatever it is Cameron is doing, it's working. Not even a month out and "Avatar" is a bigger moneymaker than I ever expected, and it's sure to continue long into January, which always is a weaker month for film releases.

And, for once, the big moneymaker really deserves it.

By our guest blogger, Britt Sondreal

Music videos should be fun to watch. They are mini-films supporting the protagonist of a song, and when we click “play” for the first time, we hope to be transported. Good music videos offer their own small worlds built of imagination, beauty, humor, seduction and shock--in short, the extraordinary. Occasionally, they even challenge or enrich our understanding of the song itself.

“Say Please,” a music video created for Monsters of Folk, the new megawatt talent collaboration of Jim James, M. Ward, Conor Oberst and Mike Mogis, is a great example of just that.

All the right theatrical elements are here--characters, costumes, stage, atmosphere, good lighting--and they serve to create a magical moment through which the song broadcasts its chorus, “Hold out your hand, darlin’… say please.” The scene opens on James, Ward and Mogis as turn-of-the-century soldiers who slowly make their way through evening fields towards an open-air celebration where Oberst is strumming his guitar for a gathering crowd under a string of lights. They step up to the mikes and begin to play--while their audience whizzes past on rollerskates in endless circles.

On a interpretive level, the video is a compelling translation of the song’s themes--the passage of time and life cycles (we catch brief shots of children, a bride and groom, and older men in the rollerskating crowd), the struggle to hope and the need for relationship to maintain “balance.” Characters in the video seem to float past the band’s stage, going nowhere in particular but going together underneath a canopy of “lantern dreams,” as the song poetically suggests. On a visual level, the delicacy of this strange moment, shining in the midst of what we imagine is probably war, has been handled with subtle grace by the director Lance Acord. (Acord, best known as a cinematographer and DP for such films as “Where the Wild Things Are,” also directed Bjork’s whimsical “It’s Oh So Quiet” video and won an MTV cinematography award for the infamous Fatboy Slim video “Weapon of Choice.”)

All in all, “Say Please” offers just what a music video should--a miniature gem of cinema set to a killer soundtrack.


View the video for "Say Please" below. What are you thoughts?

By our guest blogger, Britt Sondreal

Music videos should be fun to watch. They are mini-films supporting the protagonist of a song, and when we click “play” for the first time, we hope to be transported. Good music videos offer their own small worlds built of imagination, beauty, humor, seduction and shock--in short, the extraordinary. Occasionally, they even challenge or enrich our understanding of the song itself.

“Say Please,” a music video created for Monsters of Folk, the new megawatt talent collaboration of Jim James, M. Ward, Conor Oberst and Mike Mogis, is a great example of just that.

All the right theatrical elements are here--characters, costumes, stage, atmosphere, good lighting--and they serve to create a magical moment through which the song broadcasts its chorus, “Hold out your hand, darlin’… say please.” The scene opens on James, Ward and Mogis as turn-of-the-century soldiers who slowly make their way through evening fields towards an open-air celebration where Oberst is strumming his guitar for a gathering crowd under a string of lights. They step up to the mikes and begin to play--while their audience whizzes past on rollerskates in endless circles.

On a interpretive level, the video is a compelling translation of the song’s themes--the passage of time and life cycles (we catch brief shots of children, a bride and groom, and older men in the rollerskating crowd), the struggle to hope and the need for relationship to maintain “balance.” Characters in the video seem to float past the band’s stage, going nowhere in particular but going together underneath a canopy of “lantern dreams,” as the song poetically suggests. On a visual level, the delicacy of this strange moment, shining in the midst of what we imagine is probably war, has been handled with subtle grace by the director Lance Acord. (Acord, best known as a cinematographer and DP for such films as “Where the Wild Things Are,” also directed Bjork’s whimsical “It’s Oh So Quiet” video and won an MTV cinematography award for the infamous Fatboy Slim video “Weapon of Choice.”)

All in all, “Say Please” offers just what a music video should--a miniature gem of cinema set to a killer soundtrack.


View the video for "Say Please" below. What are you thoughts?

DVD, Blu-ray Movie Review

"Cloudy with a Chance of Meatballs"

Directed by Phil Lord and Christopher Miller, Written by Lord and Miller, 90 Minutes, rated PG.

By our guest blogger, Rob Stammitti

Flint Lockwood has wanted to be an inventor since he was a child. For show and tell, he would bring in his wild inventions, most of which would backfire and result in humiliation. He perseveres, however, and the dream of being an inventor follows him into adulthood, only now his inventions wreak havoc on the city. His father just wants him to stop and help with the family's bait shop.

Flint finally makes his mark when one of his inventions, a machine designed to turn water into food, backfires and launches into the sky. Soon after, the clouds build up for rain--but instead of rain, food begins falling from the sky, and what begins as a blessing on the dying town soon turns into a disaster that only Flint can stop.

"Cloudy With a Chance of Meatballs," based partly on the children's book by Judi and Ron Barrett, is a pleasant surprise. It's hard to come by good animated films from any company other than Pixar these days, but "Clone High" creators Phil Lord and Christopher Miller do very well with their first animated feature. Though the plot itself is the sort of silly high-concept shenanigans one might expect from a single episode of some cartoon show ("Jimmy Neutron: Boy Genius" comes to mind), the characters themselves make the material work much better than one would expect.

The real backbone of the film is the relationship between Flint and his father, voiced by Bill Hader and James Caan, respectively. The rough father-son thing is pretty heavy-handed and formulaic at first, but as the film unfolds, the dynamic becomes more real and poignant, especially thanks to the top-notch voice acting. Hader and Caan are great, and they're joined by Anna Faris, Bruce Campbell and in one of the more inspired roles, Mr. T as a police officer who acts as a sort of comedic parallel to Caan's father character.

The animation is spellbinding at times, especially during the food-rain scenes, and everything has a distinctively charming small-town style. The character design was very reminiscent of a more exaggerated Brad Bird archetype, which works very well here.

The humor also is surpisingly subtle and, on occasion, the film is downright hysterical.

The film really only falters due to its lack of narrative cohesion. It tries to cover so much thematic ground (with topics ranging from obesity, family and self-confidence) without much connection, and the plot pretty much just meanders around for the first hour until anything substantial gets going.

"Cloudy" might not stand up to the best of Pixar, or even some of the other great animated films this year ("Coraline," "Fantastic Mr. Fox"), but it certainly stands firmly above the general mainstream animated releases each year and I would like to see what Lord and Miller come up with next.

Grade: B

View the trailer for the movie "Cloudy with a Chance of Meatballs" below. What are you thoughts?

DVD, Blu-ray Movie Review

"Cloudy with a Chance of Meatballs"

Directed by Phil Lord and Christopher Miller, Written by Lord and Miller, 90 Minutes, rated PG.

By our guest blogger, Rob Stammitti

Flint Lockwood has wanted to be an inventor since he was a child. For show and tell, he would bring in his wild inventions, most of which would backfire and result in humiliation. He perseveres, however, and the dream of being an inventor follows him into adulthood, only now his inventions wreak havoc on the city. His father just wants him to stop and help with the family's bait shop.

Flint finally makes his mark when one of his inventions, a machine designed to turn water into food, backfires and launches into the sky. Soon after, the clouds build up for rain--but instead of rain, food begins falling from the sky, and what begins as a blessing on the dying town soon turns into a disaster that only Flint can stop.

"Cloudy With a Chance of Meatballs," based partly on the children's book by Judi and Ron Barrett, is a pleasant surprise. It's hard to come by good animated films from any company other than Pixar these days, but "Clone High" creators Phil Lord and Christopher Miller do very well with their first animated feature. Though the plot itself is the sort of silly high-concept shenanigans one might expect from a single episode of some cartoon show ("Jimmy Neutron: Boy Genius" comes to mind), the characters themselves make the material work much better than one would expect.

The real backbone of the film is the relationship between Flint and his father, voiced by Bill Hader and James Caan, respectively. The rough father-son thing is pretty heavy-handed and formulaic at first, but as the film unfolds, the dynamic becomes more real and poignant, especially thanks to the top-notch voice acting. Hader and Caan are great, and they're joined by Anna Faris, Bruce Campbell and in one of the more inspired roles, Mr. T as a police officer who acts as a sort of comedic parallel to Caan's father character.

The animation is spellbinding at times, especially during the food-rain scenes, and everything has a distinctively charming small-town style. The character design was very reminiscent of a more exaggerated Brad Bird archetype, which works very well here.

The humor also is surpisingly subtle and, on occasion, the film is downright hysterical.

The film really only falters due to its lack of narrative cohesion. It tries to cover so much thematic ground (with topics ranging from obesity, family and self-confidence) without much connection, and the plot pretty much just meanders around for the first hour until anything substantial gets going.

"Cloudy" might not stand up to the best of Pixar, or even some of the other great animated films this year ("Coraline," "Fantastic Mr. Fox"), but it certainly stands firmly above the general mainstream animated releases each year and I would like to see what Lord and Miller come up with next.

Grade: B

View the trailer for the movie "Cloudy with a Chance of Meatballs" below. What are you thoughts?

By our guest blogger, Jeremy Wilkinson

For the most part, Nicolas Cage’s acting roles have been sub-par for the past few years. Most of his films have garnered mixed to poor reviews and he’s starred in bombs such as "Ghost Rider" and "The Wicker Man." His presence in "Season of the Witch" is not a boon for the film.

After returning from the Crusades, Lavey (Cage) is ordered to take a supposed witch to a far off abbey. It appears that she has brought some kind of curse upon the land and the monks at the abbey will break it.

Cage seems out of place in this film. It’s a supernatural action film set in the 14th century and he doesn’t click with the material presented in the trailer. At this point, he looks miscast in his role as a knight. That isn't to say he’s terrible in the trailer, but he’s not very good in it, either. Luckily, the rest of the cast seems fine in their roles and it’s nice to see Ron Perlman on the roster.

The trailer doesn’t fully explain the premise of the plot, but it does show enough to get audiences interested. It has a brooding atmosphere and action that doesn’t look to be too bloody (not necessarily a good or a bad thing). "Season of the Witch" appear that it will be a film worthy of viewing at a matinee showing at the least.

The movie opens March 19, 2010.

View the trailer for the movie "Season of the Witch" below. What are you thoughts?

By our guest blogger, Jeremy Wilkinson

For the most part, Nicolas Cage’s acting roles have been sub-par for the past few years. Most of his films have garnered mixed to poor reviews and he’s starred in bombs such as "Ghost Rider" and "The Wicker Man." His presence in "Season of the Witch" is not a boon for the film.

After returning from the Crusades, Lavey (Cage) is ordered to take a supposed witch to a far off abbey. It appears that she has brought some kind of curse upon the land and the monks at the abbey will break it.

Cage seems out of place in this film. It’s a supernatural action film set in the 14th century and he doesn’t click with the material presented in the trailer. At this point, he looks miscast in his role as a knight. That isn't to say he’s terrible in the trailer, but he’s not very good in it, either. Luckily, the rest of the cast seems fine in their roles and it’s nice to see Ron Perlman on the roster.

The trailer doesn’t fully explain the premise of the plot, but it does show enough to get audiences interested. It has a brooding atmosphere and action that doesn’t look to be too bloody (not necessarily a good or a bad thing). "Season of the Witch" appear that it will be a film worthy of viewing at a matinee showing at the least.

The movie opens March 19, 2010.

View the trailer for the movie "Season of the Witch" below. What are you thoughts?

By our guest blogger, Colin George

The news may sound straight out of “Be Kind Rewind,” but a real-life team of students from the Savannah College of Art and Design have chosen Roland Emmerich’s “Independence Day” as the latest in a series of no-budget, tongue-in-cheek stage adaptations of Hollywood blockbusters. Under the name Old Murder House Theater, the group is spearheaded by Sam Edison, who writes and directs the shows.

Edison’s team is an offshoot of the Savannah fimmakers' War Room Collective, and has already brought Steven Spielberg’s “Jurassic Park” and an auspicious double-billing of “The Lion King” and “Predator” to the boards, and that’s just Act I of their creative endeavor.

Edison has plans to bring his low-fi versions of “Independence Day” and “Jurassic Park” from Murder House’s new home in Austin coast to coast, with stops in Los Angeles, Philadelphia, and of course, Savannah. But Edison isn’t content to just rest on his laurels, either. “We’re going to Savannah in March to do ‘Men in Black’ and ‘Aladdin,’” he says.

With his clear affection for the nineties, the possibilites are rich for future Edison/Old Murder House Theater productions. I'm personally holding out hope for “Braveheart.”

You can check out a clip of Edison's "Independence Day" below. Thanks to Cinematical.

ID4: Off Broadway from Samuel Eidson on Vimeo.

By our guest blogger, Colin George

The news may sound straight out of “Be Kind Rewind,” but a real-life team of students from the Savannah College of Art and Design have chosen Roland Emmerich’s “Independence Day” as the latest in a series of no-budget, tongue-in-cheek stage adaptations of Hollywood blockbusters. Under the name Old Murder House Theater, the group is spearheaded by Sam Edison, who writes and directs the shows.

Edison’s team is an offshoot of the Savannah fimmakers' War Room Collective, and has already brought Steven Spielberg’s “Jurassic Park” and an auspicious double-billing of “The Lion King” and “Predator” to the boards, and that’s just Act I of their creative endeavor.

Edison has plans to bring his low-fi versions of “Independence Day” and “Jurassic Park” from Murder House’s new home in Austin coast to coast, with stops in Los Angeles, Philadelphia, and of course, Savannah. But Edison isn’t content to just rest on his laurels, either. “We’re going to Savannah in March to do ‘Men in Black’ and ‘Aladdin,’” he says.

With his clear affection for the nineties, the possibilites are rich for future Edison/Old Murder House Theater productions. I'm personally holding out hope for “Braveheart.”

You can check out a clip of Edison's "Independence Day" below. Thanks to Cinematical.

ID4: Off Broadway from Samuel Eidson on Vimeo.

By our guest blogger, Spencer Morton

I was never much for New Year’s resolutions. I’d always hit the gym for a few weeks, but then I’d decide that just eating a chocolate donut would be more fun. So to usher in 2010, I’ve made some resolutions for actors who need a little jumpstart. The following actors have shown a great amount of talent and potential, but their movie choices in the recent past have been questionable at best.

The likes of Paris Hilton or Lindsay Lohan will not be on this list because, as previously stated, having talent is one of the requirements. It must be tough for Hilton knowing that her best-known film was 2003’s hour-long, night-vision sexual rendezvous, which received a wide release on computers all over the world. It was like “Quarantine” or “Paranormal Activity,” only not as scary…or was it scarier?

But I digress…

Here’s to hoping these actors can turn things around in 2010:

John Turturro

This guy needs to pick up a phonebook and look up either Joel or Ethan Coen. They bring out the best in Turturro. “Barton Fink” proved that he can be a seriously effective lead actor, and “The Big Lebowski” and “O Brother, Where Art Thou” showcase his skills in a supporting role. His role as Pete in “O Brother” was one of the most underrated performances of 2000. Since that film, Turturro has had a rough go of it.

He hooked up with Adam Sandler a couple times for 2002's “Mr. Deeds” and in 2003's “Anger Management." He was funny, but got lost in the sea of stupid Sandler jokes. He was solidly creepy in 2004’s “Secret Window,” but was overshadowed by Johnny Depp’s quirkiness and manic mannerisms. Recently, it’s been real bad. Supporting roles in the “Transformers” series, “You Don’t Mess with the Zohan” (again with Sandler), and “What Just Happened” have shown his judgment is at an all-time low. A bit part in 2008’s God-awful “Miracle at St. Anna” didn’t help. His performances are getting smaller and the movies he’s in are getting worse.

Pick up the phone book John….pick it up.

Robert De Niro

We all know what the two-time Oscar winner is capable of doing onscreen, so I won’t elaborate on that. De Niro was basically the God of film acting in the '70s, '80s and '90s. However, watching him act now is deeply aggravating. Ever since 2000, when he played Fearless Leader in “The Adventures of Rocky & Bullwinkle,” things haven’t been the same. Damn squirrel and moose.

Since that debacle, De Niro has been in a slew of boring thrillers (“Hide and Seek,” “15 Minutes,” “Righteous Kill”), unfunny comedies (“Showtime,” “Meet the Fockers,” “Analyze That,” “What Just Happened”), and “Stardust,” for which I can’t find a fitting, appropriate adjectives. His "comeback" was supposed to be 2009’s “Everybody’s Fine.” Academy and Globe folks were pushing hard to get him a lead actor nomination, but sane people realized the movie was below-average and his performance was just okay.

Hopefully 2010 can bring life to a dying career. De Niro has got a part in the much anticipated Robert Rodriguez flick “Machete,” but than again, so do Steven Seagal and Lindsay Lohan.

Sharon Stone

Once the sex-symbol of the late '80s and '90s, this actress is now a ghost. Her bold, sexy performance in 1991’s “Basic Instinct” made this seductive blonde a household name. In 1995, Stone won a Golden Globe and garnered an Oscar nomination for her role in Martin Scorsese’s “Casino.” She was at the height of her acting career.

And then she disappeared.

She fell out of the mainstream for reasons unknown and decided the best way to resurrect her career was to star in 2004’s “Catwoman.” Her Razzie nomination shows how well that turned out. She compounded that mistake in 2006 by starring in “Basic Instinct 2.” This time she brought home the Razzie award for worst actress. Since then, she’s joined Cuba Gooding Jr. in the world of straight-to-DVD films.

Stone was admired and respected for her gritty, seductive, strong characters. Somewhere, it was lost along the way. 2010 doesn’t look hopeful. It looks as if she has a few more stinkers on the way, but a comeback is always possible. Crazier things have happened.

Forest Whitaker

Whitaker is a bit of a conundrum. He deservedly won the lead actor Oscar in 2006 for his portrayal of Idi Amin in “The Last King of Scotland.” His performance was eccentric and terrifying; one of the best of the decade. He also has the dubious honor of starring in 2000’s “Battlefield Earth,” a major contender in any ‘worst movies ever’ list.

Unbeknownst to many, Whitaker also is the reigning heavyweight champion of the “ensemble-cast, intertwined-lives, chain-reaction movie” world. He’s been in four them since 2007 (“The Air I Breathe,” “Vantage Point,” “Winged Creatures,” “Powder Blue”). “Vantage Point” is the only one of those films that didn’t go straight to DVD in the United States.

Perhaps he caught lightning in a bottle with “The Last King of Scotland.” He’s been in some other decent movies, and his performances are always solid. He just hasn’t done anything else great. 2010 looks pretty packed for Whitaker. He’ll be starring in “Repo Men,” which looks promising.

One thing is for sure, if he doesn't pick it up soon, it'll be time for him to trade in that title belt and pass the reins.

Jennifer Connelly

Oh yeah…Jennifer Connelly--I remember her! If you thought that when you saw her name, you’re probably not in the minority. Connelly is one of the most attractive and likeable actresses in Hollywood. She’s has  major acting chops, too. Darren Aronofsky’s 2000 movie, “Requiem for a Dream,” gave her the critical acclaim she deserved. Her gritty performance as a tormented drug addict put her on the map as a legitimate lead actress. The next year, she followed that performance up by playing Alicia Nash in “A Beautiful Mind.” She walked away with an Academy Award for that emotional portrayal of a caring, neglected wife.

She continued her solid roles up until 2007. She starred opposite Joaquin Phoenix and Mark Ruffalo in “Reservation Road,” which is a powerful, underrated film. It was featured terrific acting. Things have since gone sour. 2008’s “The Day the Earth Stood Still” is one of the most unnecessary films in recent memory. 2009's “He’s Just Not That Into You” didn’t help her career as she seemed lost in a sea of other young talent.

Apart from her many of her counterparts on this list, 2010 looks promising for Connelly. She’ll star as Emma Darwin in “Creation,” the story of the internal struggles that Charles Darwin encountered. The film already has been released overseas, but will hit the U.S. on January 22. She also will portray the psychologically disturbed Virginia in “What’s Wrong with Virginia?” The film is directed by Dustin Lance Black, who penned 2008’s “Milk.” Let’s see if Connelly can avoid the labyrinth of poor films to which too many talented actresses fall victim.

Cuba Gooding Jr.

Talk about a major downfall. Gooding Jr. cashed in some terrific performances in the mid to late '90s. He won the best supporting actor Oscar in 1996 for “Jerry Maguire.” He shined in 1997 in “As Good as It Gets” and in 1998 with “What Dreams May Come.” His charisma and huge smile took hold of audiences all over.

The 2000s haven’t been kind to Gooding Jr. in any way, shape or form. It’s been a decade full of straight-to-DVD garbage and terrible comedies. On the rare occasion one of his films hits theaters, audiences everywhere cringe in fear.  To wit, see “Daddy Day Camp” or “Norbit.”

I’m not entirely sure what Gooding Jr. needs to do to get back on track. He may be beyond the point of no return. He had a small role in the high profile “American Gangster,” but that didn’t lead to anything significant. Reports released today say Gooding Jr. is one actor on Hollywood producer’s short-list to play Tiger Woods in a possible movie about the athlete’s fall from grace.

By our guest blogger, Spencer Morton

I was never much for New Year’s resolutions. I’d always hit the gym for a few weeks, but then I’d decide that just eating a chocolate donut would be more fun. So to usher in 2010, I’ve made some resolutions for actors who need a little jumpstart. The following actors have shown a great amount of talent and potential, but their movie choices in the recent past have been questionable at best.

The likes of Paris Hilton or Lindsay Lohan will not be on this list because, as previously stated, having talent is one of the requirements. It must be tough for Hilton knowing that her best-known film was 2003’s hour-long, night-vision sexual rendezvous, which received a wide release on computers all over the world. It was like “Quarantine” or “Paranormal Activity,” only not as scary…or was it scarier?

But I digress…

Here’s to hoping these actors can turn things around in 2010:

John Turturro

This guy needs to pick up a phonebook and look up either Joel or Ethan Coen. They bring out the best in Turturro. “Barton Fink” proved that he can be a seriously effective lead actor, and “The Big Lebowski” and “O Brother, Where Art Thou” showcase his skills in a supporting role. His role as Pete in “O Brother” was one of the most underrated performances of 2000. Since that film, Turturro has had a rough go of it.

He hooked up with Adam Sandler a couple times for 2002's “Mr. Deeds” and in 2003's “Anger Management." He was funny, but got lost in the sea of stupid Sandler jokes. He was solidly creepy in 2004’s “Secret Window,” but was overshadowed by Johnny Depp’s quirkiness and manic mannerisms. Recently, it’s been real bad. Supporting roles in the “Transformers” series, “You Don’t Mess with the Zohan” (again with Sandler), and “What Just Happened” have shown his judgment is at an all-time low. A bit part in 2008’s God-awful “Miracle at St. Anna” didn’t help. His performances are getting smaller and the movies he’s in are getting worse.

Pick up the phone book John….pick it up.

Robert De Niro

We all know what the two-time Oscar winner is capable of doing onscreen, so I won’t elaborate on that. De Niro was basically the God of film acting in the '70s, '80s and '90s. However, watching him act now is deeply aggravating. Ever since 2000, when he played Fearless Leader in “The Adventures of Rocky & Bullwinkle,” things haven’t been the same. Damn squirrel and moose.

Since that debacle, De Niro has been in a slew of boring thrillers (“Hide and Seek,” “15 Minutes,” “Righteous Kill”), unfunny comedies (“Showtime,” “Meet the Fockers,” “Analyze That,” “What Just Happened”), and “Stardust,” for which I can’t find a fitting, appropriate adjectives. His "comeback" was supposed to be 2009’s “Everybody’s Fine.” Academy and Globe folks were pushing hard to get him a lead actor nomination, but sane people realized the movie was below-average and his performance was just okay.

Hopefully 2010 can bring life to a dying career. De Niro has got a part in the much anticipated Robert Rodriguez flick “Machete,” but than again, so do Steven Seagal and Lindsay Lohan.

Sharon Stone

Once the sex-symbol of the late '80s and '90s, this actress is now a ghost. Her bold, sexy performance in 1991’s “Basic Instinct” made this seductive blonde a household name. In 1995, Stone won a Golden Globe and garnered an Oscar nomination for her role in Martin Scorsese’s “Casino.” She was at the height of her acting career.

And then she disappeared.

She fell out of the mainstream for reasons unknown and decided the best way to resurrect her career was to star in 2004’s “Catwoman.” Her Razzie nomination shows how well that turned out. She compounded that mistake in 2006 by starring in “Basic Instinct 2.” This time she brought home the Razzie award for worst actress. Since then, she’s joined Cuba Gooding Jr. in the world of straight-to-DVD films.

Stone was admired and respected for her gritty, seductive, strong characters. Somewhere, it was lost along the way. 2010 doesn’t look hopeful. It looks as if she has a few more stinkers on the way, but a comeback is always possible. Crazier things have happened.

Forest Whitaker

Whitaker is a bit of a conundrum. He deservedly won the lead actor Oscar in 2006 for his portrayal of Idi Amin in “The Last King of Scotland.” His performance was eccentric and terrifying; one of the best of the decade. He also has the dubious honor of starring in 2000’s “Battlefield Earth,” a major contender in any ‘worst movies ever’ list.

Unbeknownst to many, Whitaker also is the reigning heavyweight champion of the “ensemble-cast, intertwined-lives, chain-reaction movie” world. He’s been in four them since 2007 (“The Air I Breathe,” “Vantage Point,” “Winged Creatures,” “Powder Blue”). “Vantage Point” is the only one of those films that didn’t go straight to DVD in the United States.

Perhaps he caught lightning in a bottle with “The Last King of Scotland.” He’s been in some other decent movies, and his performances are always solid. He just hasn’t done anything else great. 2010 looks pretty packed for Whitaker. He’ll be starring in “Repo Men,” which looks promising.

One thing is for sure, if he doesn't pick it up soon, it'll be time for him to trade in that title belt and pass the reins.

Jennifer Connelly

Oh yeah…Jennifer Connelly--I remember her! If you thought that when you saw her name, you’re probably not in the minority. Connelly is one of the most attractive and likeable actresses in Hollywood. She’s has  major acting chops, too. Darren Aronofsky’s 2000 movie, “Requiem for a Dream,” gave her the critical acclaim she deserved. Her gritty performance as a tormented drug addict put her on the map as a legitimate lead actress. The next year, she followed that performance up by playing Alicia Nash in “A Beautiful Mind.” She walked away with an Academy Award for that emotional portrayal of a caring, neglected wife.

She continued her solid roles up until 2007. She starred opposite Joaquin Phoenix and Mark Ruffalo in “Reservation Road,” which is a powerful, underrated film. It was featured terrific acting. Things have since gone sour. 2008’s “The Day the Earth Stood Still” is one of the most unnecessary films in recent memory. 2009's “He’s Just Not That Into You” didn’t help her career as she seemed lost in a sea of other young talent.

Apart from her many of her counterparts on this list, 2010 looks promising for Connelly. She’ll star as Emma Darwin in “Creation,” the story of the internal struggles that Charles Darwin encountered. The film already has been released overseas, but will hit the U.S. on January 22. She also will portray the psychologically disturbed Virginia in “What’s Wrong with Virginia?” The film is directed by Dustin Lance Black, who penned 2008’s “Milk.” Let’s see if Connelly can avoid the labyrinth of poor films to which too many talented actresses fall victim.

Cuba Gooding Jr.

Talk about a major downfall. Gooding Jr. cashed in some terrific performances in the mid to late '90s. He won the best supporting actor Oscar in 1996 for “Jerry Maguire.” He shined in 1997 in “As Good as It Gets” and in 1998 with “What Dreams May Come.” His charisma and huge smile took hold of audiences all over.

The 2000s haven’t been kind to Gooding Jr. in any way, shape or form. It’s been a decade full of straight-to-DVD garbage and terrible comedies. On the rare occasion one of his films hits theaters, audiences everywhere cringe in fear.  To wit, see “Daddy Day Camp” or “Norbit.”

I’m not entirely sure what Gooding Jr. needs to do to get back on track. He may be beyond the point of no return. He had a small role in the high profile “American Gangster,” but that didn’t lead to anything significant. Reports released today say Gooding Jr. is one actor on Hollywood producer’s short-list to play Tiger Woods in a possible movie about the athlete’s fall from grace.

By our guest blogger, Jess Bender

Music can go well with just about anything. It can make excruciatingly long car rides bearable, movies more complete, and subway rides entertaining (although they can become awkward when the musician in question begins to panhandle for change). Music can even make great things more spectacular. Case in point, I have just discovered how great planetariums are with an alternative soundtrack.

On selected Friday and Saturday night, Manhattan’s Hayden Planetarium and MTV2 present “Sonic Vision,” a one-of-a-kind roller coaster through outer space and trippy fantasies. Created in 2003, some of the graphics and musical selections are slightly outdated. For the most part, though, the aged combination of both made for a fun experience.

Before even knowing that he collaborated with MTV2 on this show, I thought that “Sonic Vision” would be perfect to highlight some of Moby’s best songs. One of his songs, “We Are All Made of Stars,” popped up while sailing in between the stars, but I had no idea that he mixed all of the songs included in the 35-minute feature. All the songs flowed well between transitions, and he chose some forgotten gems in the alternative genre. Thrown into the mix were U2’s “Elevation,” the now-defunct Audioslave’s “Cochise” and Billy Corgan fronted Zwan’s “Honestly." David Byrne and Brian Eno’s “Mea Culpa” was also tossed into a mix, although that section of the show was slightly frightening. The song wasn’t scary, but the image of a floating blue head that transforms into a skill is alarming. The scene that used Stereolab’s “Metronomic Underground” resembled the setting of the Tron world, while Prodigy’s “Firestarter” had, appropriately, fire coming out of henna-printed hands.

“Sonic Vision” isn’t exclusively playing in New York City. The show also can be found at the Milwaukee Public Museum’s planetarium, although the exhibit also made its rounds at the Denver Museum of Nature and Science, the Franklin Institute in Philadelphia, and the Chabot Space and Science Center in Oakland, California. If I ever saw the Pink Floyd Laser Light Show, I would probably compare it to that. As a standalone, “Sonic Vision” is a unique experience for music lovers, art enthusiasts and planetarium obsessers alike.

By our guest blogger, Jess Bender

Music can go well with just about anything. It can make excruciatingly long car rides bearable, movies more complete, and subway rides entertaining (although they can become awkward when the musician in question begins to panhandle for change). Music can even make great things more spectacular. Case in point, I have just discovered how great planetariums are with an alternative soundtrack.

On selected Friday and Saturday night, Manhattan’s Hayden Planetarium and MTV2 present “Sonic Vision,” a one-of-a-kind roller coaster through outer space and trippy fantasies. Created in 2003, some of the graphics and musical selections are slightly outdated. For the most part, though, the aged combination of both made for a fun experience.

Before even knowing that he collaborated with MTV2 on this show, I thought that “Sonic Vision” would be perfect to highlight some of Moby’s best songs. One of his songs, “We Are All Made of Stars,” popped up while sailing in between the stars, but I had no idea that he mixed all of the songs included in the 35-minute feature. All the songs flowed well between transitions, and he chose some forgotten gems in the alternative genre. Thrown into the mix were U2’s “Elevation,” the now-defunct Audioslave’s “Cochise” and Billy Corgan fronted Zwan’s “Honestly." David Byrne and Brian Eno’s “Mea Culpa” was also tossed into a mix, although that section of the show was slightly frightening. The song wasn’t scary, but the image of a floating blue head that transforms into a skill is alarming. The scene that used Stereolab’s “Metronomic Underground” resembled the setting of the Tron world, while Prodigy’s “Firestarter” had, appropriately, fire coming out of henna-printed hands.

“Sonic Vision” isn’t exclusively playing in New York City. The show also can be found at the Milwaukee Public Museum’s planetarium, although the exhibit also made its rounds at the Denver Museum of Nature and Science, the Franklin Institute in Philadelphia, and the Chabot Space and Science Center in Oakland, California. If I ever saw the Pink Floyd Laser Light Show, I would probably compare it to that. As a standalone, “Sonic Vision” is a unique experience for music lovers, art enthusiasts and planetarium obsessers alike.

By our guest blogger, Jess Bender

I’ll be the first to admit that I am not the biggest fan of Stevie Wonder. Perhaps I have grown tired or weary of his Greatest Hits CDs that my father used to play on a weekly basis while growing up, but I can’t listen to any of his singles without slightly cringing. “Superstition” and “Higher Ground” have lost their charm years ago when each were covered by Disney starlet Raven Symone and modern rock legends Red Hot Chili Peppers, respectively.  Meanwhile, “Isn’t She Lovely” and “My Cherie Amore” have been butchered too many times on American Idol for me to enjoy them much anymore.

That being said, it’s always a pleasant feeling when I stumble upon one of his lesser-known songs. To recoup after a hardcore Saturday morning gym session, I turned on a modern John Cusack classic, "High Fidelity." Right when the movie faded to the end credits, a song of Wonder’s that I never heard came on before. The song was called “I Believe (When I Fall In Love),” and I felt a very strong emotional connection to it upon immediate contact. What begins with a simple piano-guitar combination builds up to a smooth-but-powerful ballad about falling head over heels and begging for a lover to feel the same. I can appreciate the musical stylings, and I can really relate to the lyrical content. Stevie, I approve.

In lieu of my recent discovery, I compiled a tiny list of underrated Stevie Wonder songs. Hopefully, I can convince others (along with myself) that Wonder really is worthy of the hype that continues to surround him. Because really, “A Ribbon In The Sky” hasn’t convinced me of his talents after all of these years.

1. "Do I Do"  Released in 1982, this is one of Wonder’s more well-known songs, due in part to Ja Rule sampling it in his 2001 song “Livin’ It Up.” However, the song only reached #13 on Billboard’s Hot 100. Despite its 10.5-minute length, the song highlights three cool things--Stevie’s gift of rap, a great Dizzy Gillespie trumpet solo, and a rare usage of cowbell in an R&B song.

2. "I Don’t Know Why I Love You"   Telling a story of a cheating girlfriend who takes advantage, Wonder sings with raw emotion--he slowly sounds as if he’s breaking down due to the pain she causes him. He brilliantly ends it with a crescendo, then a falsetto scream of agony. His maturity with the content is surprising, especially since he recorded it at age 18. Released as a single in February 1969, the song was unfortunately overshadowed by the more popular B-side, “My Cherie Amour.” The song didn’t die in obscurity, as the Rolling Stones and the Jackson 5 recorded covers of it later on.

3. "Skeletons"  This song has a typical '80s feel to it, which might be why it has been forgotten by many, despite winning two Grammys in 1988. Replacing his usual baby grand for a synthesizer spices up the song, which sounds like it could be in "Breakin’ 2: Electric Boogaloo." However, it was featured in a scene in Bruce Willis’ classic "Die Hard"

4. "Summer Soft"  Starting off with a simple piano tune, chirping birds and a soft-spoken voice, Wonder is a powerhouse on this one. On the critically acclaimed "Songs In The Key of Life," the song was buried underneath the success of “Sir Duke,” “I Wish” and “As.” However, hardcore Stevie heads consider “Summer Soft” as being one of their favorites off of the album.

By our guest blogger, Jess Bender

I’ll be the first to admit that I am not the biggest fan of Stevie Wonder. Perhaps I have grown tired or weary of his Greatest Hits CDs that my father used to play on a weekly basis while growing up, but I can’t listen to any of his singles without slightly cringing. “Superstition” and “Higher Ground” have lost their charm years ago when each were covered by Disney starlet Raven Symone and modern rock legends Red Hot Chili Peppers, respectively.  Meanwhile, “Isn’t She Lovely” and “My Cherie Amore” have been butchered too many times on American Idol for me to enjoy them much anymore.

That being said, it’s always a pleasant feeling when I stumble upon one of his lesser-known songs. To recoup after a hardcore Saturday morning gym session, I turned on a modern John Cusack classic, "High Fidelity." Right when the movie faded to the end credits, a song of Wonder’s that I never heard came on before. The song was called “I Believe (When I Fall In Love),” and I felt a very strong emotional connection to it upon immediate contact. What begins with a simple piano-guitar combination builds up to a smooth-but-powerful ballad about falling head over heels and begging for a lover to feel the same. I can appreciate the musical stylings, and I can really relate to the lyrical content. Stevie, I approve.

In lieu of my recent discovery, I compiled a tiny list of underrated Stevie Wonder songs. Hopefully, I can convince others (along with myself) that Wonder really is worthy of the hype that continues to surround him. Because really, “A Ribbon In The Sky” hasn’t convinced me of his talents after all of these years.

1. "Do I Do"  Released in 1982, this is one of Wonder’s more well-known songs, due in part to Ja Rule sampling it in his 2001 song “Livin’ It Up.” However, the song only reached #13 on Billboard’s Hot 100. Despite its 10.5-minute length, the song highlights three cool things--Stevie’s gift of rap, a great Dizzy Gillespie trumpet solo, and a rare usage of cowbell in an R&B song.

2. "I Don’t Know Why I Love You"   Telling a story of a cheating girlfriend who takes advantage, Wonder sings with raw emotion--he slowly sounds as if he’s breaking down due to the pain she causes him. He brilliantly ends it with a crescendo, then a falsetto scream of agony. His maturity with the content is surprising, especially since he recorded it at age 18. Released as a single in February 1969, the song was unfortunately overshadowed by the more popular B-side, “My Cherie Amour.” The song didn’t die in obscurity, as the Rolling Stones and the Jackson 5 recorded covers of it later on.

3. "Skeletons"  This song has a typical '80s feel to it, which might be why it has been forgotten by many, despite winning two Grammys in 1988. Replacing his usual baby grand for a synthesizer spices up the song, which sounds like it could be in "Breakin’ 2: Electric Boogaloo." However, it was featured in a scene in Bruce Willis’ classic "Die Hard"

4. "Summer Soft"  Starting off with a simple piano tune, chirping birds and a soft-spoken voice, Wonder is a powerhouse on this one. On the critically acclaimed "Songs In The Key of Life," the song was buried underneath the success of “Sir Duke,” “I Wish” and “As.” However, hardcore Stevie heads consider “Summer Soft” as being one of their favorites off of the album.