Tag: Universal

‘Better Watch Out’ gets Australian trailer

The Sydney-shot Christmas horror film BETTER WATCH OUT has a new trailer from Universal Pictures ahead of its 23 November 2017 release. You can check it out below.

This sadistic horror comedy begins on a quiet suburban street during the holiday season, a babysitter must defend a twelve-year-old boy from strangers breaking into the house, only to discover that this is far from a normal home invasion. Featuring a superb young cast including Olivia DeJonge and Ed Oxenbould, and Levi Miller who is on sensational form; as well as Patrick Warburton, Virginia Madsen and Dacre Montgomery.

Directed by Chris Peckover and written by Zack Kahn, when we saw this at the Sydney Film Festival in June we were thoroughly surprised by how much this throwback slasher has up its sleeve. When they say it’s Home Alone meets Funny Games, they aren’t kidding. Made with a whole lot of love for the genre, Levi Miller delivers an uncharacteristic turn that shatters his Jasper Jones/Red Dog: True Blue image.

September 15, 2017
Review: American Made

Hollywood can’t seem to get enough of Pablo Escobar. In the last few years alone, we’ve seen Loving Pablo, The Infiltrator and the ongoing saga of drug trafficking in the 1980s in the Netflix series Narcos. The lure of dangerous people living on the fringes of legality has always appealed to audiences, but Doug Liman’s reunion with Edge of Tomorrow‘s Tom Cruise is not strictly a glorification of the criminal outlaw.

That’s because AMERICAN MADE isn’t about Escobar per se, but it does cross over into the well-worn territory. TWA commercial pilot Barry Seal (Cruise) is hired by the CIA as a delivery boy for the contras, but soon becomes a high-priced mule for the Medellin cartel’s drug trafficking organisation.

So while it isn’t covering the same ground, the film does use many of the stylistic tricks to sustain the story. Indeed, Seal’s character has previously been portrayed by Denis Hopper and Michael Paré on film, and most recently Dylan Bruno in Narcos. Director Doug Liman uses the latter’s documentary narrative structure, including to-camera interstitials from Cruise as a later version of Seal, but combines it with the intensity of The Wolf of Wall Street‘s opulence.

Which doesn’t detract from the engagingly told screenplay. The hyper-edited flashes of news footage and smash-cuts through time give the story a raw immediacy and makes the viewer complicit in what follows. “You can stop now if you want,” says Seal to camera, which might be a cheap trick of the narrator to sucker us further into the story, but it works.

It goes without saying that the typically charismatic Cruise is devilishly watchable, the perfect combination of smarmy and confident that is perhaps only challenged by Domhnall Gleeson’s slightly sinister and smug CIA man. Sarah Wright shines in a semi-comic role as Seal’s wife, while the distinctive looking Caleb Landry Jones (seen recently in the revived Twin Peaks) giving a delightfully weird turn as her redneck brother.

AMERICAN MADE is ostensibly a showcase for Cruise, but it’s also an entertainingly told capsule of an era. It’s also punctuated by some impressive aerial photography and flying sequences, albeit at the cost of two crew member lives. It may not break any new ground dramatically, and it is a tale that has certainly been told on screen more than once, but it’s also a hell of a lot of fun in the retelling. It’s also a timely reminder that the current US government is not the last time the US has made illicit deals with a foreign power.

[stextbox id=”grey” bgcolor=”F2F2F2″ mleft=”5″ mright=”5″ image=”null”]2017 | US | DIR: Doug Liman | WRITER: Gary Spinelli | CAST: Tom Cruise, Sarah Wright, Domhall Gleeson | RUNNING TIME: 97 minutes | DISTRIBUTOR: Universal (AUS) | RELEASE DATE: 27 August 2017[/stextbox]

August 27, 2017
Review: Atomic Blonde

The 1980s have been going for at almost 40 years now, and ATOMIC BLONDE proves that even the fall of the Berlin Wall could not stop them. So as the unmistakable beats of New Order’s ‘Blue Monday’ segues into David Bowie’s ‘Cat People (Putting Out Fire),’ we strap in for another Cold War spy flick. This one genre flick that definitely struts to its own rhythm.

On the eve of the 1989 collapse of the Wall, British MI6 spy Lorraine Broughton (Charlize Theron) is sent to Germany to investigate the recent death of an agent. Forced to work with unorthodox station chief David Percival (James McAvoy), she must also root out double agents via a series of flashy spy moves.

Kurt Johnstad’s screenplay uses a familiar interrogation motif as his narrative frame, as Broughton’s supervisor (Toby Jones) and CIA contact (John Goodman) retrospectively question her about the events of Berlin. Yet director David Leitch (John Wick) uses the edits to his advantage. The connective tissue of the flashback is all that is needed to rapidly bounce Broughton between bedrooms, car chases, and close-quartered fisticuffs.

Wrapped in the spray paint and neon aesthetic of 1989-by-way-of-2017, and the ever-present whiff of smoke and vodka, ATOMIC BLONDE is sex-positive as well as being sexy. This is James Bond without the overt misogynistic tendencies. An ongoing relationship with French spy Delphine Lasalle (Sofia Boutella) puts Theron in the driver’s seat, comically playing up the uncomfortable seat-shifting of Jones and Goodman as she continues to recount her tale.

At other times, Leitch pulls few punches in the action stakes. A climactic third act confrontation is an 8-minute stairway/apartment battle that is cleverly composed to give the illusion of a single shot. The action here is brutal and unrelenting, on par with similar approaches in Oldboy or Netflix’s Daredevil, and is the logical contemporary(ish) progression of Theron’s Mad Max: Fury Road persona. In another sequence, Theron fights off bad guys to the tune of ‘Father Figure,’ one of the best uses of George Michael since Keanu.

Retaining the 1980s ‘greed is good’ mentality, the copious Stolichnaya placements are never close to being subtle. So while ATOMIC BLONDE never fully breaks out of the well-trod path of comrades that have come before, it’s a clever spin on the model and plays against conventions for every few turns of playing into them. Here’s hoping that there’s more like this to mine from the Cold War, and that the eventual 1990s equivalent is just as fun.

[stextbox id=”grey” bgcolor=”F2F2F2″ mleft=”5″ mright=”5″ image=”null”]2017 | US | DIR: David Leitch | WRITERS: Kurt Johnstad | CAST: Charlize Theron, James McAvoy, John Goodman, Eddie Marsan, Sofia Boutella, Toby Jones | DISTRIBUTOR: Focus Features (US), Universal Pictures (AUS) | RUNNING TIME: 115 minutes | RELEASE DATE: 28 July 2017 (AUS), 3 August 2017 (AUS) [/stextbox]

July 28, 2017
‘Girls Trip’ gets Australian release date of 31 August, new trailer

GIRLS TRIP just had an excellent opening weekend in the US and Universal Pictures Australia has announced that they will be releasing it locally on 31 August.

Following its debut at the American Black Film Festival in Miami, director Malcolm D. Lee’s film opened to rave reviews and interviews in the US this week. Starring Regina Hall, Jada Pinkett Smith, Tiffany Haddish, and Queen Latifah, it follows four lifelong friends who travel to New Orleans for the annual Essence Festival. Sisterhoods are rekindled, and wild sides are rediscovered.

The film has already got a rep for being a boundary-pushing and edgy comedy, with Variety favourably comparing it to Bridesmaids and other recent comedies. It opened to $30 million in the US against films like Dunkirk and Valerian, which is an impressive feat given its $19 million budget.

Check out the trailer below.

July 24, 2017
‘Darkest Hour’ trailer transforms Gary Oldman into Winston Churchill

Back in November, we got our first look at Gary Oldman as the formidable Winston Churchill. Now Universal has release the first trailer of the actor transforming into the wartime Prime Minister in DARKEST HOUR, out in Australian cinemas on 11 January 2018. This is a trailer that literally uses the “only one man” line. That’s a V for Victory in our books.

Oldman brings Churchill alive is a narrative that appears to follow Britain’s reluctance to take on Churchill as PM, followed by his trial by fire under the German attacks of the Second World War. A thrilling and inspiring true story begins on the eve of the war as, within days of becoming Prime Minister of Great Britain, Churchill must face one of his most turbulent and defining trials: exploring a negotiated peace treaty with Nazi Germany, or standing firm to fight for the ideals, liberty and freedom of a nation. As the unstoppable Nazi forces roll across Western Europe and the threat of invasion is imminent, and with an unprepared public, a skeptical King, and his own party plotting against him, Churchill must withstand his darkest hour (title!), rally a nation, and attempt to change the course of world history.

Directed by Joe Wright (Atonement, Hanna, Pride & Prejudice, Anna Karenina), the film also stars Kristen Scott Thomas, Lily James, Stephen Dillane, Ronald Pickup and Ben Mendelsohn.

July 14, 2017
Review: The Beguiled

Sofia Coppola’s distinctive style has weathered many formats over the last two decades behind the camera, from the coming-of-age drama The Virgin Suicides to the musical comedy of A Very Murray Christmas. With THE BEGUILED, the filmmaker turns her distinctive gaze to an adaptation of Thomas P. Cullinan’s A Painted Devil, one previously made into a film by Don Siegel. Here Coppola proves mastery of the Southern Gothic genre, bringing psychological warfare delicately to the forefront.

Several years into the American Civil War, a Southern girls’ boarding school under the care of Martha Farnsworth (Nicole Kidman) takes in wounded enemy soldier John McBurney (Colin Farrell) because it is the “Christian thing to do.” The sudden male presence in a house full of girls creates a minefield of sexual tension and mind games, one that begins cheekily enough but rapidly becomes melts into dark desire and personal gains.

Coppola’s film might be superficially seen as the flipping of the dominant gender paradigm, but a more interesting reading sees Coppola’s adapted script tearing strips off the facade of Southern hospitality. The civilised lessons led by Miss Edwina (Kirsten Dunst), and the almost parodic nature of the ornate dinners, drip away under the guile of the morally ambiguous houseguest. It’s wickedly delightful to see who turns darkest first.

There’s something almost comical about the intensity of the prone Farrell’s flirtations, one that will undoubtedly elicit bursts of uncomfortable laughter from audiences. Counterbalanced by the uptight Dunst and the coquettish Elle Fanning, in a version of a role she has become adept at reinterpreting, giggles are eventually silenced by the unfolding horror of it all – not to mention the powerfully pragmatic gaze of the formidable Kidman.

With glorious naturally lit landscapes and chambers, this hypnotic and intoxicating vibe is in no hurry to get to its mic-drop conclusion. Even in the short running time, Philippe Le Sourd’s (The Grandmaster) camera finds time to linger on shafts of light across the Greek Revival columns that frame the architecture of the boarding school’s estate. The floating approach is aided by the presence of Phoenix’s notable score.

The deliberate use of the Civil War setting is a perfect backdrop, providing a realistic society without men and a rare point in US history where women had some modicum of dominance, albeit still in their corner of the world. Coppola transports Cullinan’s tale to her own ethereal plane, beguiling the audience with its beauty, and holding us captive with an understated horror that continues mounting until the very end.

[stextbox id=”grey” bgcolor=”F2F2F2″ mleft=”5″ mright=”5″ image=”null”]2017 | US | DIR: Sofia Coppola | WRITERS: Sofia Coppola | CAST: Colin Farrell, Nicole Kidman, Kirsten Dunst, Elle Fanning | DISTRIBUTOR: Universal Pictures | RUNNING TIME: 94 minutes | RELEASE DATE: 23 June 2017 (US), 16 July 2017 (AUS) [/stextbox]

June 24, 2017
Jurassic World sequel titled ‘Jurassic World: Fallen Kingdom’

The promotional art for the Jurassic World sequel has revealed that the film will be titled JURASSIC WORLD: THE FALLEN KINGDOM. It is due for release on 21 June 2018 in Australia, and June 22 in the US, from Universal Pictures.

Executive producer Steven Spielberg and stars Chris Pratt and Bryce Dallas Howard return for Universal Pictures and Amblin Entertainment’s JURASSIC WORLD: FALLEN KINGDOM, a follow-up to one of the biggest blockbusters in the history of cinema which has grossed more than $1.65 Billion worldwide. Producer Frank Marshall once again joins Spielberg in leading the team of filmmakers for the next chapter in the franchise. The film will be written by Jurassic World’s director, Colin Trevorrow, and Derek Connolly. Spielberg will be joined by Trevorrow as executive producer.

Toby Jones, Daniella Pineda, Justice Smith and Rafe Spall will join the cast, with. Jeff Goldblum reprising his role as Ian Malcolm for the first time since 1997’s The Lost World: Jurassic Park. It is, of course, Golblum’s line that provides the tagline for the poster, which should rightfully read “Life…uh…finds a way.”

June 23, 2017
Review: The Mummy

As the Universal titles swirl and morph seamlessly into the Dark Universe logo, it’s clear that the studio is intent on reviving their Universal Monsters franchise. From the days of silent cinema through to the talkies, Universal has fostered a stable of creatures. Despite a successful series of remakes of The Mummy starring Brendan Fraser, other attempts have been ill-fated. Stephen Sommers’ Van Helsing captured the spirit, if not the audience. Similarly, Joe Johnston’s The Wolfman received a critical and commercial drumming.

In 2017’s THE MUMMY, Nick Morton (Tom Cruise) and Sergeant Vail (Jake Johnson) are advanced scouts for the military in Iraq, but use their jobs to hunt down antiquities for profit. After pilfering a map from archeologist Jenny Halsey (Annabelle Wallis), the trio uncover the ancient tomb of the forgotten Egyptian princess Ahmanet (Sofia Boutella). When the plane returning home crashes, Morton not only discovers that he is cursed, but that he has unleashed the holy hell of Ahmanet’s evil on London.

So after downplaying Dracula Untold as the first film in the Dark Universe series, THE MUMMY is now said to be the first in an initial four-film cycle. David Koepp, Christopher McQuarrie, and Dylan Kussman’s screenplay makes a clean break with all previous iterations, combining legends of the Knights Templar and the Second Crusade with Egyptian prayers of resurrection. What remains is a narrative divided into two distinct parts: one in which the titular mummy’s tomb is uncovered, and a second in which London and its underground become the battlefield between good and evil.

What’s especially interesting about this version of THE MUMMY is that those notions of ‘good’ and ‘bad’ are often interchangeable. Take for example Cruise and Johnson’s roles, who are “not looters,” but rather “liberators of precious antiquities.” Cruise wears the anti-hero suit well, and it’s a niche he has been carving out nicely over the last few years. We also have the highly publicised appearance of Russell Crowe as Dr. Jekyll, acting as a kind of supernatural G-Man. Jekyll is not just an Easter Egg for the Dark Universe, but another morally grey character for the franchise entry. Boutella’s visually distinct Mummy is ultimately a destructive entity, but her motivation is one of betrayal and retribution.

THE MUMMY is ultimately a film of spectacular special effects sequences, one that has an amazing amount of fun in the process. An early plane crash is a white-knuckle ride of awesomeness, as is a zombie-fueled car chase sequence. Indeed, many of the conventions come straight out of the zombie genre, including an underwater sequence that would make Lucio Fulci nod in approval. yet it also distinguishes itself with a self-aware sense of humour. Nevertheless, director Alex Kurtzman is definitely riding those immediate roller coaster thrills with only one eye on plot and character development.

The film resolves itself with a tiny bit of ambiguity, and Cruise’s climactic deeds leave Wallis’ character as a perfunctory means to an end. That said, Universal’s marketing for the film leaves little doubt where this series is going, and who will be leading it. A fun and entertaining return to the world of Monster Movies, one that the studio seems happily committed towards exploiting.

[stextbox id=”grey” bgcolor=”F2F2F2″ mleft=”5″ mright=”5″ image=”null”]2017 | US | DIR: Alex Kurtzman | WRITER: David Koepp, Christopher McQuarrie, Dylan Kussman | CAST: Tom Cruise, Sofia Boutella, Annabelle Wallis, Jake Johnson, Courtney B. Vance, Marwan Kenzari, Russell Crowe | DISTRIBUTOR: Universal | RUNNING TIME: 107 minutes | RELEASE DATE: 8 June 2017 (AUS), 9 June 2017 (US) [/stextbox]

June 8, 2017
‘The Mummy’: go behind the scenes in 3 new clips

Universal Studios Australia have revealed another corner for their Dark Universe with some behind-the-scenes featurettes from THE MUMMY, the first in a new series of Monster Movies from the studio. The film is out this week around the world, hitting Australian cinemas from 8 June 2017.

The first two clips below give us a glimpse at the real stunts of the film, and some background for Prodigium and how it fits into the story. The third fun featurette provides insight into the classic monster movies, its history and basis for bringing The Mummy to a modern audience, complete with clips from some of the best films Universal has released.

Alex Kurtzman directs THE MUMMY, starring Tom Cruise, Sofia Boutella, Annabelle Wallis,
Jake Johnson, Courtney B. Vance and Russell Crowe. Look out for our review dropping early Thursday morning.

June 6, 2017
‘American Made’ trailer sees Tom Cruise and Doug Liman reunite

Universal Pictures Australia has sent over the local trailer for AMERICAN MADE, the next film to star Tom Cruise following the studio’s tentpole The Mummy. In Australian cinemas on 24 August 2017, and on 29 September 2017 in the US, you can check it out below.

In Universal Pictures’ AMERICAN MADE, Tom Cruise reunites with his Edge of Tomorrow director, Doug Liman, in this international escapade based on the outrageous (and real) exploits of Barry Seal, a hustler and pilot unexpectedly recruited by the CIA to run one of the biggest covert operations in U.S. history.

AMERICAN MADE is produced by Imagine Entertainment’s Academy Award®-winning producer Brian Grazer (A Beautiful Mind), Cross Creek Pictures’ Brian Oliver (Black Swan) and Tyler Thompson (Everest), Quadrant Pictures’ Doug Davison (The Departed), and Kim Roth (Inside Man).

June 6, 2017