Saturday, July 18, 2009

Quite Possibly The Best Filmmaker Of Our Generation, Wes Anderson Is Creating His Most Ambitious Film To Date Titled: Fantastic Mr. Fox


















In my opinion, Wes Anderson is the most creative & original Director since Scorsese and the only Writer/Director to come between them in the timeline is the obvious choice: Q AKA Quentin Tarantino. Q.T has Inglorious Bastards coming out in August and I can't remember looking forward to a movie more since The Departed and when I read the reviews from The Cannes Film Festival, it made me look forward to it even more. From what I could tell, his new movie got the same response as a little movie known by Pulp Fiction, ever heard of it??! Filmsactu.com has two photos from Wes Anderson's Fantastic Mr. Fox, starring the voice talents of George Clooney, Cate Blanchett and Bill Murray. One is essentially the same as the image we saw last week, but it is much larger and shows a couple more characters. The other shows only Mr. Fox (Clooney), standing in a library or study in front of a painting of a bunch of badgers — does that mean he’s in the home of Mr. Badger, voiced by Bill Murray? See the images in full after the break.

It’s interesting that these show up now, because a couple of sites that republished the image that JoBlo had last week were hit with cease and desist orders from Fox. That didn’t make sense, since the image seemed to have been officially released, but this is the Fox publicity department, so who knows?

I like seeing these images in better resolution than the original picture. They make the film look a lot less animatronic and creepy; the second solo image of Fox is much more like what I expected to see in the first place. There’s still a great handmade quality, and the models definitely don’t look like what we’ve come to associate with original director Henry Selick. Too bad about the glazed look on Fox’s face in the group shot, but the rest of the characters look better than I’d originally given them credit for.

The story follows Mr. Fox and his conflict with three mean, greedy farmers from whom he’s been stealing food. Wes Anderson teamed up with animator Mark Gustafson to direct the picture. Fantastic Mr. Fox is set for release on November 13, but we still figure it will premiere at the Venice Film Festival, which begins on September 2, and perhaps show up at the Toronto Film Fest a week later.



















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HARRY POTTER AND THE HALF BLOOD PRINCE HAS SHATTERED ALL 48 HOUR RECORDS! SLASHFILMS REVIEW





















This article contains SPOILERS for Harry Potter and the Half-Blood Prince, but NOT for Harry Potter and the Deathly Hallows]

SLASHFILM HAS A 4 PART SERIES DEDICATED TO THE NEW HARRY POTTER FILM AND ALL I CAN SAY ABOUT THE FIGUREHEAD RUNNING /FILM IS: WOW! HE IS ABSOLUTELY AMAZING. I AM AN IMMEDIATE FAN~ YOU CAN CHECK OUT THE LINK TO READ THE OTHER 3 PARTS OF HIS SERIES..

Over the past seven days, I have plowed through 15 hours of Harry Potter movies in an attempt at exploring the cultural phenomenon of this series. Crucial to this adventure has been my complete unfamiliarity with the Harry Potter books. Unencumbered by the expectations and anticipations that accompany Potter-fandom, I tried to evaluate how well these films work as films in their own right.

The process of adapting thousands of pages of novels into a series of movies is undoubtedly daunting. The closest analogue in recent memory is The Lord of the Rings trilogy. Taken as films alone, that series had flaws that are occasionally inherent to the adaptation process, especially for books set in a fantasy universe (as opposed to, say, a procedural crime drama by Grisham). For example, characters, whose rich back stories fill the books, were sometimes introduced with very little context, and story elements were occasionally confusing, since they could not be explained at length.

The Rings trilogy, however, had a lot of other things going for them to distract from their flaws as films: Stunning direction and a unifying vision by director Peter Jackson to guide every movie; epic and crowd-pleasing battle scenes that used state-of-the-art (at the time) special effects technology; the simple, underlying story of the bonds of friendship between Frodo and Sam; and the back-to-back-to-back event-style theatrical releases that took place during the holidays three years in a row. The Potter series has to deal with different challenges and after watching all six films in one week, culminating with Harry Potter and the Half-Blood Prince, I am unfortunately more aware of its flaws than ever.

Harry Potter and the Half-Blood Prince (2009)

The latest film in the series sees Hogwarts amping up their security, as Voldemort’s Death Eaters increase the frequency of their attacks. A shield of some sort (never explained in the movie) is established around the school to protect the students and staff from the Death Eaters, but the devious Draco Malfoy (Tom Felton) may have devised a workaround. Moreover, a series of assassination attempts on Dumbledore (Michael Gambon) bring urgency to his attempt to destroy Voldemort once and for all. In doing so, he enlists the help of Harry (Daniel Radcliffe) to cozy up to one of Voldemort’s old instructors, Professor Slughorn (Jim Broadbent). Meanwhile, Hermione (Emma Watson) is directly confronted with her feelings for Ron Weasley (Rupert Grint).

After hearing the buzz and knowing about the more mature nature of this book, I had high hopes going in. Director David Yates not only had the ability to see where his predecessors had failed and succeeded as directors, but he himself had turned in an entry to the series already (Order of the Phoenix). The big question on my mind was: With the benefit of hindsight and with his considerable talents behind him, could Yates create a film that worked not only as a Harry Potter movie, but as an adventure movie on its own?

My answer: Not really.

There is a lot to like about Half-Blood Prince if you’ve seen the previous films. As the latest entry in a series of very similar films, it completely works. It is, perhaps, one of the most beautiful movies of the year, with excellent cinematography by Bruno Delbonnel (The IMAX trailer for this film, which is embedded above, is my favorite trailer of 2009 thus far). There is a lot of humor in the interactions between the students, and when Ron implicitly rejects Hermione, you feel just as angry and frustrated as she must. Our reaction to these scenes is only possible after having spent time with these characters for nearly a decade.


There are also plenty of moments of pure cinema in this movie, scenes that made my geek heart swell with pride. I am absolutely in love with the liquid motif that Yates employs for the flashback memory sequences, which feel simple, yet breathtaking. The scene when Harry and Dumbledore travel into a cave to retrieve a Horcrux contains one of the best jump scares I’ve seen in my life, but also features a spectacular fire sequence that’s a wonder to behold.

But even as I was enjoying these elements, the films problems kept lingering in the back of my mind. It should be noted that the movie doesn’t really stand up on its own as well as the other films, since it ends with a very clear cliffhanger. I’m not going to dock points for that, since it’s inherent to the storyline, but what I’m justifiably unhappy about is that the fim squanders some of the little dramatic potential it has. As with some of the less enjoyable Potter films, Half-Blood Prince takes an excessive amount of time in setting up the main conflict of the story. By the time you understand what all the pieces of the puzzle are, the film is almost over.

Arguably one of the most significant twists of the series is the fact that Severus Snape (Alan Rickman) has been working for the dark lord this entire time. In this film, he is introduced, matter-of-factly, as being on Voldemort’s side right from his very first scene. You could argue that his allegiances are actually ambiguous throughout the film, but I would argue that every single scene Snape is in during this film cements his status as a bad guy (not to mention the fact that halfway through the film, we learn about the true nature of the Unbreakable Vow). Also, the final reveal that Snape is indeed the Half-Blood Prince carries no weight with it; what feels like it was supposed to be one of the film’s big moments falls completely flat.

There’s also the matter of Draco Malfoy, who I think is completely wasted in this movie. The idea that Malfoy is chosen to assassinate Dumbledore is incredibly interesting, but he is given almost nothing to do in this film other than stalk around the school’s hallways a lot, get hurt by Potter in the bathroom, then scream a lot towards the end of the film. Why was Malfoy chosen for this task? Why does Malfoy feel this is a task he has to complete? What is the nature of Malfoy’s internal conflict? None of these questions are answered in a satisfying way. I am not exaggerating when I say I literally learned more about Malfoy’s motivations in the first few films, when Malfoy is still a kid and opining about how dirty mudbloods are.

If there’s one thing in the movie that really worked for me, it was Dumbledore and his relationship with Harry. We learn some of Dumbledore’s history with Voldemort, and Harry’s loyalty to Dumbledore is tested throughout the movie (The famous line, “Once again, Harry, I must ask too much of you,” is great not only for Gambon’s delivery but for the pathos it carries). When Dumbledore’s assassination finally comes at the end, it is a death exactly as tragic as it should be, a momentary triumph of evil over good and a signifier that from this point on, Potter and his friends are on their own.

I wanted and expected Half-Blood Prince to transcend the constraints of its pedigree, but I found that overall, Half-Blood Prince exemplifies everything that is right and wrong, cinematically, with the Harry Potter series. It suffers from languid and uneven pacing and manages to contain too much exposition and not enough exposition, all at once. It successfully creates its own universe and lets us inhabit it for a short period of time, yet often struggles with how to make that universe’s events suspenseful or purposeful. The greatest joy in this film, as with the entire series, is getting to spend more time with the characters we know and love. But if I had to guess (since I haven’t read the books), I would say that like the rest of the series, this movie relies way too much on one’s knowledge of the book’s characters to make it thoroughly enjoyable on its own.

/Film Rating: 7 out of 10








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Beautiful Fine Art Print Of The Three Stooges By Drew Friedman































Here's a stunning Drew Friedman fine art print of The Three Stooges (with Shemp) and recurring nemesis Vernon Dent. Limited edition of 35 numbered prints signed by the artist.
Thank you to BOINGBOING For Being The Best Blog In The Universe!



























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Walter Cronkite, "Most Trusted Man In America" & My Favorite Voice Of TV News, Dies At 92 Years Old


Walter Cronkite, who pioneered and then mastered the role of television news anchorman with such plain-spoken grace that he was called the most trusted man in America, died Friday at his home in New York. He was 92.

Walter Cronkite on the air in the early 1960s. For decades on CBS, he signed off with his signature “And that’s the way it is.”

The cause was complications of dementia, said Chip Cronkite, his son.

From 1962 to 1981, Mr. Cronkite was a nightly presence in American homes and always a reassuring one, guiding viewers through national triumphs and tragedies alike, from moonwalks to war, in an era when network news was central to many people’s lives.

He became something of a national institution, with an unflappable delivery, a distinctively avuncular voice and a daily benediction: “And that’s the way it is.” He was Uncle Walter to many: respected, liked and listened to. With his trimmed mustache and calm manner, he even bore a resemblance to another trusted American fixture, another Walter — Walt Disney.

Along with Chet Huntley and David Brinkley on NBC, Mr. Cronkite was among the first celebrity anchormen. In 1995, 14 years after he retired from the “CBS Evening News,” a TV Guide poll ranked him No. 1 in seven of eight categories for measuring television journalists. (He professed incomprehension that Maria Shriver beat him out in the eighth category, attractiveness.) He was so widely known that in Sweden anchormen were once called Cronkiters.

Yet he was a reluctant star. He was genuinely perplexed when people rushed to see him rather than the politicians he was covering, and even more astonished by the repeated suggestions that he run for office himself. He saw himself as an old-fashioned newsman — his title was managing editor of the “CBS Evening News” — and so did his audience.

“The viewers could more readily picture Walter Cronkite jumping into a car to cover a 10-alarm fire than they could visualize him doing cerebral commentary on a great summit meeting in Geneva,” David Halberstam wrote in “The Powers That Be,” his 1979 book about the news media.

As anchorman and reporter, Mr. Cronkite described wars, natural disasters, nuclear explosions, social upheavals and space flights, from Alan Shepard’s 15-minute ride to lunar landings. On July 20, 1969, when the Eagle touched down on the moon, Mr. Cronkite exclaimed, “Oh, boy!”

On the day President John F. Kennedy was assassinated, Mr. Cronkite briefly lost his composure in announcing that the president had been pronounced dead at Parkland Memorial Hospital in Dallas. Taking off his black-framed glasses and blinking back tears, he registered the emotions of millions.

It was an uncharacteristically personal note from a newsman who was uncomfortable expressing opinion.

“I am a news presenter, a news broadcaster, an anchorman, a managing editor — not a commentator or analyst,” he said in an interview with The Christian Science Moniter in 1973. “I feel no compulsion to be a pundit.”

But when he did pronounce judgment, the impact was large.

In 1968, he visited Vietnam and returned to do a rare special program on the war. He called the conflict a stalemate and advocated a negotiated peace. President Lyndon B. Johnson watched the broadcast, Mr. Cronkite wrote in his 1996 memoir, “A Reporter’s Life,” quoting a description of the scene by Bill Moyers, then a Johnson aide.

“The president flipped off the set,” Mr. Moyers recalled, “and said, ‘If I’ve lost Cronkite, I’ve lost middle America.’ ”

Mr. Cronkite sometimes pushed beyond the usual two-minute limit to news items. On Oct. 27, 1972, his 14-minute report on Watergate, followed by an eight-minute segment four days later, “put the Watergate story clearly and substantially before millions of Americans” for the first time, the broadcast historian Marvin Barrett wrote in “Moments of Truth?” (1975).

In 1977, his separate interviews with President Anwar el-Sadat of Egypt and Prime Minister Menachem Begin of Israel were instrumental in Sadat’s visiting Jerusalem. The countries later signed a peace treaty.

“From his earliest days,” Mr. Halberstam wrote, “he was one of the hungriest reporters around, wildly competitive, no one was going to beat Walter Cronkite on a story, and as he grew older and more successful, the marvel of it was that he never changed, the wild fires still burned.”

Walter Leland Cronkite Jr. was born on Nov. 4, 1916, in St. Joseph, Mo., the son of Walter Leland Cronkite Sr., a dentist, and the former Helen Lena Fritsche. His ancestors had settled in New Amsterdam, the Dutch colony that became New York. As a boy, Walter peddled magazines door to door and hawked newspapers. As a teenager, after the family had moved to Houston, he got a job with The Houston Post as a copy boy and cub reporter. At the same time, he had a paper route delivering The Post to his neighbors.

“As far as I know, there were no other journalists delivering the morning paper with their own compositions inside,” he wrote in his autobiography.

When he was 16, Mr. Cronkite went with friends to Chicago for the 1933 World’s Fair. He volunteered to help demonstrate an experimental version of television.

“I could honestly say to all of my colleagues, ‘I was in television long before you were,’ ” he said in an interview with CBS News in 1996.

Mr. Cronkite attended the University of Texas for two years, studying political science, economics and journalism, working on the school newspaper and picking up journalism jobs with The Houston Press and other newspapers. He also auditioned to be an announcer at an Austin radio station but was turned down. He left college in 1935 without graduating to take a job as a reporter with The Press.

While visiting Kansas City, Mo., he was hired by the radio station KCMO to read news and broadcast football games under the name Walter Wilcox. (Radio stations at the time wanted to “own” announcers’ names so that popular ones could not be taken elsewhere.)

He was not at the games but received cryptic summaries of each play by telegraph. These provided fodder for vivid descriptions of the action. He added details of what local men in the stands were wearing, which he learned by calling their wives. He found out in advance what music the band would be playing so he could describe halftime festivities.

At KCMO, Mr. Cronkite met an advertising writer named Mary Elizabeth Maxwell. The two read a commercial together. One of Mr. Cronkite’s lines was, “You look like an angel.” They were married for 64 years until her death in 2005.

In addition to his son, Walter Leland III, known as Chip, Mr. Cronkite is survived by his daughters, Nancy Elizabeth and Mary Kathleen; and four grandsons.

In his last years, Joanna Simon, a former opera singer and sister of Carly Simon, was his frequent companion.

The family said it was planning a private service at St. Bartholemew’s Church in New York.

After being fired from KCMO in a dispute over journalism practices he considered shabby, Mr. Cronkite in 1939 landed a job at the United Press news agency, now United Press International. He reported from Houston, Dallas, El Paso and Kansas City.

The stint ended when he returned to radio and then took a job with Braniff International Airways in Kansas City, selling tickets and doing public relations.

Returning to United Press after a few months, he became one of the first reporters accredited to American forces with the outbreak of World War II. He gained fame as a war correspondent, crash-landing a glider in Belgium, accompanying the first Allied troops into North Africa, reporting on the Normandy invasion and covering major battles, including the Battle of the Bulge, in 1944.

In 1943, Edward R. Murrow asked Mr. Cronkite to join his wartime broadcast team in CBS’s Moscow bureau. In “The Murrow Boys: Pioneers on the Front Lines of Broadcast Journalism” (1996), Stanley Cloud and Lynne Olson wrote that Murrow was astounded when Mr. Cronkite rejected his $125-a-week job offer and decided to stay with United Press for $92 a week.

That year Mr. Cronkite was one of eight journalists selected for an Army Air Forces program that took them on a bombing mission to Germany aboard B-17 Flying Fortresses. Mr. Cronkite manned a machine gun until he was “up to my hips in spent .50-caliber shells,” he wrote in his memoir.

After covering the Nuremberg war-crimes trials and then reporting from Moscow from 1946 to 1948, he again left print journalism to become the Washington correspondent for a dozen Midwestern radio stations. In 1950, Murrow successfully recruited him for CBS.

Mr. Cronkite was assigned to develop the news department of a new CBS station in Washington. Within a year he was appearing on nationally broadcast public affairs programs like “Man of the Week,” “It’s News to Me” and “Pick the Winner.”

In February 1953 he narrated the first installment of his long-running series “You Are There,” which recreated historic events like the Battle of the Alamo or the Hindenburg disaster and reported them as if they were breaking news. Sidney Lumet, soon to become a well-known filmmaker, directed the series.

“What sort of day was it?” Mr. Cronkite said at the end of each episode. “A day like all days, filled with those events that alter and illuminate our times. And you were there.”

In 1954, when CBS challenged NBC’s popular morning program “Today” with the short-lived “Morning Show,” it tapped Mr. Cronkite to be the host. Early on he riled the sponsor, the R. J. Reynolds Tobacco Company, by grammatically correcting its well-known advertising slogan, declaring, “Winston tastes good as a cigarette should.”

When not interviewing guests, he mulled over the news with a witty and erudite puppet lion, Charlemagne. Occasionally he ventured outside the studio — using a tugboat, for example, to meet luxury liners so he could interview celebrities before they landed.

In 1952, the first presidential year in which television outshined radio, Mr. Cronkite was chosen to lead the coverage of the Democratic and Republican national conventions. By Mr. Cronkite’s account, it was then that the term “anchor” was first used — by Sig Mickelson, the first director of television news for CBS, who had likened the chief announcer’s job to an anchor that holds a boat in place. Paul Levitan, another CBS executive, and Don Hewitt, then a young producer, have also been credited with the phrase.

The 1952 conventions made Mr. Cronkite a star. Mr. Mickelson, he recalled, told him: “You’re famous now. And you’re going to want a lot more money. You’d better get an agent.”

Mr. Cronkite went on to anchor every national political convention and election night until 1980, with the exception of 1964. That year he was replaced at the Democratic convention in Atlantic City by Roger Mudd and Robert Trout in an effort to challenge NBC’s Huntley and Brinkley team, which had won the ratings battle at the Republican convention in San Francisco that summer.

In 1961, Mr. Cronkite replaced Murrow as CBS’s senior correspondent, and on April 16, 1962, he began anchoring the evening news, succeeding Douglas Edwards, whose ratings had been low. As managing editor, Mr. Cronkite also helped shape the nightly report.

The evening broadcast had been a 15-minute program, but on Sept. 2, 1963, CBS doubled the length to a half-hour, over the objections of its affiliates. Mr. Cronkite interviewed President Kennedy on the first longer broadcast, renamed the “CBS Evening News With Walter Cronkite.” He also broadcast from a real newsroom and not, as Edwards had done, from a studio set.

At the time the broadcast was lengthened, Mr. Cronkite inaugurated his famous sign-off, “And that’s the way it is.” The original idea, he later wrote, had been to end each broadcast with a quirky news item, after which he would recite the line with humor, sadness or irony.

Richard S. Salant, the president of CBS News, hated the line from the beginning — it ate up a precious four seconds a night — and the offbeat items were never done.

“I began to think Dick was right, but I was too stubborn to drop it,” Mr. Cronkite wrote.

Starting with Herbert Hoover, Mr. Cronkite knew every president, not always pleasantly. A top aide to President Richard M. Nixon, Charles Colson, harangued the network’s chairman, William S. Paley, after Mr. Cronkite’s 14-minute Watergate broadcast. The next segment was shortened.

In 1960, during the Wisconsin primary, Mr. Cronkite asked Kennedy, then a senator, about his Roman Catholic religion. As Mr. Cronkite recalled in his memoir, Kennedy called Frank Stanton, CBS’s president, to complain that questions about the subject had earlier been ruled out of bounds. He then reminded Mr. Stanton that if he were elected he would be appointing members of theFederal Communications Commission. Mr. Stanton “courageously stood up to the threat,” Mr. Cronkite wrote.

By contrast, Mr. Cronkite’s relations with President Dwight D. Eisenhower so cordial that President Kennedy incorrectly assumed Mr. Cronkite, a political independent, was a Republican.

Mr. Cronkite also enjoyed the company of President Ronald Reagan, with whom he exchanged often off-color jokes. And he whimsically competed with his friend Johnny Carson to see who could take the most vacation time without getting fired.

Mr. Cronkite raced sports cars but switched to sailing so he could spend more time with his family. He liked old-time pubs and friendly restaurants; there was even one in Midtown Manhattan where his regular chair was marked with his initials.

In an interview with The New York Times in 2002, Mr. Cronkite scrunched his eyes and lowered his voice into a theatrical sob when asked if he regretted missing out on the huge salaries subsequent anchors had received.

“Yes,” he said, adding, “I frequently call myself the Micky Mantle of network news.”

Mr. Cronkite retired in 1981 at 64. He had repeatedly promised to do so, but few had either believed him or chosen to hear. CBS was eager to replace him with Dan Rather, who was flirting with ABC, but both Mr. Cronkite and the network said he had not been pushed.

After his retirement he continued to be seen on CBS as the host of “Walter Cronkite’s Universe,” a science series that began in 1980 and ran until 1982. The network also named him a special correspondent; the position turned out to be largely honorary, though news reports said it paid $1 million a year. But after he spent 10 years on the board of CBS, where he chafed at the cuts that the network’s chairman, Laurence A. Tisch, had made in a once-generous news budget, more and more of his broadcast work appeared on CNN, National Public Radio and elsewhere, not CBS.

By the time Mr. Rather was leaving the “CBS Evening News” in 2005, Mr. Cronkite had abandoned mincing words. He criticized his successor as “playing the role of newsman” rather than being one. Mr. Rather should have been replaced years earlier, he said.

When Katie Couric took over the job in September 2006, Mr. Cronkite introduced her on the air and praised her in interviews.

His long “retirement” was not leisurely. When Senator John Glenn went back into space on the shuttle Discovery in 1998, 36 years after his astronaut days, Mr. Cronkite did an encore in covering the event for CNN. He made some 60 documentaries. And among many other things, he was the voice of Benjamin Franklin on the PBS cartoon series “Liberty’s Kids,” covered a British general election for a British network and for many years served as host of the annual Kennedy Center Honors.

He had already won Emmy Awards, a Peabody and the Presidential Medal of Freedom (in 1981), and he continued to pile up accolades. Arizona State University named its journalism school after him.

In July 2006, PBS broadcast a 90-minute “American Masters” special on Mr. Cronkite’s career. Mr. Lumet, the filmmaker, appeared and said, “He seemed to me incorruptible in a profession that was easily corrupted.”

On his 90th birthday, Mr. Cronkite told The Daily News, “I would like to think I’m still quite capable of covering a story.”

But he knew he had to stop sometime, he allowed in his autobiography. He promised at the time to continue to follow news developments “from a perch yet to be determined.”

“I just hope that wherever that is, folks will still stop me, as they do today, and ask, ‘Didn’t you used to be Walter Cronkite?’ ”





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