More Reviews of "WFE" International Trailer

From Entertainment Weekly

Another new trailer for Water for Elephants has hit and the big guns are out: Mainly, a glimpse of at least one forbidden sex scene between veterinarian Robert Pattinson and married, abused circus performer Reese Witherspoon. Watching it, I have to say I’m excited for Pattinson, who gets to show a far wider range of emotions than he does in the Twilight movies or Remember Me. He looks up to the challenge, even if his breathy voice at one point (“You’re a beautiful woman… “) sounds a little Brando to me.

From MTV

Forget the second trailer’s chaste kiss, we have groping, people! Sure, it’s just a quick few frames, but it’s definitely H.O.T.

From MetroWNY

This is the third trailer for WFE so far, and it may have been the best. With Rob doing the narration, and with a couple of sex scenes highlighted, it was definitely a good one.

From Hey U Guys

These trailers do a damn fine job of selling the film to me. There’s definitely something about Christoph Waltz and I’m hoping the film makes the most of the man.

From Gather

This trailer is particularly enjoyable because it showcases a couple of quick love scenes between Robert Pattinson and his costar, Reese Witherspoon!

…

His performance in this film could put him in place to receive some award nominations, which would be awesome for him.

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Review of Drive Angry 3D: Go and see it!

Drive Angry 3D is filled with a great sense of its own silliness with director Patrick Lussier crafting a demented, gory and knowing homage to b-movie horror shows. It’s loud, brash, crass and thoroughly enjoyable. In many ways the kind of 1970s-inspired low rent flick that might have fitted neatly into the Grindhouse label given its penchant for thrills and chills with a pulp fiction heart.

Nicolas Cage plays John Milton (bit of a tired literary reference there), a bad ass ex-con who has busted out of Hell to rescue his granddaughter (yeah, Cage is playing granddaddies now) from the clutches of Jonah King (Billy Burke), a self-styled religious guru who worships Satan with his demented and dedicated clan of psychos. Oh and Milton’s daughter, before King murdered her, bit off his Johnson. Nice.

The use of 3D and its application takes a leaf from Alexandre Aja’s imaginary book on ‘Presenting Movie Mayhem in Stereoscope’. Drive Angry uses it to provide chuckles and horror in equal measure. And boy, do things get bloody.

This hellride actioner is one long chase scene and actually works well. One could described it as “Sam Peckinpah meets Roger Corman”. The story is threadbare but powered and energised fully by its concept and execution.

William Fichtner puts in an amusing turn as The Accountant. On the surface he’s all suave and cool, but really as deadly as the man he’s trying to return to Hell. Amber Heard also does herself no harm playing Piper, a foul-mouthed and hard as nails waitress who befriends Milton and joins him in his madcap quest across southern US back-roads and small towns.

There really isn’t much to grumble about. You’ll laugh in all the right places – including a fine sex scene turned shoot-out, you’ll enjoy the car chases and the deliberately corny dialogue. It plays to all of Nicolas Cage’s strengths as a great eccentric star, too.

As an audience who love the oddball actor we know his choices are hit and miss. Just when you begin to lose faith he pulls something out of the hat which makes you forgive him. Coming so soon after The Season of the Witch Drive Angry serves as a reprieve as much as an affirmation of the leading man’s qualities. When he’s on fire there’s nobody quite like Cage.

Of course the 3D leans more to the gimmicky side befitting its aesthetic and Lussier’s film would be equally enjoyable in the standard format. But since it delivers laughs and violence measure for measure it’s something the audience will no doubt embrace in whatever dimension it’s projected. Drive Angry has a cult classic vibe for sure, whether it becomes one remains to be seen. It tear-arses into cinemas from 25th February. Go and see it.

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IndieMovies: Cosmopolis Movie Review

Teen idol Robert Pattinson linking up with David Cronenberg, regent of body horror cinema and the man who made Geena Davis give birth to a maggot in The Fly. Both men can be seen to be gambling, spying greater rewards ahead. But can an adaptation of Don DeLillo's Cosmopolis deliver the payoff each desires?

Pattinson and Cronenberg, Cronenberg and Pattinson – it is a combination which becomes scarcely less surprising each time you see it there before you. One is often cited as the greatest Canadian director of all-time and indeed one of the most important and influential in global terms too, with a Légion d’honneur and the Cannes Film Festival’s lifetime achievement award, the Carosse d’Or, amongst his galaxy of accolades.

To be fair, the much-younger other has accumulated his own fair share of trophies as well, although his, to date, have tended to be more of the MTV Movie Award for Best Kiss variety, as opposed to prestigious cultural honours from the French government. True also to say that he enjoys a far less unilaterally positive critical reputation than his new directorial mentor.

For while Cronenberg may have endured his fair share of barbs and brickbats down the years, it is difficult to believe he too often faces the kind of vituperative assaults on his professional competence that Pattinson is forced to endure pretty much any time a movie comes out with him in it. See, for example, The Playlist's review of Remember Me ('Pattinson has mastered an American accent, but he should focus on actually acting. Squinting does not count'), or Slash Film's review of Twilight ('Pattinson spends most of the movie with a look on his face that's a cross between Zoolander's “blue steel” and a person trying to stave off a diarrhoeal attack').

Read more: indiemoviesonline

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Sundance Review of Elizabeth Reaser's New Movie "Homework" - Your Dog Wouldn't Eat It

'Homework' would be a good film to watch if you were cramming for your Indie Films of the 2000s final and didn't have time to see everything on the syllabus. It's like a Cliff's Notes version of every teen-centered Sundance comedy of the last decade.

Precocious teenage boy who's a slacker at school because he finds the material unstimulating? Check. Calls his teachers by their first names, cuz he's quirky like that? Check. Reads philosophy, watches foreign films in repertory theaters, fixates on death and mortality? Has major potential as an artist/writer/thinker if he'd just apply himself? Falls in love with a classmate, leading to a journey of self-discovery and coming of age? Check, check, check.

The familiarity of all these elements isn't the problem; it's the unimaginative fashion in which they've been cobbled together. 'Homework' is the first feature by writer-director Gavin Wiesen, and I don't think there's a single fresh idea anywhere in it. No witty dialogue, interesting characters, or amusing scenarios, either. It should have a plain brown label and be called ' Festival Movie.'

'Tis a pity, because it has a good cast. Freddie Highmore ('Finding Neverland,' 'Charlie and the Chocolate Factory') plays George, a Manhattan lad who reads Camus and ditches school to watch Louis Malle films. Too smart for his own good, he's obsessed with the fact that we will all die eventually, and so why does it matter whether we do our trigonometry homework? His mother (Rita Wilson) is concerned and involved; his stepfather (Sam Robards) is barely present.

You can read the rest at moviefone

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'WFE' Trailer Review From Zap2it

Whether you’re a Twihard with a life-sized Edward Cullen cut-out in your bedroom watching you sleep, or all things “Twilight” make you roll your eyes and stomp your feet, “Water for Elephants” will probably sway you over to Team Rob Pattinson pretty quick.

In the brand new trailer, Pattinson and Reese Witherspoon sparkle as Jacob (yeah, yeah, have a laugh) and Marlena, a vet and a performer traveling with the circus in the early 20th century. Their love story, told in flashbacks by Jacob at age 93 (Hal Holbrook), is complicated by her husband August (Christoph Waltz).

We’re already a little bit in love with the movie, just from the magical, cinematic feel of the trailer. The colors and the music are delightful, and we’re already looking forward to the performances. “Water for Elephants” is set for release on April 15, 2011. Will you be in line at the theater on opening night?


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Moviefone: 'The Twilight Saga: Eclipse' Blu-ray Review

There was a time when I actually defended the 'Twilight' films, and thanks in no small part to the films themselves, that devolved into simply defending people's right to like the 'Twilight' films. Now, I'm not quite sure that I can even do that, at least judging by the lack of, well, justification on the new Blu-ray for 'The Twilight Saga: Eclipse.'

In terms of the presentation of the film, the picture looks terrific, offering dynamic, colorful and clear imagery that highlights director David Slade's superlative technical expertise behind the camera. Meanwhile, the sound design is muscular but equally lucid, providing deep rumbles of furrowed-brow intensity via the low-end notes while dialogue and sound effects are perfectly distinguishable; in short, fans will have no trouble seeing every gesture that actors Robert Pattinson, Kristen Stewart and Taylor Lautner make, nor deciphering every last line or utterance that they deliver.

In terms of the bonus content, the centerpiece of the disc is the two commentary tracks that accompany the movie, one by stars Pattinson and Stewart, and one by 'Twilight' author Stephenie Meyer and producer Wyck Godfrey. Although an early exchange between Pattinson and Stewart suggests that the duo will reveal details about the forthcoming two-part finale of the series, 'Breaking Dawn,' their comments are ultimately as factual as the speculations of Twihards in a fan site chat room, and the majority of the rest of the track is devoted to the pair's giggling, largely-unexplained in-jokes or generally frivolous insights into the making of the film.

TRON'S Legacy: A new generation of filmmakers revives Disney's groundbreaking CGI thriller

From Clash of the Titans to The Karate Kid, A Nightmare on Elm Street to Predators and The A-Team to a second Wall Street, this was the year that the ’80s took back the multiplex in a big way. So it’s fitting that 2010 ends with the belated return of another piece of the Me Generation’s cinematic history.

Sweeping onto IMAX and regular screens nationwide on Dec, 17, TRON: Legacy is the long-in-the-works sequel to the cult favorite TRON, which first appeared on the pop-culture landscape in the distant past of 1982. Dreamed up by animator Steven Lisberger and bankrolled by Disney, the film sought to capitalize on the excitement surrounding the impressive advancements made in computer technology (most notably the recent introduction of personal computers) as well as the young medium of videogames by chronicling the adventures of Kevin Flynn (played by Jeff Bridges), a flesh-and-blood computer whiz who is transported into a brave new digital world.

The idea of a man lost in a machine and the search for him is such a compelling way into this story,” explains Kosinski. “It’s also a great way to introduce a new character and allow the audience to experience the world through his eyes. You need something emotional to hold onto when you’re creating a place that looks and sounds like this and a father-and-son relationship is a very relatable narrative.”

“If you’ve never seen the original, you will absolutely be able to follow this film,” Kitsis promises. “But if you have seen TRON, there are definitely things in Legacy that will make you happy.” (The writer also confirms reports that Pixar was brought aboard to offer creative input prior to some planned additional photography this past summer. “To us, Pixar is The Beatles of storytelling and if The Beatles are willing to listen to your CD and give their thoughts, you listen and thank them,” Kitsis says.)

read full interview filmjournal

REMEMBER ME / Robert Pattinson: International Reviews

Robert Pattinson’s REMEMBER ME: Canadian Reviews

Like in North America, Robert Pattinson’s Remember Me received mixed reviews overseas. The romantic drama had a disappointing opening in the United States, landing in fifth place on this past weekend’s domestic box office chart, with only $8 million. (Friday started out okay, but Saturday and Sunday business was very poor.) It fared even worse overseas in nine territories, grossing only $1.6 million at 530 screens in Australia, Brazil, Belgium, New Zealand, Sweden, Russia and a handful of other countries.

Perhaps if Pattinson had been showing up on US talk shows this week — instead of ten days ago — things might have been different for his film at least in North America, but the actor is currently filming Bel Ami in Europe.

On the other hand, when discussing box-office grosses it’s worth taking into account that Remember Me isn’t a "star vehicle" like most studio films. For one, Remember Me was made after Twilight opened to solid business, but before The Twilight Saga: New Moon became a surprise worldwide superblockbuster. Though pushed as a "major" release by Summit Entertainment, the $16 million production should be seen as an indie film that happens to star an up-and-coming young actor. If you look at it from that perspective, the film and its star acquitted themselves well.

Directed by Allen Coulter from a screenplay by Will Fetters, Remember Me also features Emilie de Ravin, Pierce Brosnan, Chris Cooper, Tate Ellington, and Lena Olin.

Note: We’ve found a few international reviews online, mostly from Brazil and English-speaking Australia and New Zealand. We’re looking for more.

"It’s this twist for which Remember Me will mostly be talked about, regardless of whether you think it’s a breathtaking addition or a cheap ploy. Before this blindside, however, there’s an angst-filled young love affair to enjoy, largely thanks to the strong on-screen chemistry between Pattinson and Emilie de Ravin … Without the pale complexion and red lipstick, it’s easier to see why teens swoon over Pattinson. As Tyler, he’s brooding, intelligent and sexy …" Francesca Rudkin in the New Zealand Herald.

"You have to give credit to a film which starts powerfully and grabs you by the eyeballs. That’s certainly the case here. A dramatic sequence with striking camera angles and lighting makes an instant impression and sets the mood for this gritty romance about two dysfunctional families. Aided by strong acting and an intelligent script, Remember Me is a cut above most romantic films." John Bale at The Blurb (Australia).

"There was no need to turn a romantic drama into a poster-movie for the carpe diem, or "seize the day," motto. There was no need to turn a romantic drama into a vehicle for moral lessons (including even a quote by Gandhi!). That’s too much!

"It wasn’t this time around that Pattinson became more than the fad of the moment. In one of the few instances when his dramatic abilities are called forth, he’s wiped off the screen by Pierce Brosnan, who devours the young Englishman the way he used to do to his enemies during his James Bond days. And let’s face it, Brosnan wasn’t even the best 007." Marcelo Forlani at Omelette.com (Brazil).

"In spite of the script, Pattinson reveals himself as an actor of subtlety now that he has assumed mortal form. It’s plain that there’s a mind powering all that angst. I just hope that he soon finds a better picture than this one. I was almost coming round to it but its gratuitously tacked-on ending put paid to that impulse." Sandra Hall in the Sydney Morning Herald.

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