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Showing posts with label World. Show all posts
Showing posts with label World. Show all posts

Saturday, February 25, 2017

'Rock Dog': Film Review

Luke Wilson and Eddie Izzard lend their voices to this generic computer-animated Chinese-American production.

Something was evidently lost in translation where the blandly rendered Rock Dog is concerned. An adaptation of the graphic novel, Tibetan Rock Dog by Zheng Jun, this draggy, computer-animated feature exhibits neither bark nor bite in its portrayal of a sheep-guarding, guitar-playing Himalayan mastiff who has his head perpetually in the clouds.

Coming after the film’s Chinese release last summer, which disappointed its 14 executive producers by bringing in less than 10 percent of its $60 million budget, the Americanized version, with a voice cast including Luke Wilson, Eddie Izzard, J.K. Simmons and Sam Elliott, will be hard-pressed to do much better, with a marketing campaign catering to younger pups.

While groomed by his gruff alpha dog dad, Khampa (Simmons) to keep the wolves away from the woollier inhabitants of Snow Mountain, young Bodi (Wilson) has always been distracted by the sound of music.
So when a transistor radio literally drops from the heavens (falling off of a passing plane), Bodi takes it as a sign to pursue his dream, leading him to the decidedly Zootopian urban sprawl that’s home to the reclusive Angus Scattergood (Izzard), the Wayfarer-wearing feline of a Mick Jagger-esque rock legend dogged by a pesky creative block.

Buried beneath all the increasingly tired visual gags and well-worn character conventions is a workable message about following one’s muse, but director Ash Brannon, a Pixar veteran, along with at least eight other writers, seem content simply to lay down the same old licks.

Considering that Xheng’s graphic novel was inspired by his own career as a rock star (among his hits was a Chinese-language cover of Coldplay’s “Yellow”), one would have expected Bodi’s journey not to have felt like such a generic retread, echoing any number of anthropomorphic efforts from Kung Fu Panda to Brannon’s own 2007 animated mockumentary, Surf’s Up.

Although Izzard and Wilson have a nice rapport, the efforts of the other voice actors — including Elliott as Fleetwood Yak, the town elder and part-time narrator, and Lewis Black as a gangster wolf on Wilson’s tail — get lost in the shuffle of under-choreographed subplots.
As for the music, the resemblance of Rock Dog’s playlist to actual rock’n’roll is about the same as that of Vanilla Ice to rap music. Despite his rockier aspirations, Bodi, like his under-achieving vehicle, was born to be mild.

Distribution: Summit Entertainment
Production companies: Huayi Brothers Media Corp., Mandoo Pictures, Huayi Tencent Entertainment Co., Eracme Entertainment, Dream Factory Group
Cast: Luke Wilson, Eddie Izzard, J.K. Simmons, Lewis Black, Kenan Thompson, Mae Whitman, Jorge Garcia, Matt Dillon, Sam Elliott
Director: Ash Brannon
Screenwriters: Ash Brannon, Kurt Voelker
Producers: Amber Wang, Joyce Lou, David B. Miller, Rob Feng, Zheng Jun
Executive producers: Wang Zhongju, Zheng Jun, Deng Feng, Angela Wu, Andrew Yang, Wang Zhonglei, Jerry Ye, Xu Xiaoping, Liu Shengyi, Tan Fei, Chuck Peil, Uri Fleming, Mike Bundlie, Lauren Selig
Production designer: Elad Tibi
Music: Rolfe Kent
Editors: Ivan Bilancio, Ed Fuller
Casting: Jen Rudin
Rated PG, 90 minutes

Jordan Peele's 'Get Out' Scares Up Huge $11M

Jordan Peele's Get Out is yet another directorial debut by a known actor that has snagged strong reviews and superb buzz. In that sense, it's little different from the likes of Sarah Polley's Away From Her, Ben Affleck's Gone Baby Gone and Lake Bell's In A World. It also shares something rather rare with Robert Redford's Ordinary People in that it's going to be a big box office win as well as a critical darling.

Blumhouse and QC Entertainment's comic thriller just snagged $10.842 million on its opening day, basically doubling its $5m production budget. It's just getting started, but Get Out is going to make a lot more than Stanley Tucci and Scott Campell's Big Night or Drew Barrymore's Whip It.

The grimly topical "social thriller," courtesy of Universal/Comcast Corp., about a young black man (Daniel Kaluuya) taking a weekend trip to meet his white girlfriend's (Allison Williams) family, rode a wave of buzz stemming from a great trailer and an unending wave of rave reviews. Of note, Get Out has amassed 132 positive reviews out of 132 total reviews on Rotten Tomatoes, making it the first live-action fictional film to snag a 100% on the site with well over 100 respective positive scores. We'll see if it can keep up the streak. But with an average critic score of 8.3/10, it's already the year's first live-action, multiplex-friendly critical darling.

With said $10.842 million Friday, including $1.8m in Thursday previews, the picture is aiming for a $28.5m debut weekend. But with said buzz and excellent word-of-mouth already forming (the film snagged an A- from CinemaScore), an over-$30m debut weekend is not out of the question. If it tops $26.411m (Don't Breathe's opening last August), it will be the second-biggest wholly original R-rated horror film debut ever, behind only Blumhouse's The Purge ($34m back in June of 2013).

And all of this is sans marquee movie stars, sans IP and sans a marquee horror director. To be fair, I might argue that the notion of a somewhat acclaimed/well-known comic artist tackling a horror movie added to the film's mystique. This was a sell based mostly on its primal (and all-too-easy to explain) concept, starting with a gangbusters first (and only... kudos on that front) trailer debuting during the BET Awards last October.
Along with a surprise Sundance premiere which elicited an initial round of rave reviews, and the usual prerelease press and digital marketing (including All Def Digital's music video), Get Out got a somewhat unexpected boost from M. Night Shyamalan's Split. Said January release, which just crossed $220 million worldwide making it Blumhouse's biggest global grosser ever, was a prime platform for that buzzy Get Out trailer.

As I've always said, sometimes the best marketing is a good trailer attached to a popular hit playing to friendly demographics. Split was unexpectedly huge and leggy, opening with $40 million and legging it past $130m domestic, so a lot more horror-friendly folks got prime exposure to Get Out's prime piece of marketing.

There were two other wide releases this weekend, both of which played as glorified sacrifices to the post-theatrical/overseas box office gods.
Lionsgate snagged the Chinese-produced animated comedy Rock Dog for reasons that I can only presume are about building its library for the long haul. The $60 million production (!) was the most expensive Chinese-financed animated production ever, but it flopped there too earning just $5.7m. The film, based on a graphic novel by Zheng Jun, is going to make around $3.5 million this weekend after a mere Friday gross of around $890k. That will be lower than Norm of the North ($6.7m) and barely higher than The Wild Life ($3.3m).

Lionsgate and Summit obviously aren't too concerned about this one, what with La La Land making all the money and presumably winning most of the Oscars tomorrow. But if Lionsgate ever wants a real foothold in theatrical animation, they need to do... well, the opposite of this. To be fair, maybe that's not a big concern. After all, Alpha and Omega made $50 million worldwide back in 2010 and spawned five direct-to-DVD sequels with two more on the way and Shaun the Sheep was a critically-acclaimed $100m+ worldwide grosser in August of 2015.
But there is little silver lining for Collide. One of a number of films acquired from the ashes of Relativity, the Open Road pick up will barely make $1.5 million this weekend after a Friday gross of around $540k. The Nicolas Hoult/Felicity Jones/Anthony Hopkins/Ben Kingsley car chase heist caper was shot years ago but was bounced around the release schedule (and retitled from Autobahn) for two years. The overall budget was $21.5m, most of which was covered via output deals and foreign sales, but Open Road is only on the hook for distribution.It has made $2.5m overseas thus far.

Truth be told, I'm shocked this ended up in theaters considering its status and its history, perhaps surviving merely on the hope that a post-Rogue One Felicity Jones might give it a boost. But, and this is a general free tip, if you're trying to bank on a now-famous actress who just starred as the lead in an action movie or franchise, those fans will be less willing to show up for a film where she plays the love interest/damsel-in-distress. Lionsgate learned that two years ago with American Ultra. Oh well, Collide is pretty forgettable, and it will soon be forgotten to the extent that it was ever known.

EPL Results: Saturday's Week 26 Scores, Updated 2017 Premier League

Chelsea extended their lead at the top of the Premier League to 11 points after beating Swansea City 3-1 at Stamford Bridge on Saturday. The Blues took advantage of title rivals Manchester City and Arsenal not being in action thanks to Sunday's 2017 EFL Cup final between Manchester United and Southampton.
At the other end of the table, Crystal Palace climbed out of the drop zone after beating Middlesbrough 1-0 at home. The result not only took the Eagles clear of immediate danger, it also put defending champions Leicester City into the bottom three.
Here are the final scores from Saturday's matches:
 
 Here's what those results mean for the table:



Oscars 2017: Who's predicted to win ?

It's the biggest night of the year in Hollywood - the Oscars begin at 17:30 PST on Sunday (01:30 GMT on Monday). As the final preparations take place, here's what to look out for in the main battles.

Best picture

Emma Stone and Ryan Gosling n La La Land
The frontrunner: La La Land

Surely, with a record-equalling 14 nominations, this will waltz off with the top award. It's classic yet contemporary. It feels unlike any other modern film, yet feels so right. And it's about the agony and ecstasy of "making it" in Hollywood. What could be more Oscar-friendly?

The challenger: Moonlight

A beautifully-crafted film and a beautifully-told story, Moonlight gives screen time to the type of central character that Hollywood doesn't normally dwell on, or does so only as a stereotype - a poor, young, gay, black, marginalised man.

The outsider: Hidden Figures

This real-life story of three black, female mathematicians in a white, male world at Nasa in the 1960s has exceeded expectations at the US box office, and is the highest-grossing of the nine best picture nominees.

Best actress

Emma Stone

The frontrunner: Emma Stone (La La Land)

If La La Land is to sweep the board, then it will sweep Emma Stone along with it. She's also at the age, and the stage of her career, at which the Academy likes to admit female stars to its A list.

The challenger: Isabelle Huppert (Elle)

The French actress won a Golden Globe for her role in rape revenge thriller Elle, and there's a strong contingent that thinks the Oscars should give her the credit she deserves for her 40-year career.

The outsider: Natalie Portman (Jackie)

At one stage, Portman and Stone were neck-and-neck. The Academy loves stars who transform themselves into real-life legends, as Portman has with former US first lady Jackie Kennedy. But Jackie has underperformed at the box office and elsewhere in the Oscar nominations.

Best actor

Denzel Washington

The frontrunner: Denzel Washington (Fences)

Denzel is probably the marginal favourite in this race. If he wins, he will become only the fourth man to have won three acting Oscars, and will be the oldest best actor winner for 25 years.

Or maybe the frontrunner is: Casey Affleck (Manchester by the Sea)

It's a close call, and Casey is still in very much contention for his depiction of pent-up grief. But he has slipped back, partly because he's hardly charmed the campaign circuit, and partly because of a shadow cast by sexual harassment claims dating back to 2010.

The outsider: Ryan Gosling (La La Land)

If Ryan Gosling wins best actor, then La La Land really will be sweeping everything before it.

Best supporting actress

Viola Davis in Fences

The frontrunner: Viola Davis (Fences)

Playing the same role that earned her a Tony Award on Broadway, Viola is, according to the bookies and the pundits, the surest thing in this year's Oscars.

The challengers: Naomie Harris (Moonlight), Nicole Kidman (Lion), Octavia Spencer (Hidden Figures) and Michelle Williams (Manchester by the Sea) all gave fine performances. But they needn't bother rehearsing an acceptance speech.



Best supporting actor

Moonlight

The frontrunner: Mahershala Ali (Moonlight)

Ali was the standout performer in Moonlight's ensemble. And with a role in Hidden Figures also among his credits, he is another actor the Academy is ready to anoint as a major star.

The challenger: Dev Patel (Lion)

There's a lot of love and a late surge of support for Patel, who has come of age as an actor eight years after his breakthrough film Slumdog Millionaire won eight Oscars.

The outsider: Jeff Bridges (Hell or High Water)

He may be supporting, but Bridges steals the show as a wizened, maverick Texas Ranger.

Best director

Damien Chazelle

The frontrunner: Damian Chazelle (La La Land)

La La Land is so beloved by the Academy that they're likely to reward Chazelle's vision and audacity - and the fact he's made a film like this at the age of 32. He would be the youngest best director winner in Oscars history.

The challenger: Barry Jenkins (Moonlight)

But Moonlight also shows rare directorial acumen and marks the arrival of another major film-making talent in Jenkins, who would be the first African-American winner of this award.

The outsider: Mel Gibson (Hacksaw Ridge)

It would be a big statement to give the award to the Australian after his exile from Hollywood following notorious anti-Semitic, racist and misogynist outbursts. But then again, the Oscars did give this award to Roman Polanski in 2003, despite his own Hollywood exile after admitting unlawful sex with a 13-year-old girl.

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