Connect with us

New Movie News

The most anticipated movies of 2017

Published

on

Image: ladd company

Blade Runner 2049 is almost upon us — and the early reviews suggest that director Denis Villeneuve has done an excellent job adding to the world of Ridley Scott’s 1982 cult favorite, Blade Runner

Naturally, as a geek who wants to be prepared and fully hyped for such cultural events, you are considering watching (or rewatching) Scott’s original Blade Runner before 2049 is released next week. And then you run straight into the brick wall of a question that has smacked many a sci-fi nerd over the years: Which original Blade Runner?

As detailed in the comprehensive and recently updated book Future Noir: The Making of Blade Runner, a total of seven versions of this seminal movie were made. Two drastically different cuts were screened for test audiences pre-release; then the release version was altered for international audiences in 1982 and for TV in 1986.  

After that we got the misnamed Blade Runner Director’s Cut in 1992 and the Final Cut in 2007 — which is so optimistically titled, one suspects that somewhere on Ridley Scott’s hard drive there exists  BLADE_RUNNER_FINAL_FINAL_FINAL_CUT.MOV. 

In terms of what you can easily watch, you basically have three options. You can’t get any of them on Netflix, Hulu or Amazon Prime. You can buy or rent the 1982 release, which is available on Amazon Video (the one simply titled Blade Runner) and the download service Vudu. 

Then the Director’s Cut is on Amazon for $6 more than the Final Cut, also on Amazon and Vudu and YouTube Movies, and as a $27 Blu-Ray. The Final Cut is also on FandangoNOW for a special rental price of $1.99, and $5.99 to buy.

Confused yet? No wonder the co-writer of Blade Runner 2049, Michael Green, threw up his hands at the question and told io9 the best version is “whichever you can watch tonight.” 

But in the age of digital delivery, when you can watch three versions tonight, this is a glib, unsatisfying answer. You’re going to drop two hours of your precious time on this film; why not take a few minutes to figure out which one is best for you?

The internet isn’t much help. Amazon’s reviews  lump all three versions together. Same with Rotten Tomatoes, which unhelpfully gives the movie just one score — 91% — and in turn powers Apple’s reviews. So if you’ve hit the Blade Runner wall, here’s what you need to know.

1. Original flavor Blade Runner 

What’s different: Narration and a happy ending. 

When it comes to Star Wars, our culture’s consensus says the 1977 version was better than the 1997 Special Edition which added too much George Lucas tinkering. With Blade Runner, the reverse is true: according to an informal poll in Future Noir, some 70% of viewers prefer the later versions. 

The main reason? The studio insisted on two additions to the 1982 release: Harrison Ford narrating some lines of Rick Deckard’s thoughts in classic film noir style; the first is “they don’t advertise for killers in the newspapers.” Ford had to be dragged kicking and screaming to the voiceover studio, and some of us can really hear his reluctance. Secondly, a happy ending to the story that seemed tacked on — it’s not much of a spoiler alert that Scott intended the famously dark movie to have a dark, ambiguous ending. 

However, as Future Noir author Paul Sammon points out, Scott was actually in favor of the voiceover back in 1982; it gave the movie the old-time feel he was looking for. Some Deckard narration had shown up in early scripts by revered screenwriter Hampton Fancher, who fell out with Scott. And some audiences actually liked the happy ending after two hours of unrelenting grimness. 

If you’re among the 30% who prefers Ford’s narration and a lovely green final scene to contrast all that rain, there’s no shame in that. 

2. The Director’s Cut

What’s different: The unicorn with wobbling horn.

The 1992 Director’s Cut is literally and figuratively the middle child of the various Blade Runners. Despite its title, Scott did not supervise the cut, which was one of two (!) put together by editors for local art-house screenings, mostly without Scott’s knowledge while he directed the movie 1492: Conquest of Paradise.  

The fact that Scott signed off on calling it a “director’s” cut is down to two things: firstly, it removed the “happy ending” scene. The movie now ended with the discovery of an origami unicorn. 

Secondly, it inserted a scene that was supposed to come earlier in the movie, where Deckard falls asleep at his piano dreaming of an actual unicorn. Naturally, these two things become significant when you piece them together, and they change everything you know about Deckard. (Again, I’m trying not to spoil things for the newbies.) 

For the Director’s Cut, however, the unicorn scene from 1982 could not be found; just trimmed bits from the cutting room floor. These show the white stallion’s polystyrene horn wobbling. Other amateur filmmaking moments also went unfixed, like a scene with out-of-sync dialogue and the wires on the police “spinner” or flying car. 

In short, you should avoid the Director’s Cut — unless you really don’t like the changes in the Final Cut. 

3. The Final Cut 

What’s different:The resolution, the lighting, the lip sync and one less swear.

The 25th anniversary version from 2007 is, according to Ridley Scott, the definitive Blade Runner. We tend to agree, but not without some concerns. 

Scott, you see, is of the George Lucas school. He believes directors should be allowed to return to their movies and retrofit them the way a painter might touch up a painting. He’s never done anything as outrageous as when Lucas made Greedo shoot before Han, but The Final Cut walks that line.  

The Final Cut is certainly the highest resolution version; you can now get it in all the glory of 4K. But seeing it in HD made Ridley Scott decide to bring up the lighting in more than a few scenes to bring out details previous audiences had missed. In doing so, he made this version literally less “noir” than its predecessors. 

The dialogue sync problem in one scene was solved by the most elaborate means you can imagine — Harrison Ford’s son Ben was brought in to literally lip sync his dad’s lines. His mouth was digitally stitched onto Ford senior’s. For purists, this is a fix too far. 

But to many minds, the most egregious tweak is in the movie’s dialogue itself. In most previous versions, replicant Roy Batty (Rutger Hauer) screams at his creator “I want more life, fucker.” The Final Cut changed this to “I want more life, father” — just as it was changed for the TV version in 1986. 

Scott tried to laugh off the swear removal: “Must mean I’m getting older,” he said at a press roundtable quoted in Future Noir. Some fans liked it — it is metaphorically apt for the scene — while some fans saw it as as the equivalent of Greedo shooting first. 

So now you have all the spoiler-free information you need to chose between the three versions. We recommend The Final Cut, which is certainly the best bargain on Amazon. But no Blade Runner is entirely free of its problems. 

In any case, we’re sorry if a simple decision about which version to watch has turned into a total father. 

Read more: http://mashable.com/2017/09/29/blade-runner-which-version-watch/

New Movie News

‘Fortnite’ composer Pinar Toprak will score ‘Captain Marvel’

Published

on

Image: Brian To/FilmMagic

“Turkish-American composer Pinar Toprak has been hired to compose the score for Captain Marvel, which will premiere in March of next year.

Even if you’re not a film score buff, there’s a good chance you’re already familiar with Toprak’s work. In addition to writing additional music for Justice League in 2017, she is responsible for some of the incredibly catchy music from Fortnite. Yes, the stuff that is stuck in your head all the time…….”

Continue Reading

New Movie News

‘Incredibles 2’ breaks box office records with a whopping $180 million

Published

on

Image: disney pixar

“For every unmitigated disaster like Solo, there are multiple other box office hits for Disney. Incredibles 2 is the latest.

The 14-years-later sequel is on a pace to finish off its opening weekend with a $180 million box office haul in the United States. That’s the highest opening to date for any animated release, and for any PG-rated release as well. It’s also the eighth-largest domestic opening weekend ever, overall.

Incredibles 2 soars past another Pixar sequel, Finding Dory, the previous top animated opener. The Finding Nemo sequel launched in 2016 on the same June weekend as Incredibles 2, but it only (only!) managed to pull in $135.1 million in its first three days.

The new $180 million bar will be a tough one for future competitors to beat, though even that record is bound to eventually fall. Inflation and rising ticket prices all but ensure it.

Disney currently has three recent releases in the weekend box office top 10. Solo: A Star Wars Story comes in at #4 on this weekend’s chart, with an estimated $9.1 million. That brings its domestic total up to $192.8 million.

Solo will probably cross $200 million domestic in the next week or two, but it’s currently the lowest-earning live action Star Wars movie to date. There’s even some question at this point as to whether or not it will manage to beat The Empire Strikes Back. Not accounting for inflation, that second-ever Star Wars movie ended its box office run in 1980 with $209.4 million.

Disney’s lowest entrant on this weekend’s box office top 10 is Avengers: Infinity War, at #8. The April 2018 release is still kicking in its eight week after hitting theaters. It picked up an estimated $5.3 million this weekend…..”

Read more: https://mashable.com/2018/06/17/incredibles-2-opening-weekend-box-office-records/

Continue Reading

New Movie News

Apple and Oprah sign a multi-year partnership on original content

Published

on

Apple announced today a multi-year content partnership with Oprah Winfrey to produce programs for the tech company’s upcoming video-streaming service. Apple didn’t provide any specific details as to what sort of projects Winfrey would be involved in, but there will be more than one it seems.

Apple shared the news of its deal with Winfrey in a brief statement on its website, which read:

Apple today announced a unique, multi-year content partnership with Oprah Winfrey, the esteemed producer, actress, talk show host, philanthropist and CEO of OWN.

Together, Winfrey and Apple will create original programs that embrace her incomparable ability to connect with audiences around the world.

Winfrey’s projects will be released as part of a lineup of original content from Apple.

The deal is a significant high-profile win for Apple, which has been busy filing out its lineup with an array of talent in recent months.

The streaming service also will include a reboot of Steven Spielberg’s Amazing Storiesa Reese Witherspoon- and Jennifer Aniston-starring series set in the world of morning TVan adaptation of Isaac Asimov’s Foundation books, a thriller starring Octavia Spencer, a Kristen Wiig-led comedy, a Kevin Durant-inspired scripted basketball show, a series from “La La Land’s” director and several other shows.

Winfrey, however, is not just another showrunner or producer. She’s a media giant who has worked across film, network and cable TV, print and more as an actress, talk show host, creator and producer.

She’s also a notable philanthropist, having contributed more than $100 million to provide education to academically gifted girls from disadvantaged backgrounds, and is continually discussed as a potential presidential candidate, though she said that’s not for her.

On television, Winfrey’s Harpo Productions developed daytime TV shows like “Dr. Phil,” “The Dr. Oz Show” and “Rachael Ray.” Harpo Films produced several Academy Award-winning movies, including “Selma,” which featured Winfrey in a starring role. She’s also acted in a variety of productions over the years, like “The Color Purple,” which scored her an Oscar nom, “Lee Daniels’ The Butler,” “The Immortal Life of Henrietta Lacks” and Disney’s “A Wrinkle in Time.”

Winfrey also founded the cable network OWN in 2011 in partnership with Discovery Communications, and has exec produced series including “Queen Sugar,” “Oprah’s Master Class” and the Emmy-winning “Super Soul Sunday.”

The latter has a connection with Apple as it debuted as a podcast called “Oprah’s SuperSoul Conversations” and became a No. 1 program on Apple Podcasts.

Winfrey recently extended her contract with OWN through 2025, so it’s unclear how much time she’ll devote specifically toward her Apple projects.

Apple also didn’t say if Winfrey will star or guest in any of the programs themselves, but that’s always an option on the table with a deal like this. CNN, however, is reporting that Winfrey “is expected to have an on-screen role as a host and interviewer.”

Read more: https://techcrunch.com/2018/06/15/apple-and-oprah-sign-a-multi-year-partnership-on-original-content/

Continue Reading

Trending