It seems that if you want to make a big budget, CGI heavy action/thriller, the best way to get noticed is to make a short film, wait for it to become an internet sensation and then allow the studios to come knocking on your door.
Following Sony's acquisition of Pixels and the career boost that Carl Erik Rinsch got with his short The Gift, the latest pick up is The Raven, bought by Universal Pictures and not to be confused with John Cusack's Edgar Allan Poe thriller of the same name. Ricardo de Montreuil, the original’s writer and director, will direct the feature though he has handed over writing duties to Justin Marks. Mark Walhberg is attached to produce and star in the project. Perhaps Wahlberg really wanted to make a movie with a bird in the title since he was rumored to be involved in The Crow remake though that is no longer happening.
As far as the short goes, it looks pretty dull. Sure the CGI is great and it looks crisp and clear, but the story doesn’t seem all that interesting. Montreuil had the set up of something good - a totalitarian government and a dude with super powers - but it seemed really bland. I don’t care that this guy has powers, I don’t care about the (very Star Wars inspired) robots. The story just didn’t engage me at all. But perhaps Sony, Marks and Wahlberg can improve it when they expand the narrative.
Source: Universal Pictures
November 04, 2008 12:48pm EST
When Graham is ditched by her husband (Luke Wilson) she rents a clunker and heads to El Paso Texas discovering that not only her marriage but also her faith and sanity are at stake in this clever original comedy. Through Graham's odyssey the film explores issues of honor and promise while never getting preachy or pretentious. The script is funny yet never slapsticky. And though touching the films never falls prey to drippy sentimentality.
Always a bride's maid and never a bride (with knockout supporting turns in
"Boogie Nights" and "Austin Powers: The Spy Who Shagged Me") Graham finally takes command in her first lead role. Her face is as expressive as it is beautiful as she gently glides from strong to comical to vulnerable. This surely won't be her last starring role. Casey Affleck comfortably fits as Graham's dopey but loyal brother who half-wittedly forgets that Jolene is his sister. When he gives her a sensual kiss she responds by reminding him "I'm married and I'm your sister." He replies "Oh yeah." Wilson restrains from playing the stray husband as a cartoon villain and gives us a cad who's hard to hate.
This was obviously a labor of love for writer/director Lisa Krueger and every bit of her passion shows onscreen. She gives the actors a spotlight to shine in paints a beautiful picture of the Texas desert and trusts the audience with her vivid characters. Krueger's graceful touch turns Jolene's warm naiveté into something refreshingly strong and hopeful.
Pretty people just don’t understand—you’re not safe anywhere and all the sadists are after YOU! As the two geniuses in The Hitcher Grace (Sophia Bush) and her boyfriend Jim (Zachary Knighton) learn real quickly a cross-country trek to New Mexico in a beat-up car is especially risky. During their first night out on the open road it’s raining cats and dogs when they almost run over a man (Sean Bean) who’s standing aimlessly in the middle of the street his car apparently broken down. The young couple decides against lending him a helping hand with it pouring down rain and all. Bad move. When they stop for gas later Jim and Grace cross paths with the man who goes by the name of John Ryder. He asks the couple if he might hitch a short ride with them to a local motel. This time they oblige. Bad move. One aspect the studio must’ve loved about The Hitcher: Being shot primarily in a car the cast cannot feasibly be more than three deep—four tops. That also means that said cast must wear the tension well if the camera is to be on them throughout. Bush (TV’s One Tree Hill) the movie’s biggest asset as far as its target audience is concerned shrieks well and most importantly is smokin'. And when it comes time to fight back she doesn’t look so bad doing it even if there’s scant giggling in the theater at the now clichéd image of a weapon-wielding hot chick. As the hugely sadistic villain Bean (GoldenEye the LOTR movies et al) is more than adequately creepy. There’s something to be said with most of The Hitcher’s viewers’ inability to recognize him because an A-list movie star just wouldn’t work in this role. Obscurity aside Bean his face lurking around every corner will simply creep the crap out of the young audience. As for Knighton he seems and looks like the garden-variety up-and-comer and try as I might there’s nothing wrong with his biggest role to date—except a scene of um tug-of-war that is tough to watch or look away from. Veteran actor Neal McDonough also pops in with a brief role as a sheriff caught in the proverbial crosshairs. These days it’s tough to come up with anything new in a horror film—so directors just don’t bother. Save for neo-horror maestro Eli Roth there’s no originality to be seen especially when seemingly 99 percent of horror movies are remakes and when they’re not remakes they’re Primeval or Turistas. The Hitcher is much better than those two but director Dave Meyers truly eliminates most of the psychological aspect of the original 1986 Hitcher in exchange for a polished contemporary feel. Of course Meyers is one the most renowned music video directors of the past several years so it's no surprise when he mistakes volume for thrills; in fact the decibels will be the chief reason for almost all of the audience’s screaming. Not that there aren’t scary moments however. The writers Jake Wade Wall (When a Stranger Calls) and Eric Bernt (Romeo Must Die) actually get the film off to a brisk smooth start but they ultimately turn John Ryder into more of a Terminator-like character and ask for too many leaps of faith and suspensions of disbelief—again not that their intended audience won’t indulge them. At least the studio had the guts to retain the intended 'R' rating!