Okay, so Paramount went from not showing us anything about Star Trek Into Darkness to giving us a full-blown content overdose. Just a day after a new international trailer fleshed out the plot of J.J. Abrams' sequel more than any previous clip — we now know Benedict Cumberbatch's baddie John Harrison considers Starfleet Command to be a pack of criminals and he's out to topple them — we've now got an extended version of that very trailer.
Does the New Trailer Finally Reveal the Plot of ‘Star Trek Into Darkness’?
What do we see? A few more shots of Harrison beating people up and a couple cool glimpses of the Enterprise taking such a beating that hull ruptures cause crew members to get sucked out into the vacuum of space. Also, lest you found yourself unaware of where any of this was taking place, this version includes screencaps to identify "London" and "San Francisco." But all Trek is good Trek. Check it out:
Follow Christian Blauvelt on Twitter @Ctblauvelt
[Photo Credit: Paramount Pictures]
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Daniel Day-Lewis kept his acting work a secret from his children as they grew up and they were convinced he was a builder.
The revered method actor, who is up for his third Oscar next month (Feb13) for his portrayal of U.S. President Abraham Lincoln, is intensely private, and even quit acting in the 1990s to become a cobbler, before returning to the big screen in 2002's Gangs of New York.
And his Hollywood persona was such a mystery to his sons, his second child Ronan presumed he worked in construction.
He tells Britain's Daily Mirror, "They didn't even know what I was doing until a couple of years ago.
"In fact, my 14-year-old boy was asked what I did and he said, 'I think he's in construction'. That's how much they know!"
Day-Lewis is dad to two boys with his wife Rebecca Miller, Ronan and Cashel, while he also fathered a son named Gabriel with his ex-girlfriend, French actress Isabelle Adjani.
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There's a moment in the new time travel movie Looper where Bruce Willis as Joe is explaining to Joseph Gordon-Levitt, also Joe (but wearing more makeup), just how time travel works. Joe tells Joe, "If we start talking about [time travel] now we'll be here all day making diagrams with straws." It's true, watching this movie has more twists and broken threads that watching it is like looking at a bowl of spaghetti. That, right there, is why I hate time travel, or at least the brand of convoluted cause and effect narrative structure that has been unleashed on the world of sci-fi and pop culture in recent entertainment. (Oh, and that bit about Looper above wasn't really a spoiler, but there are going to be some spoilers of that and other movies in this piece so if you're especially sensitive go back in time before you clicked on this link and don't click on it. Or hit the back button. Same deal.)
It's almost impossible to even talk about time travel. In Looper, there is Old Joe and Young Joe, and the real future and the fake future where something else happens, and an alternative timeline, and that space where these things occurred but then they didn't, and an erased future and a rewritten past, It is just enough to make the inside of your skull itch for about seven years, or maybe only seven seconds, since time doesn't really mean anything anymore.
I didn't always have this problem with time travel. HG Wells The Time Machine, the grandfather of the genre, was always one of my favorites as a teen. Maybe because of its simple logic, a Victoria man goes to the future, his time machine breaks and he is stuck there. No back and forth, no talk of the "time stream," no cause and effect, just a nice simple allegory of what life will be like if we continue to live in a strict class structure. Back to the Future, which I saw in the theater when I was knee high to a flux capacitor, wasn't nearly as high brow but was simple fun. Marty McFly goes back in time to when his mother and father met in high school and he has to make sure they still get together so that he and his siblings are born. The only complication was when his mother fell for him (gross!) and he and his siblings started to disappear in a photo.
Even in that movie, if you think about the plot for more than the duration of a Huey Lewis song, it starts to break down. When Marty tracks down the scientist who souped up a DeLorean to zip through time, does that mean he himself invent time travel by telling the past self of the professor that he is, actually, going to invent time travel? And does the future professor always know that he is going to meet a teen named Marty and have to send him back in time since he met Marty when he was a young man? And if Marty goes back to the past from the present and makes sure his parents got together, did he always get his parents together or is that something that happened only now once the present is the future and the past is the present and the future is uncertain? Trying to figure it out is like trying to take off your belt using only your mouth, something you could probably accomplish after much pain and difficulty but way too much work to really bother with.
Things have gotten even worse, from Lost bounding around from present to past to being stuck in 1972 to the complete insanity of the X-Men comics which now regularly feature at least three different characters from three different future time lines that may or may not exist anymore and all of them trying to prevent their future from happening (wouldn't that erase them altogether?) And none of these are ever suitably explained. The worst in recent memory, as far as I'm concerned, was the time-bending in JJ Abrams new version of Star Trek. In it Leonard Nimoy's Spock goes back in time with the bad guy who then destroys his home planet. He meets up with the old version of himself and his friends on the USS Enterprise to stop the baddie but gets stuck in what he considers the past. But now won't current Spock always know what is going to happen to him? What if, knowing that this bad guy will rope him back into the past in the future prevent him from getting close to the bad guy? Can't this all change? How is this even all possible.
Some say that this was done so that future Star Trek movies won't be cast into doubt because they are now operating in a "different timeline" than the original series, so they can never contradict themselves. I say: who cares! If you can't figure out that the Star Trek we are watching now is different from the Star Trek show then you are such an idiot that you won't be able to untangle all this E=MC Squared nonsense anyway. We know that James Bond has been played by different actors, but we don't ever need to explain why the guy's face changes, because we are intelligent adult humans and we know that, sometimes, a character can be played by more than one actor. We can also ascertain that the Star Trek movie can be different from the Star Trek show. The kind of quibbling fans who care so much about that integrity and continuity of the franchise are such a small percentage of your box office that trying to please them is a fool's game. Those who are going to make this a blockbuster don't care about this stuff. But to please the convention going, costume-wearing, Klingon-speaking few, the movie depends on some sort of half thought out time travel logic that will confuse more people than the answer soothes.
My other huge problem with time travel is that it is just lazy. Asking "why" is met with an answer that sounds right out of a Ryan Lochte interview, "It is different because time travel!" It just opens so many doors that don't deserve to be opened. If a movie (or show or comic or whatever) wants to prevent something from happening, just send someone back in time to stop it. If you want someone to have a change of heart, just send them to the future. If anything can be erased or changed or manipulated by time travel, it means that no action has an equal and opposite reaction. It means that nothing at all matters because it can all be changed by magic and never fully explained by something other than, "Oh, it's time travel." No wonder time travel makes people on Lost bleed from the nose, because I have the same reaction trying to make all this stuff make sense.
The logic behind turning back the clock is always a problem because not only is it something that the human mind isn't meant to comprehend, but so many movies don't even bother to fill in all the narrative gaps to make soaring through the ages seamless. The worst, by far, is Looper. Not only is there the scene between both Old and New Joe, but at one point Jeff Daniels, playing a mobster sent from the future, tells New Joe, "This time travel shit just fries your brain." He's right, and the movie is not at all interested in trying to explain its logic or trying to turn down the heat on the skillet that is currently frying the brain. This is your brain (shows an egg). This is your brain on time travel (cracks egg puts it in skillet). Any questions? Yes! I have a million questions. Answer them please.
It's not that I need some sort of linear narrative or simplistic storytelling. Everything from Roshomon to Memento to Inception proves that we can go back and forth between time and place to great effect and still have a coherent narrative. But most movie's aren't as concerned with making a closed structure that makes sense to the casual viewer instead just assuming that we're going to go along with these time travel whims accepting that they make sense when they bring up even more problems than they solve. As far as I'm concerned, time travel should have no future. Or is that the past? Or is that a different future? Who cares. Just stop it.
Follow Brian Moylan on Twitter @BrianJMoylan
[Photo Credit: AP Photo; Paramount Pictures; Sony Pictures]
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We're heading towards Summer which means icy boozy beverages, copious movies about super power-laden humans, and lots and lots of outdoor concerts. And in August, there's an explosion of two of those factors: Chicago's Lollapalooza music festival. For three days, August 3 through 5, bands take over the city's Grant Park — the same park that held the jubilant crowd the night President Obama won the 2008 election.
And 2012 is going to fill out the picturesque park with tents, stages and sweaty music fans for the lineup chock full of big name acts like the Red Hot Chili Peppers, The Black Keys and Florence + the Machine. Plus, TV fans will be happy to find American Idol alum Haley Reinhart and Community star Donald Glover (as his rapper alter ego Childish Gambino) slated for the fest. So yeah, it's going to be a big one. Fire up the Spotify, crank up your headphones, and start listening because this year's lineup is nothing short of huge.
RED HOT CHILI PEPPERS
THE BLACK KEYS
FLORENCE + THE MACHINE
AT THE DRIVE-IN
THE AFGHAN WHIGS
THE TEMPER TRAP
SKREAM & BENGA
THE HEAD & THE HEART
THE BIG PINK
THE TALLEST MAN ON EARTH
TORO Y MOI
OF MONSTERS AND MEN
GARY CLARK JR.
THE GASLIGHT ANTHEM
AMADOU & MARIAM
BAND OF SKULLS
JJ GREY & MOFRO
DUM DUM GIRLS
TRAMPLED BY TURTLES
BEAR IN HEAVEN
THE BLACK ANGELS
BOMBAY BICYCLE CLUB
SHARON VAN ETTEN
TOTALLY ENORMOUS EXTINCT DINOSAURS
MACKLEMORE & RYAN LEWIS
THE DEVIL MAKES THREE
THE WAR ON DRUGS
JEFF THE BROTHERHOOD
FIRST AID KIT
JC BROOKS & THE UPTOWN SOUND
KOPECKY FAMILY BAND
THE WHITE PANDA
WALK OFF THE EARTH
DRY THE RIVER
[Image Credit: ChildishGambino.com]
The Coen brothers could be adding a third Writers Guild of America Award to their impressive trophy case next month if they can nab best original screenplay for their quirky comedy Burn After Reading. The WGA, who announced their nominees today, presented Joel and Ethan Coen with best adapted screenplay last year for No Country for Old Men and best original screenplay in 1997 for Fargo.
Rounding out the contenders this year are Dustin Lance Black for Milk, Woody Allen for Vicky Cristina Barcelona, Tom McCarthy for The Visitor and Robert Siegel for The Wrestler.
The WGA’s best adapted screenplay noms include Eric Roth for The Curious Case of Benjamin Button with story by Roth and Robin Swicord; Jonathan Nolan and Christopher Nolan for The Dark Knight with story by Christopher Nolan and David S. Goyer; John Patrick Shanley for Doubt, based on the stage play; Peter Morgan for Frost/Nixon, based on his stage play; and Simon Beaufoy for Slumdog Millionaire.
WGA members will meet simultaneously in New York and Los Angeles for the award ceremony on Feb. 7.
Burn After Reading, Written by Joel Coen & Ethan Coen, Focus Features
Milk, Written by Dustin Lance Black, Focus Features
Vicky Cristina Barcelona, Written by Woody Allen, The Weinstein Company
The Visitor, Written by Tom McCarthy, Overture Films
The Wrestler, Written by Robert Siegel, Fox Searchlight Pictures
The Curious Case of Benjamin Button, Screenplay by Eric Roth; Screen Story by Eric Roth and Robin Swicord; Based on the Short Story by F. Scott Fitzgerald, Paramount Pictures and Warner Bros. Pictures
The Dark Knight, Screenplay by Jonathan Nolan and Christopher Nolan; Story by Christopher Nolan & David S. Goyer; Based on Characters Appearing in Comic Books Published by DC Comics; Batman Created by Bob Kane, Warner Bros. Pictures
Doubt, Screenplay by John Patrick Shanley, Based on his Stage Play, Miramax Films
Frost/Nixon, Screenplay by Peter Morgan, Based on his Stage Play, Universal Pictures
Slumdog Millionaire, Screenplay by Simon Beaufoy, Based on the Novel Q and A by Vikas Swarup, Fox Searchlight Pictures
Boogie Man: The Lee Atwater Story, Written by Stefan Forbes and Noland Walker, InterPositive Media
Chicago 10, Written by Brett Morgen, Roadside Attractions
Fuel, Written by Johnny O'Hara, Greenlight Theatrical / Intention Media
Gonzo: The Life and Work of Dr. Hunter S. Thompson, Screenplay by Alex Gibney, From the Words of Hunter S. Thompson, Magnolia Pictures
Waltz with Bashir, Written by Ari Folman, Sony Pictures Classics
Dramatic Series Dexter, Written by Scott Buck, Daniel Cerone, Charles H. Eglee, Adam E. Fierro, Lauren Gussis, Clyde Phillips, Scott Reynolds, Melissa Rosenberg, Tim Schlattmann; Showtime
Friday Night Lights, Written by Bridget Carpenter, Kerry Ehrin, Brent Fletcher, Jason Gavin, Carter Harris, Elizabeth Heldens, David Hudgins, Jason Katims, Patrick Massett, Aaron Rahsaan Thomas, John Zinman; NBC
Lost, Written by Carlton Cuse, Drew Goddard, Adam Horowitz, Christina M. Kim, Edward Kitsis, Damon L. Lindelof, Greggory Nations, Kyle Pennington, Elizabeth Sarnoff, Brian K. Vaughan; ABC
Mad Men, Written by Lisa Albert, Jane Anderson, Rick Cleveland, Kater Gordon, David Isaacs, Andre Jacquemetton, Maria Jacquemetton, Marti Noxon, Robin Veith, Matthew Weiner; AMC
The Wire, Written by Ed Burns, Chris Collins, David Mills, David Simon, William F. Zorzi, Richard Price, Dennis Lehane, George Pelecanos; HBO
30 Rock, Written by Jack Burditt, Kay Cannon, Robert Carlock, Tina Fey, Donald Glover, Andrew Guest, Matt Hubbard, Jon Pollack, John Riggi, Tami Sagher, Ron Weiner; NBC
Entourage, Written by Doug Ellin, Jeremy Miller, Ally Musika, Steve Pink, Rob Weiss; HBO
The Office, Written by Steve Carell, Jennifer Celotta, Greg Daniels, Lee Eisenberg, Anthony Farrell, Brent Forrester, Dan Goor, Charlie Grandy, Mindy Kaling, Ryan Koh, Lester Lewis, Paul Lieberstein, Warren Lieberstein, B.J. Novak, Michael Schur, Aaron Shure, Justin Spitzer, Gene Stupnitsky, Halsted Sullivan; NBC
The Simpsons, Written by J. Stewart Burns, Daniel Chun, Joel H. Cohen, Kevin Curran, John Frink, Tom Gammill, Valentina Garza, Stephanie Gillis, Dan Greaney, Reid Harrison, Ron Hauge, Al Jean, Brian Kelly, Billy Kimball, Rob LaZebnik, Tim Long, Ian Maxtone-Graham, David Mirkin, Bill Odenkirk, Carolyn Omine, Don Payne, Michael Price, Max Pross, Mike Reiss, Mike Scully, Matt Selman, Matt Warburton, Jeff Westbrook, Marc Wilmore, William Wright; Fox
Weeds, Written by Roberto Benabib, Mark A. Burley, Ron Fitzgerald, David Holstein, Rolin Jones, Brendan Kelly, Jenji Kohan, Victoria Morrow, Matthew Salsberg; Showtime
Breaking Bad, Written by Vince Gilligan, Peter Gould, Patty Lin, George Mastras, J Roberts; AMC
Fringe, Written by JJ Abrams, Jason Cahill, Julia Cho, David H. Goodman, Felicia Henderson, Brad Caleb Kane, Alex Kurtzman, Darin Morgan, J.R. Orci, Roberto Orci, Jeff Pinkner, Zack Whedon; Fox
In Treatment, Written by Rodrigo Garcia, Bryan Goluboff, Davey Holmes, William Meritt Johnson, Amy Lippman, Sarah Treem; HBO
Life on Mars, Written by Josh Appelbaum, Andre Nemec, Scott Rosenberg, Becky Hartman Edwards, David Wilcox, Adele Lim, Bryan Oh, Tracy McMillan, Sonny Postiglione, Phil M. Rosenberg, Meredith Averill; ABC
True Blood, Written by Alan Ball, Brian Buckner, Raelle Tucker, Alexander Woo, Nancy Oliver, Chris Offutt; HBO
Episodic Drama - any length - one airing time
“Don’t Ever Change” (House), Written by Doris Egan & Leonard Dick; Fox
“Double Booked” (Burn Notice), Written by Craig O’Neill & Jason Tracey; USA
“Gray Matter” (Breaking Bad), Written by Patty Lin; AMC
“Pilot” (Breaking Bad), Written by Vince Gilligan; AMC
“Pilot” (Eli Stone), Written by Greg Berlanti & Marc Guggenheim; ABC
“There’s Something About Harry” (Dexter), Written by Scott Reynolds; Showtime
Episodic Comedy - any length - one airing time
“Believe in the Stars” (30 Rock), Written by Robert Carlock; NBC
“Cooter” (30 Rock), Written by Tina Fey; NBC
“Crime Aid” (The Office), Written by Charlie Grandy; NBC
“Crush’d” (Ugly Betty), Written by Tracy Poust & Jon Kinnally; ABC
“Succession” (30 Rock), Written by Andrew Guest & John Riggi; NBC
“Vote for This and I Promise to Do Something Crazy at the Emmys” (My Name is Earl), Written by Greg Garcia; NBC
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