Author

Matt Patches
After a few years of working behind the scenes on movies and TV shows (and earning an IMDb page for bragging rights), Movies Editor Matt Patches made a hard right into the world of entertainment journalism. In 2009, Patches became the Associate Movies Editor of UGO.com, departing in 2010 to go rogue as a writer-for-hire. Patches covered movies and festivals for a number of outlets, including Movieline, MTV NextMovie, CinemaBlend, and Film School Rejects, before joining Hollywood.com as Movies Editor in 2011. He proudly names "Groundhog Day" as his favorite movie of all time.
  • The End of 'Oz the Great and Powerful' and Where a Sequel Could Go
    By: Matt Patches Mar 08, 2013
    This article contains spoilers for this weekend's Oz the Great and Powerful. Early reports suggest that Sam Raimi's Oz the Great and Powerful is on its way to becoming a massive hit, taking in $2 million in midnight screenings and moving like a tornado towards a predicted $80 million weekend. Even before the dollar figures became apparent, Disney knew they had a hit on their hands — at least, enough to begin developing a sequel to the fantasy flick. Mitchell Kapner, whose credits include Raimi's Great and Powerful, The Whole Nine Yards, and Into the Blue 2: The Reef, has been hired to pen a sequel to his film. After Kapner completed his version of Great and Powerful, writer David Lindsay-Abaire (Rabbit Hole, Rise of the Guardians) came on board to rewrite the film. There's no word from The Hollywood Reporter's initial report on whether or not the sequel would follow the same process. RELATED: Dr. Oz The Great And Powerful! While the conclusion of Oz the Great and Powerful sets up for the events of the much-loved 1939 Wizard of Oz, Kapner has wiggle room to continue on with the established characters in his version. The film ends with Oscar utilizing his con man magician skills to convince Theodora and Evanora that he's been killed, manifesting himself as a talking head with dangerous magical powers. They both flee the scene, escaping unscathed so that they could, theoretically, confront the Wizard at some point down the yellow brick road. Constructing an Oz sequel to fit between Great and Powerful and The Wizard of Oz would be possible, though challenging. Dramatically, we've already been given the prelude that connects the two movies. If we saw the further adventures of Oscar (presumed dead), the witches, the Munchkins, and the rest of the gang, the events of Oz 2 would have to loop back around by the end of the film so that everything is in working order for Dorothy's arrival. Basically, have the same conclusion as movie one. That, or it must have some continuity shift that throws Oz into a J.J. Abrams/Star Trek-style tizzy (a time travel headache that fused "sequel" and "reboot" into one monster of a franchise intsallment). The only way for the original cast to return and create real drama again would be to go off course. Maybe Dorothy doesn't make it Oz, maybe a house doesn't fall on the Wicked Witch of the East, and maybe a younger Wizard must come out of hiding to once again battle the evil sisters with some new allies. RELATED: Sequel to Tim Burton's 'Alice In Wonderland' in The Works Diehard Oz-enthusiasts may throw up their hands and scream even louder than they did when Great and Powerful was first announced, but the move would effectively shake up the mythology and split Raimi's movies into their own dynamic franchise. Attempting to weave another tale into the tapestry of cinematic Oz movies sounds like a messy operation, regardless of how well Great and Powerful plays with audiences. Technically, Oz the Great and Powerful is completely disconnected from the original '39 movie (that is owned by Warner Bro. while Great and Powerful is a Disney-owned property). Kapner and Lindsay-Abaire culled from author L. Frank Baum's source material, paying homage to The Wizard of Oz movie as carefully as they could without infringing on WB's rights. They might be smart to go back to that source material for a sequel: Baum wrote 14 Oz and a handful of spin-offs, telling the tales of various characters and moments in Ozian time. The continued adventures of Raimi's Oz could flourish if approached like the Narnia series. Instead of following The Wizard and attempt something that continues the plot of the original, find a new lead, a new adventure, and new area of the alternate universe to explore. Audiences may agree with critics that the weakest part of Great and Powerful is Franco. He wouldn't be needed if the sequel script brought in a new visitor to the world of Oz and wrangled Mila Kunis and Rachel Weisz to return as the pair of Wicked Witches. Anyone who has seen the 1985 cult favorite Return to Oz knows there are a handful of great characters to pull from — Jack the Pumpkinhead, Ozma of Oz, and Tik Tok to name a few. It's just a matter of weaving them into the light, fluffy world created by Raimi. RELATED: 'Return To Oz': 7 Truly WTF Moments From The 'Wizard Of Oz' Sequel If Oz the Great and Powerful crosses the right box office lines over the weekend, it won't be too long before Disney shifts Oz 2 into high gear. So what do you want out of a new movie? What can they fix about the first movie? What do they need to keep? Don't be cowardly — let your brain and heart go crazy in the comments. Follow Matt Patches on Twitter @misterpatches [Photo Credit: Walt Disney Pictures] You Might Also Like:8 Male Stars With Tramp Stamps15 Stars Share Secrets of their Sex Lives (Celebuzz)
  • 'Oz's' Wicked Witch and 8 of the Wildest Actress Transformations
    By: Matt Patches Mar 08, 2013
    Do you know who that is playing Oz The Great and Powerful's Wicked Witch? Are you sure? One of the best kept secrets in the latest incarnation of Wizard of Oz is the identity of the fantasy flick's verdant villain. It's a reveal made possible through the magic of movie makeup, a makeover that turns a stunning actress into the wickedest witch there ever was. A few smears of green foundation wouldn't do the trick — this is the full cake treatment, turning the actress underneath is completely unrecognizable. RELATED: 10 Terrifying Paranormal Characters Who Are Normally Attractive Hollywood has been masking actors and actresses in makeup since the early days of the business, but rarely do the leading ladies undergo a prosthetic job that completely separates them from their well-known personas. For a look back at some of the craziest makeovers in movie history, check out our gallery… GALLERY: 8 of the Wildest Actress Transformations Follow Matt Patches on Twitter @misterpatches [Photo Credit: Walt Disney Pictures]
  • Only 3 Women Are Directing Blockbuster Movies in 2013, and That's a Problem
    By: Matt Patches Mar 08, 2013
    Kimberly Peirce, Chloë Moretz, and Julianne Moore on the set of Carrie After losing out on a 2013 Oscar nomination in the Best Director category, Ben Affleck and his film Argo became the season's biggest talking point. After losing out on a 2013 Oscar nomination in the Best Director category, Kathryn Bigelow and her film Zero Dark Thirty faded out of the picture. Already battling wishy-washy political arguments that threatened to shift the spotlight away from the film, Bigelow's docudrama thriller was all but knocked out of Oscar consideration when the critically acclaimed director failed to sit alongside 2012's contenders. The snub was a reminder of a sad fact that remains a talking point each year: In the 85-year history of the Academy Awards, only four women have been nominated for the "Best Director" Oscar. And only of them won: Bigelow, for 2009's The Hurt Locker. There's an imbalance of female and male directors represented in the Hollywood mainstream. It's a point argued year after year, yet it's a statistic that never seems to change. According to a study by Dr. Martha M. Lauzen, Executive Director, Center for the Study of Women in Television and Film, School of Theatre, Television and Film, 18 percent of all directors, executive producers, producers, writers, cinematographers, and editors working on the top 250 domestic grossing films of 2012 were women. And only 9 percent of all directors working on those films were women. While that's a 4 percent bump up from 2011, the percentage of women directors working in 2012 was the same as in 1998. In 2013, three women are slated to direct studio-driven, wide-released feature films: Tyler Perry Presents Peeples (May 10), directed by Tina Gordon Chism, Carrie (Oct. 18), directed by Kimberly Peirce, and Disney's animated feature Frozen (Nov. 27), co-directed by Jennifer Lee alongside Chris Buck. A few more will sprout from between the blockbusters into limited releases: Sally Potter's Ginger & Rosa (March 15), Sofia Copolla's Bling Ring (June 14), Mira Nair's The Reluctant Fundamentalist (April 26), Maggie Carey's The To Do List (Aug. 16), Kelly Reichardt's Night Moves (Sept. 20), Susanne Bier's Serena (Sept. 27), Diablo Cody's Paradise, and the Soska sisters' American Mary. Women are making movies, but considering the sheer number of films in theaters from year to year, they're not making enough movies — and they're rarely making them with the support of Hollywood. RELATED: Kathryn Bigelow: Oscars' 'Best Directors' Didn't Need to Be a Boy's Club Chism, screenwriter of 2002's Drumline and 2006's ATL, makes her directorial debut this spring with Peeples, but breaking through as a female force in Hollywood required hard bargaining. "I've always been attracted to writer/directors and Nancy Meyers was a huge inspiration for me in her work," Chism says. "So, as a writer, I've used my script as leverage to get in the room to plead my case to direct it. If I didn't have that script, I don't think I would have been given the opportunity." With Peeples — which stars Craig Robinson and Kerry Washington — ready for release, Chism already has a follow-up in place, a thriller set up at Sony. Despite having a feature under her belt, Chism says the process was the same: more teeth-pulling, more clinging to her script, more proving herself capable. The writer/director recalls her first studio meeting, during which Fox gave her a number of different script ideas, none of which worked for the budding filmmaker. "We talked about all kinds of ideas and I hated all of the things they pitched me," Chism says. "I thought, 'This is a nightmare.' In that meeting, they told me they were toying around with a movie about a band. At the time, it was about a white kid and a black kid who can't read. And I come from the South and my mind went to historically black colleges. Thank God. And I remember, they were like, 'There are all-black colleges?'" "I'm not sure if I'll have to do that forever," Chism says. "I think it has to do with power, basically, and in this industry, the writer doesn't hold the largest bit of power. So it's more palatable for people to deal with women as writers." Hollywood does appear to be more receptive to hiring females in that role; Lauzen's study reveals that women account for 15 percent of the writers working on the top 250 films of 2012. Like Chism, Jennifer Lee also comes from a writing background. Before being recruited by Disney Animation head honcho John Lasseter to co-direct Frozen, Lee had sold two screenplays: an adaptation of John Steinbeck's The Acts of King Arthur and His Noble Knights and an original script being developed at Leonardo DiCaprio's Appian Way production company. She was brought into the Disney fold by her Phil Johnston, a friend from Columbia University's film school who recruited her to write on Wreck-It Ralph. After meeting weekly for years in order to "push each other as writers," Johnston asked Lee if she would be willing to move to Los Angeles on a week's notice to take over Wreck-It's script, which he had initially developed years before. The success of the 2012 Oscar nominee — and the nurturing environment of a long-gestating animated film — landed her the job co-directing Frozen. Concept art from Jennifer Lee's Frozen RELATED: Why 2012 Was Not 'The Year of he Woman' Unlike live-action's homogeneous roster of filmmakers, animation has traditionally welcomed female directors. In 2012, Brenda Chapman became the first woman to receive an Oscar for Best Animated Feature for Brave (sharing it with Mark Andrews, who took over as director halfway through production). Vicky Jenson (Shark Tale) nearly took home the award in 2001 for co-directing Shrek — in the category's first year, only the producers were awarded with the gold statue. In the grand scheme of Hollywood, Jennifer Yuh Nelson possessed the most important honor: Her Dreamworks Animation film, Kung Fu Panda 2, is the highest-grossing female-helmed movie of all time, with a whopping worldwide gross of $665.7 million. In terms of creativity, box office numbers are inconsequential. But in Hollywood, they're a calling card and a record-setting number like Nelson's Kung Fu Panda 2 gross goes a long way. Which explains why women filmmakers are climbing uphill to get projects with larger budgets off the ground. Running down the list of the highest-grossing directors of all time (based on BoxOfficeMojo.com's director filmography totals), we don't find a woman until No. 60: Lana Wachowski, director of The Matrix trilogy, who first entered the industry as a man. Further down at No. 81 is Betty Thomas, one of the few women to have shaped a career out of directing modest blockbusters. Including The Brady Bunch Movie, Doctor Dolittle, 28 Days, and the recent Alvin and the Chipmunks: The Squeakquel, Thomas' films have collected nearly $563.3 million. NEXT: Moviegoing Demographic Myths and Why Female-Driven Blockbusters Work Chloë Moretz in Carrie For women to stake a claim in box office history, they must be given the opportunity to direct blockbusters, the type of genre filmmaking narrowly aimed at adolescent boys. A 2011 study released by the Motion Picture Association of America cites that the gender composition of moviegoers was balanced, about 51 percent women, 49 percent men, with the 25 - 39 age demographic representing the largest portion of the audience, around 28 percent. Yet most of the major studio tentpoles are male-driven. Out of 45 movies based on comic books released between 2003 and 2013, only one of them was directed by a woman: Lexi Alexander's 2008 film Punisher: War Zone. The lack of women represented in genre movies makes Kimberly Peirce's horror remake Carrie an event in itself. Like many female directors actively working in the film industry, Peirce is hesitant to make gender divide a talking point when discussing her new adaptation of the Stephen King classic. The Boys Don't Cry and Stop-Loss director wants to be seen as simply that — a director. Still, she believes women do add perspective to genre stories, and in the case of Carrie, perspectives that echo themes laid down by the book's author. "What I love about King was, he was writing about a fear of the period," Peirce says. The director recalls King's notorious experience of working as a janitor and discovering a bloody tampon, a terrifying event that Peirce revels in. "Women may have fear about their tampons and their menstrual cycles, but you know what? They’ve got to deal with it on a monthly basis. It’s a fear that you know in a way that this guy may not know. So it took on epic proportions. So it is really interesting that it was a man’s fear that birthed [the story], and then I get to [view it] through a different tunnel." Peirce acknowledges that Brian De Palma, director of the acclaimed 1976 version of Carrie, knows "a lot about women." Peirce also finds her approach to the material unique, because it's informed from personal experiences. "The truth is, I have a mother and I have had wars with my mother [and] I know what those wars feel like," Peirce says. "I know what those feel like from my perspective, the claustrophobia in the female-female, mother-daughter relationship. I also know how snarky the girls can be. It doesn’t mean the men can’t be. Female terror is a very interesting terror. It’s relentless, it’s diffuse, it communicates." RELATED: 'Carrie' Carries the Torch Of the '76 Original As Carrie Torches City For her follow-up to Peeples, Chism made a point to pen a thriller with a strong female voice, and it's a challenge for her. According to the writer/director, Drumline, ATL, and Peeples all tested higher with men, and she sees that as the result of an ability to write strong male characters. With her next movie, she wants to challenge the pre-conceived notions of what a movie with strong female characters has to be about. "I think that the similarities that a lot of minorities have to face — whether it's a woman in business or African-American — sometimes the reaction is, 'I don't want to make it about me being a woman,'" Chism says. "But I've yet to find the formula to walking into a room and an executive not seeing both things when they see me." Over the course of her career, she's well-aware of what an executive is looking for from her. "I [can] feel the expectations that, 'Oh, you're going to do a chick flick and that's going to diminish the numbers we do.' I'd say that's 100 percent the case." Producer Gale Anne Hurd is one of the rarities, a female producer who, while never stepping into the director's chair, has helped both men and women bring sci-fi blockbusters, independent dramas, and hit TV shows to life. In 2013, Hurd launched another season of her hit horror show The Walking Dead and debuted the teen romance drama Very Good Girls at the Sundance Film Festival. And yet, even she doesn't see much of a home for women at the movie studios. "I think it speaks to the fact that independent film is where it's at, because there were more films than ever at Sundance directed by women," Hurd says. "And mainstream film has really taken a step backward in so many ways and one significant factor is that you don't find much diversity in the ranks of directors. Now that's changing a lot in television and I think some of the best work right now is on television. The strides that women are making as directors on television is more than compensating for the steps back in the ranks of major studio directors." The latest from Jane Campion — another of the female quartet to have been nominated for the Best Director Oscar — is a prime example of Hurd's observation. Sundance Channel's upcoming series Top of the Lake, a deeply cinematic crime procedural, was written and directed by Campion. The series premiered in full at this year's Sundance — the first TV series to do so at the festival. Along with Campion's ambitious project, the festival also played host to a number of female-directed indies, including Lynn Shelton's Touchy Feely, Lake Bell's In a World…, Jerusha Hess' Austenland, and Stacie Passon’s Concussion. Thanks to a frenzy of distribution company purchasing, most are expected to arrive in theaters this year. NEXT: Hollywood, Wake Up and Make a Change Kerry Washington, Craig Robinson, and David Alan Grier in Tina Gordon Chism's Tyler Perry Presents Peeples In the male-dominated world of directing, those with clout are the ones who can bring along sea change. The female voices are there, they just need to be cultivated and supported. Lee has not been working with Disney for long, but the animation process naturally helped her rise to the top. It promoted her organically. "Animation relies on a large team of people — story artists, visual development artists, animators, and a diverse production staff," Lee says. "And we don't just work together on one film and move on; I'm working with a lot of the same folks I worked with on Ralph. Working together for years, we really get to know each others' strengths and talents. The women get the chance to shine equally." Chism's film recently swapped titles, shifting from We the Peeples to Tyler Perry Presents Peeples. After persisting to hold onto her romantic comedy and direct it herself, she was okay with the change. "They got the movie, they got the script. Leverage diminished." Adding Perry to the marquee also works in her favor: With a built-in audience, a stamp of approval from the Madea mastermind is the cinematic version of "Oprah's Book Club." He also worked as Chsim's biggest supporter. "Tyler was very supportive," she says. "He just let me do my thing. He read it, he had his ideas, and then he said, 'You know what, I'm just going to let you go for it and I want to see what your voice would be, your take would be.' When he needed to block for me or support me, he did that. I have nothing but appreciation for him as a producer." RELATED: Diablo Cody Updates On ‘Sweet Valley High’ Musical Diablo Cody, who wrote the upcoming Evil Dead remake and is expected to have her own directorial debut, Paradise, arrive sometime this year, shares the frustration over the gender divide. She sums up her feelings with comment that may sound defeatist, but it's honest and steadfast: "It's been that way for a long time, so I'm just doing what I can." Lee feels similarly, letting her work on Frozen and her collaboration with co-director Buck speak for itself. "We share a sense of storytelling that doesn't feel male or female. I think we were cast together because of our shared vision for Frozen, and because we work well together." On the first day of shooting Peeples, Perry phoned Chism with words of wisdom. "He called and said, 'Put your head down and make a great movie. That's all anyone cares about. No one cares about anything else other than delivering a great movie. Have a great one, bye.'" From childhood, Chism was taught that "excellence in work is really the only barrier-breaking formula." The mantra pushed her each day on Peeples, even when the scenes were at their silliest. "At the end of the day, for me, whether I'm a female or male, there's a lot of investment, a lot on the line, and you have to make your day, make it good, and make a great film." This year will see the release of three studio films directed by women — a minuscule number. Diversity doesn't have to be forced into the industry — hiring talented directors should always be the priority — but capable and creative female filmmakers are out there, waiting to be employed. They can take on any project, not just ones that boast demographics skewing towards their own gender. "I think a good director can do anything," Peirce says. "James Cameron was not an Avatar. Coppola was not a Godfather. You’re always looking to any character and figuring out where you want to take it." Cody gives us a little hope for the future (or at least, this year): "Let's look at the positives, which is that the worst movies are dumped in the first quarter of the year. So maybe it means the women directed all the good ones." Follow Matt Patches on Twitter @misterpatches Additional reporting by Michael Arbeiter and Kelsea Stahler [Photo Credit: Screen Gems, Hollywood.com, Walt Disney Pictures, Screen Gems, Nicole Rivelli/Lionsgate]
  • Review: 'Oz the Great and Powerful' Successfully Drowns James Franco in Imagination
    By: Matt Patches Mar 06, 2013
    Despite looking like a spiritual sequel to 2010's Alice in Wonderland and sending every punctuation stickler into a tizzy, the Wizard of Oz preboot Oz the Great and Powerful works magic on the big screen. Director Sam Raimi (Spider-Man) fixes all of Alice's mistakes, fluffing up the eye-popping CG decor with bright colors and fueling his fairy tale adventure with a good deal of soul. Like 2011's Hugo did with the early days of cinema, Raimi turns Oz into a love letter for old school magic, mesmerizingng Technicolor, and the fantastical approach that made the 1939 original a classic. Alice may have made a billion dollars at the box office, but Ozis the success — whimsical, silly, and totally transportive. James Franco stars as Oscar Diggs, the man who eventually becomes "the Wizard" that we know. But first, he's a magician from the Dustbowl Era, willing to con even his closest friends to have life go his way. To help him learn a lesson, the Forces That Be ensnare him in a tornado — a one way ticket to the land of Oz. After quickly shaking off the fact that the alternative universe bares his same name, Oscar crosses paths with Theodora (Mila Kunis), a witch who believes him to be a prophetic Wizard sent to save Oz from the Wicked Witch of the West. So begins their cross-Oz journey — and Oscar's greatest con to date. RELATED: 15 'Oz' Adaptations You Didn't Know You Needed (and 2 That Are NSFW) As the "Wizard" learns the ropes, accepting the challenge to defeat the Wicked Witch after learning of Emerald City's vast treasures, he meets the real stars of Raimi's show. Rachel Weisz has a ball as Theodora's dastardly sister Evanora, who pulls strings in the Emerald City as the citizens await the Wizard. Continually sending into a Mommie Dearest-level rage is Glinda. Michelle Williams captures the innocence and elegance of the Glinda from the '39 film with an added snap of wit. She may be the nicest witch in all of Oz, but piss her off and she'll blast you with magic. Much of Oz the Great and Powerful is dedicated to exploring the expansive world Raimi has designed — The crystalline Emerald City, Munchkin City and its wholesome residents, the delicate "China Town" (made of actual China plates) ravaged by the Wicked Witch's flying monkeys — and it works thanks to the host of characters carrying it along. Even Zach Braff as a talking monkey works as comedic relief (providing a few of the surprisingly effective 3D gags). The only thing that falls flat in Oz is Franco. And not just a little bit — like a house lifted up by a maelstrom and slammed back into the Earth kind of thwomp. Oscar is supposed to be a man in need of redemption, a self-obsessive who is destructive to the people around him. Franco fits the bill… but it doesn't feel like a character. The actor is self-aware of his non-existent surroundings. He's goofy instead of theatrical. His smug grin creates a disconnect between him and his costars, real or digital. At one point Oscar cradles a living porcelain doll he finds in the smoldering remains of China Town. It's a touching bit of sadness that Franco sells. But as Oscar begins to "change," Franco stays put, acting like the world of Oz is one big joke when we're waiting for him to wake up to the fact that it isn't. RELATED: Watch: Dr. Oz The Great And Powerful! But not even Franco's laid back approach can sink Raimi's inspired vision, which unexpectedly expresses all of the director's quirks right down to the wild camera movements, bold canted angles, and an instinct that allows Oz to get a little scary (don't worry, children: not Evil Dead scary). Raimi's film pays its dues to past Oz incarnations, down to a riff on "Lollipop King" from composer Danny Elfman, but still feels innovative. The director contends with Franco around every turn of the yellow brick road, orchestrating action sequences, fantastical encounters, and even a musical number, around him in hopes of drowning Oscar in imagination. The combined powers of Weisz, Williams, and Kunis do the trick against the charisma-lacking leading man. Maybe just the three ladies for the sequel? What do you think? Tell Matt Patches directly on Twitter @misterpatches and read more of his reviews on Rotten Tomatoes! [Photo Credit: Merie Wallace/Disney] 2.5/5
  • Sam Mendes Won't Follow 'Skyfall' with 'Bond 24' — Here Are 6 Directors Who Should Step In
    By: Matt Patches Mar 06, 2013
    When Hollywood.com visited the set of Skyfall in May of 2012, director Sam Mendes described his vision with excitement and trepidation. With a filmography comprised of mostly smaller, character-driven films, it was the first time the American Beauty director would step up to do a full-blown action movie. And in a franchise he loved: Mendes gushed over Bond like any die hard fan would. As we learned when the movie arrived in theaters later last year, he was exactly what the franchise needed. Skyfall amounted to one of the best 007 missions in the character's history. After Skyfall's mega-success — the movie took over $1.1 billion worldwide and is now the seventh highest grossing film of all time — many believed producers Barbara Broccoli and Michael G. Wilson would woo Mendes back for a second round. With screenwriter John Logan reportedly returning to pen the next entry, a second go for the Skyfall director became more and more of a possibility. But in a bittersweet move, it now appears that Mendes will put Bond aside to pursue other projects. RELATED: The Ending of 'Skyfall' and the Series Future — Spoilers “It has been a very difficult decision not to accept Michael and Barbara’s very generous offer to direct the next Bond movie," Mendes explains to Empire Magazine."Directing Skyfall was one of the best experiences of my professional life, but I have theatre and other commitments, including productions of Charlie And The Chocolate Factory and King Lear, that need my complete focus over the next year and beyond." Like many previous Bond directors, Mendes made sure to keep the door open for his possible return to the series ("[I] very much hope I have a chance to work with them again sometime in the future"), but Empire confirmed with Broccoli and Wilson that the search for a replacement is now very much on. Who will take the reins after Skyfall's critical and financial success? While many look straight to the blockbuster filmmakers who define the modern era — your Spielbergs, your Nolans, your Whedons — here are six of our suggestions of directors could hit the high bar set by Mendes, but in diverse new ways. Skyfall was brilliant, but the prospect of a fresh entry is unequivocally exciting. Kathryn Bigelow The Zero Dark Thirty director is at the top of her game after seeing two politically-driven films nominated for a wealth of Oscars, and more importantly, the raves of audiences across the globe. She's one of the most ferocious action directors working today and, while her recent work rips its ideas from the headlines, she has experience working with pulpier material (we can't be the only ones still watching Point Break on a monthly basis). Bigelow would effectively continue the realistic edge established by Skyfall, which used cyber-terror and the morality of spy work as a catalyst for its adventure. Nicolas Winding Refn When Daniel Craig stepped into the shoes of 007 for Casino Royale, director Martin Campbell took the stunts to even bigger heights. Mendes took the opposite approach: Skyfall has plenty of action, but it is intimate to claustrophobic levels. Drive director Refn has been eyeing up Hollywood blockbusters — he recently bowed out of a remake of Logan's Run starring regular collaborator Ryan Gosling — and he shares Mendes' sensibility for the small-scale. Drive isn't an action movie, it just feels like one. It doesn't shy away from the shocking, the twisted, or the grisly. We don't need an R-rated James Bond movie, but a director unafraid to challenge convention and character tropes is exactly what the series needs to do to keep itself on its toes. RELATED: Why Isn't There a Female Equivalent of James Bond? Tomas Alfredson Alfredson's Tinker, Tailor, Soldier, Spy was a slow burn spy movie — maybe a bit too slow for its own good. But what it gets right is the terrifying prospect of being too deep, lost in a sea of facts, and the mind games that come with solving an internal mystery. As Bond continues to develop as a character (a new approach in the Craig-era), Alfredson could leverage Skyfall's momentum into a full-fledged "thinking man's" Bond movie. Imagine the snippy banter scene between Craig and Javier Bardem played out through an entire movie, tension bubbling over in every moment. That's what Alfredson would bring to the table. Lynne Ramsey If you saw We Need to Talk About Kevin, you know that Ramsey has an eye like few filmmakers working today. Like Mendes, she doesn't have many movies in her oeuvre that scream "Bond director." Yet Ramsey's skill set feels perfectly aligned with what a successful Bond director has to accomplish: take a specific scenario with a specific dramatic angle and let it blossom with a fury of imagery. One thing Broccoli and Wilson understand more than any producers working with major blockbusters today is the need for a vision. Not all major tentpoles need to look the same. Ramsey could prove that a sweeping action movie could also look like an artfully crafted indie. RELATED: 'Skyfall' Stuntman Reveals How They Devised and Pulled Off the Movie's Big Set Pieces Park Chan-wook Speaking of artfully crafted, Park Chan-wook has made a career out bloody revenge films that speak to the darkest aspects of human nature. The Korean director has a modern classic under his belt, with the 2003 manga adaptation Oldboy, and his English debut Stoker (currently in theaters) is an exercise in mood and is incomparable to any American director's output. Having taken a uniquely British approach with Skyfall, a follow-up film has the opportunity to jump to the other end of the spectrum by capturing the essence of another part of world. Make Bond a fish out of water and use Park Chan-wook's sensibilities to do it. And a purely surface level reason: have you seen the hammer fight in Oldboy? Enough said. Danny Boyle After knocking a Bond short film produced for the 2012 Olympics out of the park, we already know Boyle (Slumdog Millionaire, 28 Days Later) is capable of energizing 007 with his signature kineticism. He has said in the past that he wouldn't want to direct a feature-length Bond movie, preferring low-budget movies that allow him to stretch his muscles than Hollywood blockbusters that are helmed by committee. But maybe Skyfallwill sway him. Bond is a franchise that demands a director's stamp. Boyle would press down hard and leave quite a colorful one. Who would you pick as a director for the next Bond movie? Let your imagination run wild in the comments. Follow Matt Patches on Twitter @misterpatches [Photo Credit: Sony Pictures] From Our Partners:40 Most Revealing See-Through Red Carpet Looks (Vh1)15 Stars Share Secrets of their Sex Lives (Celebuzz)
  • 'Iron Man 3' Trailer: The 9 Most Revealing Shots
    By: Matt Patches Mar 05, 2013
    Marvel knows how to tease. Look at Iron Man 3. The posters paint big character strokes with flashy designs (Ben Kingsley's Mandarin pose provokes oh so many questions). The trailers pile on the action while peppering every scene with details that keep us sifting through frame by frame. And then there are the grand promises — what can we expect from Iron Man 3 that will tie it together with the upcoming Thor: The Dark World and Captain America: The Winter Soldier. Marvel knows the equation to tap into the geek in all of us. RELATED: 'Iron Man 3' Trailer: Tony Stark Is Still Having 'Avengers' Nightmares And they've done it again with their latest spot for Iron Man 3, which delivers on all the madness promised from Robert Downey, Jr., Gwyneth Paltrow, Don Cheadle and the rest of the cast's character posters. Downey, Jr.'s featured an army of Iron Man armor taking off behind him — guess what makes the trailer? Check it out below and then dive into our closer look at the spot. What just flew by screen in that one shot? Now you'll know. :18 - Stark on the Run Tony has everything: money, fame, a good lookin' girlfriend — but for some reason, he can't sleep. Maybe it's because he's always being attacked by international terrorists and saving the world. Or in the case of this shot, rescuing other women in his life. To note from this screengrab: that is not Pepper Potts. Instead, it's Rebecca Hall, who may be the mystery behind all of Iron Man 3. :31 - Honor Ritual The latest trailer doesn't offer up much in the way of motive for The Mandarin, but it does make Iron Man 3's main villain terrifyingly real. Maybe we watched too much Zero Dark Thirty, but as ridiculous as Kingsley was in his poster debut, he's incredibly creepy here, placing dog tags of (American?) soldiers on the hilt of US marine issue ka-bar knife (thanks to commenter Jerry for pointing that out!). :51 - The Mandarin: Ten Time Super Bowl Winner Playing over the intro of the trailer is Kingsley's Mandarin voiceover, a not-too-distant cousin of Heath Ledger's Joker. Here we get a glimpse of the "Ten Rings," which possessed magical powers in the comics, but may be more of a nod to the character's origin than a weapon of otherworldly destruction. Maybe, because after Avengers and the scientific nature of "magic" established in Thor, the Mandarin's bling could be more powerful than meets the eye. 1:02 - "The Whole World Is Watching" Tony Stark has always been a playboy who soaked up the spotlight. In Iron Man 3, it appears his celebrity status is finally catching up with him. Paparazzi snapshots turn Stark into an obvious and attainable target for The Mandarin's attacks. It's a logical move: go after your enemy and have the whole world watch, striking fear across the globe. Stark is his own worst enemy — the perfect character twist. NEXT: How Does Iron Man 3 Connect to Captain America? Follow Matt Patches on Twitter @misterpatches [Photo Credit: Walt Disney Pictures (5)] 1:11 - Armors! Thanks to the wonders of toy reporting, word has been out that Iron Man 3 may beef up Stark's technology with a number of new suits that serve different purposes. Here we get a glimpse. Spot the white one? Supposedly, that one can take Stark to outer space. Guardians of the Galaxy crossover, anyone? 1:31 - Go Go Gadget Iron Man Mask! Early trailers showed Stark summoning his Iron Man armor using new and improved "Extremis" technology. Basically, the billionaire inventor can think and — boom — his armor flies on to his body and assembles itself. In the latest spot, we see it in full motion. When Stark's mansion is attacked, he wastes no time suiting up, instead rolling through debris and using Extremis to fight back on the fly. 1:57 - An Evil Army of Super Soldiers? Perhaps the most interesting moment in the trailer is a quiet one: Guy Pearce, clearly collaborating with The Mandarin at his dusty fortress (located…?), steps in to a room full of Mandarin henchmen who appear to be receiving the Super Serum that granted Captain America his beefcake powers. Is that why Mandarin is sporting a Captain America-esque shield tattoo? What is the villain's connection to the grand Marvel mythos? 2:06 - Mandarin at Fashion Week If Gwyneth Paltrow in a bra distracted you for a few seconds, you may have missed this shot of the Mandarin spreading his wings. Flashbacks to the LOST black light map make us wonder if there are clues planted here. 2:24 - Team Iron Men Another look of Tony Stark's back-up, an eclectic collection of armors (possibly under Stark's control through the wonders of Extremis?) that each pack a different weapon. The trailer caps with a particularly badass image: the "Hulkbuster" armor, rampaging through a fence on its way to bust up some bad guys. We've wondered if Iron Man 3 could live up to The Avengers. It seems to have found a way by replacing the Hulk with its mechanical counterpart. Follow Matt Patches on Twitter @misterpatches [Photo Credit: Walt Disney Pictures (5)] From Our Partners:40 Most Revealing See-Through Red Carpet Looks (Vh1)15 Stars Share Secrets of their Sex Lives (Celebuzz)
  • Martin Freeman Will Return to 'Hobbit' in May: 'I Haven't Seen a Shooting Script Yet'
    By: Matt Patches Mar 05, 2013
    Bilbo Baggins' epic trek from Hobbiton to the Lonely Mountain and back again was nothing short of epic. Turns out, Martin Freeman's time performing the character in Peter Jackson's Hobbit trilogy is turning out to be an equally lengthy adventure of its own. Although he started shooting The Hobbit: An Unexpected Journey over two years ago — when the trilogy was planned as a two-picture couplet — Freeman reveals to Hollywood.com that he'll slip back into his hairy Hobbit feet for another round of shooting beginning this summer. "I am going back at the end of May for all of June and July," says Freeman. The actor is no stranger to picking up with a character after an extended break, having working in numerous television projects — notably, the UK version of The Office and his current gig, Sherlock. But Freeman suggests that The Hobbit is a slightly different beast. More Uruk-hai than your standard Orc. "I suppose the thing is, this is not finished. We literally have to go and finish it. It's not a new adventure like on a television show. It's the same story. It's the same gig I started in January 2011. I think it'll be really fun because the crew is quite close and the cast are close and we like working on it. I'm anticipating it." RELATED: 'Hobbit' Star Richard Armitage Recalls His Time On 'Star Wars: Phantom Menace' Set An Unexpected Journey shot for 266 days, and that's not including the special effects photography that didn't include the principal actors. That's a tough challenge for a performer, as the shooting of a movie is continually bouncing back and forth between sections of the script in order to shoot the movie in the most efficient way. To ensure that his delivery of "Bilbo" was at the right point in the hobbit's character arc, Freeman would routinely discuss confidence levels with Jackson. "The conversation we had quite a lot was, 'When can I start to lose, in a way, Bilbo's puffy eyes?'" says Freeman. "He starts off like most people — most people have never been to war, most people have never had a sword fight or a fight to the death, or been in the fear of death." While the Bilbo we see at the conclusion of An Unexpected Journey is no warrior, he does rise to the occasion and learn to rub shoulders with his Dwarven companions — a status Freeman was eager to get to. "I was always keen to play it straighter and straighter and straighter. And Pete would be, 'Not yet! Not yet! That comes later.'" Despite pulling it all off in the finished version of the movie, Freeman had is own confidence battles during the making of The Hobbit. Finding the right presence for Bilbo — which Freeman says was inspired by Iam Holm's work in the original Lord of the Rings plus "physical traits, blips, and stuff that I put in there… just a bit of something other" — took time for the actor, and he was never quite sure he was getting it right, even weeks into the shoot. "I think the Riddles in the Dark scene works well," says Freeman. "That was the first thing we shot, so I was definitely not going home thinking, 'I nailed that.' I was thinking, 'What the f**k am I nailing?' Because I wasn't quite sure what it was yet." The star does recall a few "odd" scenes where he did walk away with confidence… but that we'll have to wait until this December's Desolation of Smaug and 2014's There and Back Again to see them. RELATED: 'The Hobbit': Making Sense of Kili, the Hot Dwarf With another round of Hobbit in his future, Freeman is officially preparing for battle, taking cues from his last trip to Middle Earth for reference. "The thing I was always aware of was that it was going to be a war or attrition," says Freeman. "You can't come out of the blocks in the first week at 100 miles per hour because you'll have nothing left in the tank by May. You just pace yourself, you do learn to take your time and converge energy. I don't think it feels like new demands, but then again, I haven't seen a shooting script yet, so they might have me walking through fire!" The Hobbit: An Unexpected Journey arrives on Blu-ray March 19. Follow Matt Patches on Twitter @misterpatches From Our Partners:40 Most Revealing See-Through Red Carpet Looks (Vh1)15 Stars Share Secrets of their Sex Lives (Celebuzz)
  • 'Jack the Giant Slayer': Nicholas Hoult & Eleanor Tomlinson Cite Swashbucklers and 'Alien' As Inspirations
    By: Matt Patches Mar 01, 2013
    Jack and Princess Isabelle, the two central characters of this weekend's Jack and the Giant Slayer, stand apart from most the archetypically generic heroes of Hollywood's fantasy films because they're recognizably human. That doesn't mean they're not culled from the pages of fairy tales — thanks to the stylings of director Bryan Singer (X-Men, Superman Returns) the movie pops with color, imagination, and breezy thrills — but Jack and Isabelle are distinct because they feel human. Bringing that naturalism to the fantastical are actors Nicholas Hoult and Eleanor Tomlinson, who both worked with Singer to bring your usual fairy tale characters into the 21st century. "One of the things that drew me to Isabelle was that she's different than your normal princess," says Tomlinson. "She's feisty. She doesn't want to be a piece of history as a king's daughter. She wants to experience the real world. She's a peoples' princess." For inspiration, Tomlinson turned to one of her acting heroes. "I went along the lines of Sigourney Weaver type characters. I think she's a very powerful woman. I'm a big Sigourney Weaver fan. Alien is just like… oh God. It's amazing. And in Avatar, she was just inspirational." RELATED: 'Jack' Might Have Just The Right Amount of Nonsense — Trailer Hoult has scaled his own beanstalk to become a full-fledged Hollywood leading man, was happy to discover a meaty part in Jack. "It's fun having characters who are a bit more leading in films because you get more time to develop them, but there's also a bit of pressure that comes with that, to carry the film," says the actor. Hoult found ways to make Jack his own, and in turn, a more relatable hero. When he first received the script, Hoult says Jack was written as your typical, bumbling everyman. Together with Singer, he injected his own sense of humor into the part. "We could joke around, bat around lines and like them and keep them in the film. It was quite freeing. We could invent, create stuff as we went along. It wasn't too rigid." On the set of a blockbuster movie like Jack, the challenge isn't simply getting into character. It's finding a groove then sticking to it while climbing up an enormous beanstalk set or invisible giants start are lifting you into the air. Hoult admits that, while he's done a few movies with heavy special effects and green screen work, he's never done one with characters that would only appear after he's done shooting. "The giants on this… it took imagination and timing to figure out what they're doing on screen so you can figure out how to react and work with them. I don't think my imagination could emulate what ends up on the screen. The performances they capture from Bill Nighy is very subtle and realistic." Jack's villains were the creation of a crack team of computer graphic experts, enhanced from their original form on set: tennis balls. "For the eyelines it was tennis balls on a stick, which was pretty intense," says Tomlinson. "Very testing as an actress because you've got to make the audience believe there really is the most terrifying, ugly giant sitting in front of you. But it's just an orange tennis ball." Though looking back, Tomlinson wishes that all of her giant costars had been little orange spheres. RELATED: Review: 'Jack The Giant Slayer' Is Large-Scale Fun "The stuff for when the giant has to grab me, they made a body mold made of hard plastic that I would lie in and it was on a metal gimbal and they would dress me over that. My armor would go over that. And then the gimple would move, throw you upside down, turn you round and round." Although it may have been physically demanding, the rig put Tomlinson in the right mindset. "Most of the screaming [in the movie] is, 'Ow, God, this hurts!'" Hoult and Tomlinson trained for two months to prepare for Jack and the Giant Slayer, including horse back riding and practice climbing sessions on the constructed beanstalks. From the sound of Hoult's voice, that was the easy part. What killed him was the hair. It's always the hair. "I had to make my hair a little longer, so they could make a little texture in the hair," says Hoult. "The occasional wind shear and the gel there. It was a whole thing to itself." The actor says that transformation is why he was drawn to becoming an actor but that the work on Jack was even more demanding than on his previous film, 2013's Warm Bodies. "Funnily enough, it probably took as much makeup to make me look human as it did to make me look like a zombie. Trying to make my hair look like a swashbuckling hero. Very time consuming." Follow Matt Patches on Twitter @misterpatches [Photo Credit: Warner Bros. Pictures]
  • Review: 'Jack the Giant Slayer' Is Large-Scale Fun Best Viewed from Atop the Beanstalk
    By: Matt Patches Mar 01, 2013
    Turning "Jack and the Beanstalk" into a Lord of the Rings-style fantasy epic sounds like the premise of a MADtv sketch, but director Bryan Singer (X-Men, Superman Returns) finds a happy medium between grand action filmmaking and the dapper whimsy of an Errol Flynn adventure with Jack the Giant Slayer. The movie nods to its storybook origins: the characters are slight, the villains are goofy, and every action is painted in the biggest, boldest, most colorful stroke possible. It's fluffier than Rings, and that's not knock on the film. Jack is light on its toes, making it the perfect entry-level fantasy film for genre buffs and their kids to enjoy. Jack suffers most of its problems in the first 10 minutes, a plodding, stylized recounting of man's history with giants. It's a tedious stretch that also introduces us to Jack (Nicholas Hoult), a farm boy whose dreams of a thrilling soldier life cloud his ability to do anything right. His kingdom's princess, Isabelle (Eleanor Tomlinson), suffers from the same inability to escape her life. When she finally goes on the run in one last effort to escape her suitor Roderick (Stanley Tucci), the princess takes refuge on Jack's farm. The two instantly connect, but their rainy night in is rudely interrupted by a few misplaced magic beans, which produce a towering beanstalk straight through Jack's bachelor pad. Jack watches as Isabelle and his home disappear into the clouds. The king and his army immediately spring into action to rescue the princess, and Jack's newfound connection to Isabelle drives him to join the team. RELATED: 'Jack' Might Have Just The Right Amount of Nonsense — Trailer Jack the Giant Slayer's lengthy setup feels frivolous in both script and execution, a series of hurdles in the way of the real fun of the movie. Jack partners with head knight Elmont (Ewan McGregor) and the king's advisor Roderick (like Jafar!) — who hides a secret connection to the towering beasts — to climb the beanstalk and track down Isabelle. Singer knows his way around an action set piece and turns the scaling of the beanstalk, even with CG enhancements, into a dizzying vertigo experience. When the group arrives in "Gantua," the land of the giants, they immediately encounter the floating land's residents and are outnumbered (not to mention, outscaled). Singer has his cake with the design of his monstrous ensemble: they're both cartoonish (maybe a bit so in the case of Bill Nighy's General Fallon, who has a second, blabbering head) and realized with detail and familiar motion. The giants have distinct personalities, and they clash with both their human adversaries and each other. Most of Jack the Giant Slayer is from Jack's ant-like perspective, like a medieval Honey I Shrunk the Kids. Hoult is up to the physical task of outrunning (and occasionally slaying) the giants, a gimmick that never gets too repetitive thanks to Jack's 90-minute runtime. Livening up the set pieces are McGregor and Tucci, who both chew up their fair share of scenery along the way. McGregor is sprightly as the noble knight. At one point, the actor finds himself wrapped in dough, fated with becoming a human-sized pig in a blanket. Silly, but McGregor knows it — and plays it through for laughs. Tucci has a ball as the diabolical villain, sneering and sniveling against the computer animated giants. The man knows what he can get away with in a fairy tale movie and takes full advantage. The two eventually share a duel and its the highlight of the movie. RELATED: Nicholas Hoult Goes to War In 7 New 'Giant Slayer' Pics Teased in the trailers, Jack and the Giant Slayer caps off with a grand battle. The movie takes one too many cues from the fantasy films of yore (moments in the score feel directly ripped from Rings), but impressively, Singer's stamp never disappears, even in the biggest scenes. A sequence where the beanstalk is cut and topples over across the open fields is expertly crafted, while the warring finale moves swiftly from small moments, like Elmont and Jack organizing troops for battle, to vistas filled with destruction. When giants attack, they go big. Singer always knows just where to have us looking — at a firing catapult, at a bellowing giant, at knights pushing against the castle gate to ward off intruders — and it's cut together for maximum thrills. Jack the Giant Slayer is blockbuster entertainment built upon fairy tale logic. Scrutiny does it no justice, but from a giant's point of view — or atop the beanstalk, if you're a pesky human — the big picture is good fun. 3/5 What do you think? Tell Matt Patches directly on Twitter @misterpatches and read more of his reviews on Rotten Tomatoes! [Photo Credit: Warner Bros. Pictures] From Our Partners:40 Most Revealing See-Through Red Carpet Looks (Vh1)33 Child Stars: Where Are They Now? (Celebuzz)
  • Review: '21 & Over' Designed to Ruin Anyone 18 & Under
    By: Matt Patches Feb 28, 2013
    Jon Lucas and Scott Moore's The Hangover successfully translated the "one crazy night" into an absurdist thriller and, more importantly for the writing duo, a mega-hit. For their directorial debut, 21 & Over, the two adapt their manchild mystery for the college crowd nearly beat for beat, substituting laughably idiotic adults for the saddest trio of bros ever brought to screen. The characters in the film spew profanity, race jokes, anti-women ideology, and pop culture non sequiturs (who doesn't love a Shrek joke?) all in the name of "having a great time." This can work — Superbad stands as proof. Instead, the script for 21 & Over scrapes the bottom of the barrel then shotguns it into our faces, amounting to a cesspool of unfunny that will likely breed a new generation of douchebags if (when?) it's taken in by impressionable youngsters. RELATED: Watch the Debaucherous '21 and Over' Trailer A college senior with high aspirations of chugging beers and getting laid, Miller (Miles Teller) arrives to town to meet his two best high school pals, Casey (Skylar Astin) and Jeff Chang (Justin Chon), for the latter's 21st birthday. Jeff insists they stay in — the next morning is his big medical school interview — but no, Miller insists that friends don't let friends go uncelebrated. "I am going to f**k you with alcohol," Miller proclaims with terrifying authority. And so the adventure begins: what starts as a round of beers explodes into a rampage through the college campus bar scene. When Jeff slow-motion vomits while riding a mechanical bull (an expulsion repeated four times over), the friends decide it's finally time to go home. Except, they have no idea where home is. With Jeff blacked out, Miller and Casey set off to find someone who has a clue. All of the answers have a road block; hoping to find their friend Nicole (Sarah Wright), the men sneak into a Hispanic sorority. Focus becomes their biggest dilemma after Miller and Casey stumble upon two new pledges waiting to be "punished" by their "Pledgemistress." Who can resist spanking two co-eds under the guise of hazing? These two can't. When they're discovered, they run to their next insane scenario, Lucas and Moore turning the Hispanic sorority girls into 21 & Over's version of the Hangover gangsters. It wouldn't feel as offensive as it does if the reasoning and execution wasn't clunkier than drunk Jeff Chang walking on two feet. 21 & Over's great offense is its complete misuse of two great young actors. Since Rabbit Hole, Teller has honed a keen sense of timing in both drama and comedy, while Astin impressed with charm and wit in Pitch Perfect. Here, Lucas and Moore fill their leads' mouths with cheap dialogue, a type of lowbrow insight that makes Tucker Max look like Henry David Thoreau. Beyond their cookie cutter characters (Miller can't stop clinging to high school; Casey doesn't know how to cut loose and have fun), the two bark quips at one another that would immediately drive any normal human beings apart. Miller digs at Casey for not recalling Nicole's sorority letters because they were on her shirt, and clearly, if he was a man, he should be staring at her chest. Nicole even belittles Casey for his inability to party — apparently his passion for NPR and dream of a job after college are misguided. Dude, take a shot! That's what life is about. RELATED: '21 And Over': Even Miles Teller Is Surprised At How Naked He Got Teller and Astin do make the whirlwind of hate palatable, but never funny. The only laughs come from a pack of male cheerleaders, whose conception as another angry group chasing Miller and Casey seems to be an excuse to crack a Karate Kid joke. Late in the game, 21 & Over reveals its dramatic undertones and that's when it crosses the line from inane to morally irresponsible. Lucas and Moore want to challenge their 21-year-old protagonists. Instead, they let them off the hook. There are no consequences for the people in this movie. There are no rude awakenings. Our heroes threaten people with guns, decimate a college quad while outdriving the cops, and eventually punch Jeff Chang's dad in the face, but they're in the right. If we were laughing at them as they destroyed their lives, that might be entertaining. Instead, 21 & Over is just a boring lesson in why beer pong and one-night stands should be the number one priority in life. 1/5 What do you think? Tell Matt Patches directly on Twitter @misterpatches and read more of his reviews on Rotten Tomatoes! [Photo Credit: Relativity Media]