Sony Pictures email hack - AGAIN! - this time its adam sandler.

A little over a week ago Sony Pictures was hacked by a group known as the Guardians Of Peace, leading to a massive outpouring of information as well as the leaking of four films that Sony has either recently released or were about to release into theaters. Just when you thought it was safe to work at Sony Pictures again, out comes a new story about negative employee feedback on one of the studios most valuable commodities: Adam Sandler movies. 

Gawker found what they call, "a giant list of workplace complaints" from anonymous employees that lament the current state of the Sony Pictures' business operation. In particular, the rants target the Sony Pictures slate of films which have been very kind to Sandler's trademark schtick. If you're a Sandler fan, this blurb from the longer rant at large is not going to be something you'll want to hear. 

There is a general "blah-ness" to the films we produce. Although we manage to produce an innovative film once in awhile, Social Network, Moneyball, The Girl with the Dragon Tattoo, we continue to be saddled with the mundane, formulaic Adam Sandler films... Let's raise the bar a little on the films we produce, and inspire employees that they are working on the next Social Network.

To be fair, the Adam Sandler films that "bleed the studio dry" tend to rake in a lot of profit compared to the budgets they run up. If there was any sort of project that's bleeding Sony dry, it's The Amazing Spider-Man franchise and its consistently under-performing ways that have supposedly run up huger price tags than Sony would like to admit. While that franchise's latest sequel was the number 1 grossing film on Sony's roster this year, its budget is still a secret. So on the financial end, the roasting of Adam Sandler's filmography at Sony is a bit harsh. 

On the other hand, the artistic merits of films like Click and the Grown Ups series is a platform for fair game in roasting Adam Sandler's career, and the following quote is more attuned to that point of order. 

Perhaps it's a generational thing, but I've been disappointed with the content of some of the films we've been producing lately. I don't think people who know me would consider me a prude, but the boorish, least common denominator slate strikes me as a waste of resource and reputation. 

Sony is a studio in crisis right now, and with emails like these floating around the internet, the studio is not only going to have to tighten their security, they're also going to work on their public image. While the whole Sony hack scenario has proven to be a nightmare since it started, it could provide the studio an opportunity to push for some of the past glory they've been known to experience. Maybe these leaked internal complaints can be fuel for a Sony Pictures renaissance. Or, at the very least, they'll be wise and start to make films like Grown Ups 3 on the Crackle platform, where they can join films like Joe Dirt 2. 


Source: cinemablend
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The storie of T-1000? Terminator Genisys Trailer

These past few months have been pretty big for sci-fi. We’ve had the first trailer forJurassic World, the first teaser for Star Wars: The Force Awakens, and now we’ve got a teaser for the first Terminator: Genisys trailer. The clip is incredibly brief, and really only has given me more questions than answers…


What is the story behind the new T-1000?

It has widely reported - though not officially confirmed - that the liquid metal T-1000 inTerminator Genisys will be played by Byung-hun Lee. But not only are we not sure if that is Byung-hun Lee, what’s his story? He looks kind of awesome hitching a ride on that cop car, so I hope we get to see a bit more of him (and thereby confirm the actor’s role) when the official trailer releases. Since we still don’t know a great deal about the film’s plot, I think the only thing we can safely say about the T-1000 is that this is one of the bad guys of the movie. Still, I am dying to know more!

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Source: cinemablend

Terminator 5 (Terminator Genisys) (2015)Trailer Teaser with trailer release date

(See bottom for release date) 

He is back. (2015)

He certainly is. Jumping ahead to the last glimpse featured in the above video, we get a peek at Arnold Schwarzenegger in one of his most iconic roles. He's staring at his arm... 



The teaser also gives us a peek at what appears to be a T-1000, hitching a ride on a cop car...



And this looks like a look at the apocalypse from afar... 



Finally, there's this bit of futuristic looking technology... 



The lightning makes me think we're seeing time travel here. You can see people up near whatever's happening, and more onlookers over on the left. 

We learned some details about the plot, and we know that the movie stars Arnold Schwarzenegger, Emilia Clarke, Jason Clarke, Jai Courtney, Matt Smith, Byung-hun Lee, and J.K. Simmons. I expect we'll have much more to go on when the full trailer for the anticipated Terminator followup arrives tomorrow. In the meantime, check out the teasy motion poster here, and enjoy the countdown to the trailer that's set up over atTerminatorMovie.com.

Terminator: Genisys arrives in theaters July 1, 2015. 

Wild (2014) Movie Review

Wild (2014) Movie Review:

Wild Release Date: Dec 3, 2014


Director: Jean-Marc Vallée

Genre(s): Biography, Drama

Wild Movie Cast: Gaby Hoffmann, Laura Dern, Michiel Huisman,Reese Witherspoon

Summary: After years of reckless behavior, a heroin addiction and the destruction of her marriage, Cheryl Strayed (Reese Witherspoon) makes a rash decision. Haunted by memories of her mother Bobbi (Laura Dern) and with absolutely no experience, she sets out to hike more than a thousand miles on the Pacific Crest Trail all on her own. [Fox Searchlight Pictures]


Review: TELLURIDE — There is a moment near the end of "Wild" where Cheryl Strayed (Reese Witherspoon) runs into a young boy and his grandmother out on a weekend hike. Strayed has walked hundreds of miles on the Pacific Crest Trail in an attempt to deal with personal, emotional pain that has plagued her most of her young adult life. After learning of Strayed's heartbreaks the young boy (Evan O'Toole) sings her the song "Red River Valley." In the hands of a lesser director this scene could have been overly saccharine and misplaced. But director Jean-Marc Vallée makes it as artful and touching as it needs to be. Clearly, we should not have doubted him.

Vallée was one of the main creative forces of "Dallas Buyers Club," but did not earn a Best Director Oscar nod. Instead, he made due with an editing nomination. This was disheartening in some respects because there was not a public appearance that went by where the film's producers would not do everything possible to give him credit for making "Dallas" the artistic success it turned out to be. That film's storyline could have easily been shot as, for lack of a better description, an HBO movie. Instead, Vallée used the film's low budget means and superb performances to transform it into something that transcended its genre. In many ways, he does the same with "Wild."

If you think about it, a movie that follows a hero on a gigantic trek is something you've probably seen before. It's the major conceit of the road trip genre. "Into the Wild," "The Straight Story," "The Darjeeling Limited" and "Broken Flowers" are some recent prestige examples (and Fox Searchlight's own "127 Hours" spent most of its screen time in the wilderness as well). Thanks to a powerhouse performance by Reese Witherspoon (more on that later), Vallée succeeds in avoiding those potential cliches again and again and again. It's no easy feat. And Nick Hornby, the "About a Boy" novelist and "An Education" screenwriter, delivers a screenplay which utilizes a flashback structure that easily could have gone off the rails, but doesn't.






Of course, Vallée's fuel in bringing Strayed's 2012 memoir to life is his leading lady, Witherspoon. The 38-year-old actress developed "Wild: From Lost to Found on the Pacific Crest Trail" and it's clear she's deeply invested in its story. After going through a painful divorce and drug and sex addiction, Strayed took a life-changing journey on the Pacific Crest Trail from California to Oregon. Vallée and Hornby use the flashbacks of the film to contrast Strayed's difficulty on the trail with the dramatic experiences of her past, but they would be nowhere without Witherspoon, who gives it her all in the "present." She gets dirty, she wades through creeks, she shows the extreme exhaustion of such a major trek, but it's in the flashbacks that she truly shines. Often playing almost half her age, she has to bring Strayed to rock bottom in what could be constituted as a second arc for the character. Witherspoon is so good many will argue this is the best performance of her career. That may not be giving her work in "Mud" and "Walk the Line" its due, but "Wild" is clearly her most transformative work to date.

"Wild" is also assisted by fine supporting work from Laura Dern, as Witherspoon's mother, who is integral to Vallée's flashback structure. Thomas Sadoski ("The Newsroom") also deserves kudos for making Strayed's ex-husband Paul an intriguing character in his own right with very little screen time.

Director of photography Yves Bélanger, who previously collaborated with Vallée on "Dallas," brings a wondrous scope to Strayed's journey and makes sure Witherspoon looks as rough as the story requires.

For those curious about the film's awards season prospects, Witherspoon clearly moves to the front of the pack of Best Actress contenders. Dern has a shot for Best Supporting Actress depending on the field, and Hornby could find himself with his second Best Adapted Screenplay nomination. "Wild's" Best Picture nomination prospects will depend on Fox Searchlight's ability to channel a passionate fan base for the film. Judging by the women crying at the end on either side of this writer, they are certainly out there.

"Wild" opens in limited release on Dec. 5.



Wild movie trailer


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Penguins of Madagascar (2014) Movie Review

Penguins of Madagascar Movie Review:


Director: Eric Darnell

Genre(s): Adventure, Comedy, Animation,Family

Starring: Benedict Cumberbatch, Chris Miller, Christopher Knights, Conrad Vernon, Tom McGrath

Summary: Discover the secrets of the most entertaining and mysterious birds in the global espionage game: Skipper, Kowalski, Rico and Private now must join forces with the chic spy organization, the North Wind, led by Agent Classified (we could tell you his name, but then … you know) to stop the villainous Dr. Octavius Brine from taking over the world. [Dreamworks]

Review: DreamWorks Animation made a legitimate creative move when it spun off its espionage-obsessed “Madagascar” penguins into their own TV show several years back. It was shrewd, brand-leveraging business, sure, but the silly birds had grabbed audiences’ attention for a reason, so watching them bumble through some new mission each week has been agreeably dependable viewing. Now comes the feature “Penguins of Madagascar,” the animators’ bid to promote them to multiplex-marquee status (and, you’d guess, to give the franchise a placeholder while a story is hammered out for 2018’s “Madagascar 4”). It’s a movie content to stay within the show’s comfort zone, changing things up mainly with flashier, 3-D visuals, a couple of which are dazzlers, and a theme that doesn’t connect in any notable way.

The film’s cleverest element by far is its prologue, which flashes back to these unlikely adventurers’ pint-size origins down in Antarctica, complete with Werner Herzog (!) popping up as a ’toon documentarian. I’ll confess, with the zippy pacing, I’ve always had trouble keeping these birds straight — not as much as the Ninja Turtles, but the only one who ever really stood out was snappy-pattering Skipper (Tom McGrath). The opener helps to rectify that, efficiently reintroducing Kowalski (Chris Miller), Skipper’s right, um, flipper; the silently gonzo Rico (Conrad Vernon); and British-accented, put-upon newbie Private (Christopher Knights).




Fast forward to the move-it-move-it era, where the group is targeted for revenge by Dr. Octavius Brine (John Malkovich), an octopus maniacally bitter toward all penguin-kind. Penguins’ cuteness might be a slight handicap for, say, spy-game credibility, but that appeal has also consistently bumped our villain to the aquarium’s afterthought tank, and he’s itching to make them pay. If only Malkovich had lines as outlandish as his motivation; the best he gets is an OK recurring gag about his henchmen having names that work as celebrity puns. (“Nicolas — cage them!”) The interplay is sharper between Skipper and Agent Classified (Benedict Cumberbatch), wolf leader of a slick rival squad that keeps sniffing about how the penguins should leave heroism to the professionals.

Still, it feels like more of this movie’s story depends on frenzied action than it has in the other “Madagascar” installments. A visually swirling high-altitude free-fall sequence delivers, and so does an imaginatively choreographed Venice gondola chase. But beyond some imagery, we don’t get much that’s bigger or better than on TV. Nothing narratively richer, certainly. We can almost hear Skipper’s signature, sotto voce “Just smile and wave, boys” as they furtively waddle away.

Penguins of Madagascar movie trailer

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Source: Boston Globe

Horrible Bosses 2 (2014) Movie Review + Horrible bosses 2 trailer song

Horrible Bosses 2 Movie Review:

Director: Sean Anders

Genre(s): Comedy

Cast: Charlie Day, Chris Pine, Christoph Waltz, Jamie Foxx, Jason Bateman, Jason Sudeikis, Jennifer Aniston,Kevin Spacey (horrible bosses 2 cast)

BONUS INFO: Horrible bosses 2 trailer song:
Clutch - Electric Worry
(Note I: The trailer either uses instrumental parts of the track or an instrumental version of it.)

Summary: Fed up with answering to higher-ups, Nick, Dale and Kurt decide to become their own bosses by launching their own business. But a slick investor soon pulls the rug out from under them. Outplayed and desperate, and with no legal recourse, the three would-be entrepreneurs hatch a misguided plan to kidnap the investor’s adult son and ransom him to regain control of their company.


Review: Riding a wave of ribald comedies seeking to close out the year with a chorus of chuckles, Sean Anders' Horrible Bosses 2 barely skips a beat picking up from its predecessor, reintroducing a trio of hapless worker drones discovering their entrepreneurial inspiration and seeking to become CEOs themselves. Although not everyone will be giving thanks as this sequel lands on the upcoming holiday weekend, some will certainly seize on the film’s familiar casting and relatable situations as reason enough to celebrate.


Dispensing with any details regarding how the protagonists managed in their newly realigned work situations following the convoluted events that concluded Horrible Bosses, the follow-up finds Nick (Jason Bateman), Dale (Charlie Day) and Kurt (Jason Sudeikis) striking out together with an undernourished plan to secure investors for their prototype “shower buddy,” a device that dispenses soap, shampoo and conditioner from a single bathroom fixture.

Without sufficient startup capital, or much of a clue, they hope that their appearance on an L.A. morning news TV show will give them a boost. Improbably, they’re swiftly contacted by Boulder Stream, a massive Sharper Image-type mail-order catalog company. They gladly accept an offer from CEO Bert Hanson (Christoph Waltz) to purchase 10,000 shower buddy units, take out a $500,000 bank loan and set up a manufacturing operation. Proving they’re no better at giving orders than they were at taking them, the partners hire a motley staff of shockingly unqualified job seekers and proceed to turn out the massive Boulder Stream job in record time.






Hanson promptly cancels the order, however, intending to force the entrepreneurs into bankruptcy and snap up the shower devices at a fraction of the wholesale cost. Demonstrating the same woefully weak critical thinking skills that almost landed them in jail for planning to kill their intolerably obnoxious bosses in the previous episode, the men hit on a plan that’s equally harebrained. They figure that kidnapping Hanson’s intolerably smug son Rex (Chris Pine) should net them enough ransom money to pay off their debt and remain in business.

Once again, they seek advice on pulling off the crime from convicted movie pirate Dean “MF” Jones (Jamie Foxx), as well as Nick’s ruthless former supervisor Dave Harken (Kevin Spacey), whose incarceration for murdering Kurt’s old boss hasn’t mellowed out his killer business instincts in the least. What they don’t count on is Rex turning the tables on them, drawing the three into a new plan to defraud his father that’s so complex that they're sure to royally screw it up.

Aside from the easily relatable wish fulfillment inherent in the franchise’s premise, the simplicity of the movies' setups represents a consistent virtue, providing plenty of room for convoluted complications to ensue. However, scripters Anders and John Morris, who also have Dumb and Dumber To coming up, can’t seem to surmount the problem of repetitive plotting that also characterized the first film. While individual scenes sometimes rise to a level of inspired absurdity, taken together they feel excessively episodic. Progress is also hindered by too much similarity between the characters: Nick’s bemused straight man overlaps excessively with Kurt’s unreliable yes man, and both are only slightly less clueless than Dale’s dim-bulb everyman.

Read more 'Horrible Bosses 2' Sneak Peek: Kevin Spacey Is No Longer a Boss, But He's Still Horrible

The actors imbue their roles with enough likability that it hardly seems to matter, at least until the jokes start growing stale well before the film’s midpoint. Instead, it’s the supporting cast that really shines, with Spacey practically spitting depravity from behind prison walls, Foxx laying on the wannabe gangster routine nice and thick and Jennifer Aniston returning as Dale’s foul-mouthed, sex-addicted former employer. Although Waltz’s supercilious business mogul would have benefited from more screen time, Pine as his overly entitled son introduces such manic humor that he manages to steal more than a few scenes, although the comedy overall feels more forced than organic as the action enters the final act.

Anders’ well-attuned comic sensibility makes for moments of hilarity in some of the more originally conceived scenes, but bogs down in predictability with reliance on too many stock situations that absorb the bulk of the running time. Seasoned comedy cinematographer Julio Macat’s adept lensing heightens the film’s frequent visual humor while adding in some energetically staged chase sequences, invigoratingly assembled by editor Eric Kissack.


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Source: hollywoodreporter.com

Exodus: Gods and Kings - Movie Review

Exodus: Gods and Kings - Movie Review

Director: Ridley Scott


Genre(s): Action, Adventure, Drama

Starring: Ben Kingsley, Ben Mendelsohn, Christian Bale,Joel Edgerton, Sigourney Weaver

Summary: Moses (Christian Bale) rises up against the Egyptian Pharaoh Ramses (Joel Edgerton), setting 400,000 slaves on a monumental journey of escape from Egypt and its terrifying cycle of deadly plagues. [20th Century Fox]

Review: After dusting off the swords-and-sandals sub-genre with Gladiator in 2000, Sir Ridley Scott now has a crack at reviving the Biblical epic. Such movies were big, in every way, in the '50s and '60s, when pictures like Ben-Hur, Quo Vadis, King Of Kings, The Ten Commandments and The Greatest Story Ever Told regularly ran between two-and-a-half and four hours, their vast desertscapes rendered in widescreen, CinemaScope and VistaVision to tempt viewers away from their 4:3 TV screens. Scott, aided by CGI though many sets were constructed, has conjured a vision to make Cecil B. DeMille quake. But that much was expected. The real surprise here is just how savage and uncompromising the action is – viewers planning to escape to the cinema on Boxing Day might discover that the in-laws weren’t such a hazardous proposition after all.

Exodus: Gods And Kings opens in the city of Memphis on the western bank of the River Nile. It is 1,300 BCE, and Moses (Christian Bale) and Ramses (Joel Edgerton), though not related by blood, have been raised as brothers. The former is a general in the Egyptian military, the latter the son of the Pharaoh Seti (John Turturro), but their strong bond is torn asunder when it is discovered that Moses is of Hebrew descent. Floated down the Nile on a basket of bulrushes when Pharaoh decrees all newborn Hebrew boys be killed to guard against the prophecy that a Messianic leader will free the slaves, he was taken in by Pharaoh’s daughter and raised as family.

Exiled to the desert, Moses marries and has a son but is jolted from his humble existence as a shepherd when God speaks to him through a burning bush. Told it is his fate to rescue his people from Egyptian rule and lead them to Canaan, Moses employs his military skills to train up the Hebrew slaves in a pulse-pounding montage. A war of attrition begins, with God escalating the carnage by unleashing a series of plagues on Egypt.




For those who vaguely remember the Book of Exodus from obligatory RE lessons or hours spent in Sunday School, Scott’s film might come as a shock. This is blood-and-thunder stuff pumped with monstrous egos, Old Testament morality and cold-blooded violence: the body count accrued by Ramses, Moses and God himself makes the Expendables trilogy look like a hymn to pacifism.

Watching the vast battle scenes, it is easy to see why Scott took the gig: horses charge, chariots clatter, swords and shields clash, burning arrows (that old Scott favourite) arc through the air, cities burn. Then come the plagues: the Nile gorged with blood, flies blotting the sky, a Magnolia x 10 army of frogs hopping upon Memphis, locusts threatening to explode the speakers while performing a devastating flyby. And on top of all that, a darkness moving across the land so immense as to make Roland Emmerich’s spaceship-shadows in Independence Day look like manhole covers. And there's still the parting of the Red Sea to come. Exodus: Gods And Kings, it transpires, is a proto-action movie, a proto-disaster movie and even a proto-superhero movie – ridiculous as it sounds, there are echoes of Bruce Wayne in Moses’ journey from tragic victim to saviour of the helpless.

Of course, no amount of spectacle would wash if the performances weren’t in place. And while some of the support roles are a little camp (Ben Mendelsohn’s viceroy, Hegep, is pure Life Of Brian) and others underdeveloped (Aaron Paul’s Joshua looks on a lot, says next to nothing), the bearded Bale and bald Edgerton have faces carved from the arroyos of the Almeria Desert where much of the action was filmed. When it comes to being leaders of men, these guys are, thankfully, closer to Russell Crowe’s Maximus Decimus Meridius than Orlando Bloom’s Balian de Ibelin (Kingdom Of Heaven, lest you’ve understandably forgot), and no amount of frocks, headdresses and guyliner can chip away at their gravitas.

Scott’s reading of the Book of Exodus will undoubtedly attract nitpickers and naysayers but that was always going to be the case given the contradictory theories of theologians, historians and archaeologists – and he can always point at the rock monsters in Noah. Better to view Exodus: Gods And Kings as a bold adventure in genre filmmaking, supersized to the point that Gladiator’s recreation of the Coliseum no longer seems like such a big deal.


Exodus: Gods and Kings trailer 

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Source: metacritic.com