Wednesday, 22 November 2017

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI
Starring Frances McDormand, Woody Harrelson,
Sam Rockwell, John Hawkes, Peter Dinklage, 
Lucas Hedges, Caleb Landry Jones, Samara Weaving 
Written and Directed by Martin McDonagh


















 Out of Four


Reviewed by Patrick & Paul Gibbs


Mildred Hayes (Frances McDormand)
is a woman on a mission.
(Image Courtesy Fox Searchlight)
Sometimes the best part of being critic is getting to see a great film before too much hype has been built up about it, and the worst part is when you get told you ruined a movie for someone by being a big part of that hype. There's there is no doubt that Three Billboards Outside Ebbing, Missouri falls into the first category, and we're halfheartedly apologizing in advance if it falls into the second, and the reason the apology is halfhearted is that the very best part of a critic's job is the chance to champion a truly great film that deserves to be seen.

Mildred Hayes (Frances McDormand) is a single divorced mother still grieving and feeling immense guilt over the rape and violent murder of her teenaged daughter, Angela, seven months prior to when our story begins. Infuriated with the police over the lack of progress in the investigation, she rents three abandoned billboards outside her hometown, which in sequence read: “Raped while dying,” “And still no arrests,”  and finally “How come, Chief Willoughby?”

The reaction to these billboards in the town is immediate and harsh, as Willoughby (Harrelson) is a beloved figure, respected by all. Everyone from Mildred's slimy ex-husband (Hawkes) to total strangers let her know how they feel, and the local Priest puts it plainly: "Everyone is with you on Angela. Nobody's with you on this."

Officer Dixon (Sam Rockwell) expresses his disapproval
of the actions of Mildred Hedges (Frances McDormand).
(Image Courtesy Fox Searchlight)
The Chief himself is kinder and more patient to Mildred than most of his officers, especially Dixon (Rockwell), a blustering redneck buffoon who lives with his mother and has a record tarnished by accusations of brutality against black people. One of the only people in town who seems to be on Mildred's  ide is James (Peter Dinklage), a little person who gets a lot of harassment himself and harbors a crush on her. Even her son Robbie (Hedges, and Oscar nominee for Manchester By The Sea) express his anger at her the giant reminder of the awful details of what happened to his sister.

Writer'Director Martin McDonagh (In Bruges) has crafted a taught and wickedly funny dark comedy/drama that will have you feeling a sharp pain in your side as you laugh and one in your heart as the anguish and pain of life's most unwelcome realities cut unexpectedly deep. The moments of overwhelming regret are especially powerful as McDonagh's script demonstrates the various ways in which we hurt each other and the disturbing truth that emotional wounds can be far harder to heal than physical ones. At the same time, it portrays that families that express anger, bitterness and selfishness more often than love will often feel that love with an overwhelming and immeasurable ferocity when put to the test. The narrative manages to stand in judgement  of all of its characters and none of them at the same time, and McDonagh takes the story in some very unexpected places without ever getting smug about it.

Chief Willoughby (Woody Harrelson) tries to persuade Mildred
(Frances McDormand) to take down the billboards outside of town.
  (Image Courtesy Fox Searchlight
McCormand establishes herself as very strong contender for a second Best Actress Oscar with her starkly honest portrayal of Mildred. Her ability to bring humanity to a character is surpassed by no one, and she has a singular presence. Harrleson, currently on perhaps the hottest streak of his illustrious career, is terrific as the Chief, but he's given the "Second Best Supporting Actor" role here, as Rockwell gives his most noteworthy performance since Moon. It's quite frankly difficult to imagine this film working with any other actor in the role of Dixon, who is a tough balancing act that defies traditional character conventions. Hedges, Hawkes and Dinklage add able support, as do Caleb Landry Jones (X-Men: First Class, Get Out) and Samara Weaving (The Babysitter) and Željko Ivanek (24, Black Hawk Down, In Bruges) in a surprisingly funny supporting role. It's an all around perfect ensemble that beautifully compliments each other. Carter Burwell's quiet, introspective score is nothing short of perfection.

One bit of warning that we include because it's an issue that is sensitive to us because of a dear friend: the film makes repeated use of the word "midget"as a nasty and insensitive slur, though it is meant to show ignorance in the same way that the N word is often used in film. We realize that many people don't see the word as a slur, but any word to describe a person that is most often used in real life as a punchline is a slur.

Three Billboards may not be for all taste, and is certainly depressing at times, but it's a daring and smart piece of filmmaking that goes beyond mere awards potential. This one has legs to be remembered for years to come and will show up in countless film classes, and mark our words: the ending, especially the final lines of dialogue, will become legendary to true cinema fans, and the movie will achieve a well earned classic status.


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THE MAN WHO INVENTED CHRISTMAS
Starring Dan Stevens, Christopher Plummer, Jonathan Pryce, Simon Callow, Miriam Margolyes, Ger Ryan,
Ian McNiece, Bill Paterson, Donald Sumpter
Screenplay by Susan Coyne
Directed by Bharat Nalluri
















Reviewed by Patrick & Paul Gibbs

Before we get accused of being Scrooges, we need to make something clear: we live for the holiday season. We watch The Polar Express with our niece and nephew every year, and though they may be starting to reach that age where they won't hear the bell much longer, at 43, we are not even close to it. That thing rings for us like Quasimodo was trying to get our attention at dinner time on the Ponderosa. We are downright emotional about the 25th anniversary of The Muppet Christmas Carol. Paul''s wife had to put her foot down that no, the tree was not going up before Thanksgiving, and we are listening to the Bing Crosby and David Bowie duet even as we write this review. One year in the recent past we actually watched Santa Claus: The Movie three times (and one of them was after Christmas was over.). You know that Christmas episode of Family Ties, where Alex (Michael J. Fox)gets a job as a mall Santa and a little girl wishes only for her father to be home for and Alex is touched by the magic of the season and actually sees the real Mr. Claus fly over the Keaton house at the very end? Of course you don't! But the point is . . . it still kind of provokes a a tiny little tear from each of us (very tiny, but a tear nonetheless.).  We are silly, sentimental fools who go to sleep every 25th of December cheerfully running the words to Keep Christmas With You All Through The Year through our heads to drive away abject panic.

Charles Dickens (Dan Stevens)  proclaims that his "yuge"
new book is going to  Make Christmas Great Again.
(Image Courtesy Bleecker Street)
So . . .  the nonfiction book, The Man Who Invented Christmas: How Charles Dickens's A Christmas Carol Rescued His Career and Revived Our Holiday Spirits, by Lee Standiford, a historian, author and Director of the Creative Writing. The fictionalized screenplay adaptation was written by a drunken chimpanzee named Carl who thinks humans will believe anything if they see it in a movie. The story begins with  Dickens (Stevens), fresh off his biggest success, touring America, where he appears on The Ed Sullivan Show reading excepts from Oliver Twist in front of a crowd of screaming, swooning teenyboppers who are throwing bloomers and petticoats at the stage. If you can guess which parts of this paragraph we embellished for effect, you win an autographed copy if this review (not a printout, either: we'll come to your house and sign your computer monitor or mobile device.).

But in October 1843, Charles finds himself back in London and smarting from three flops in a row. Rejected by his publishers, he sets out to write and self-publish a book he hopes will keep his family afloat and revive his career. And it's not just any book: it's a Christmas book: it's one that will take the elite of British society to task for their callous attitude toward the wretched and destitute and restore the magical spirit of the season, through the story of a miserly, covetous old sinner named  . . . something. Scrooge! That's it, Scrooge! "Once you have the name, the rest of the character just falls into place" Dickens tells his housemaid, Tara, and sure enough, the old humbug Scrooge (Plummer) literally comes to life on screen, an anthropomorphic visage of Dickens' creative imagination . The film chronicles the six fever-pitched weeks in which Charles writes his magnum opus, as he argues with the visions is his head (including Scrooge), is constantly running into relative strangers who mug self consciously while just barely not looking at the camera and spout famous lines that he can paraphrase in the book, and has a Dickens of a time (ha!) coming up with an ending. Yes, that's right: according to this fanciful flick, the idea of having Jacob Marley and the three Ghosts of Christmas cause Scrooge to mend his ways and keep Christmas in his heart is not at all where he was intending to go with this. When Charles reads young Tara a passage indicating that Tiny Tim will die, she pleads with the author to have Scrooge intercede and save the boy.

"But he wouldn't do that. He's a miser."

"But he could change!"

"Oh, no, he's too far gone and set in his ways to change."

Ok, Chuckles . . . then where exactly the hell were you going with this? He makes it clear that he is writing an inspirational, feel good Christmas story, and yet he apparently intends for it to consist of an evil old man beset by Ghosts who relentlessly taunt him until he finally dies alone and miserable. So, basically, a horror novel mixed with an angry, scathing rant about how much the author despises British society, because he's the people's author, and he his has his finger on the pulse of what moves the masses. And speaking of fingers on pulses, at this point we were checking to make sure that we were, in fact, still alive and not writhing in bad movie hell.


After some unfortunate incidents, Dickens changes his already established 
image of Scrooge  at the last minute to look more like Christopher Plummer.
(Image Courtesy Bleeker Street)
As far as the performances are concerned, the only way to make this work would have been to shoot it in '80's as a comedy starring Hugh Laurie as Dickens, and with his wide eyed reactions, prancing about and frantic gesturing, Dan Stevens does his best to sometimes almost convince us that this is exactly what they have done. In fairness to widely loved Downtown Abbey star, the lion's share of the blame for this does not belong on his shoulders. It probably wasn't Stevens' choice to put himself in a horrid wig that remains so perfectly styled even when he wakes up in the morning that one starts to wonder if this shouldn't be called The Man Who Invented Auqanet, and he very likely wasn't going through the script asking "now, can he be a bit more of an insufferable prat in this scene?"

Director Bharat Nalluri (The Crow: Salvation, Miss Pettigrew Lives For A Day) approaches the material with all of the subtlety of a community bedpan, and an approach to production design that says that his request for $1000,000 from the Town Council in order to impress Mr. Guffman was flatly denied (even though there is no swimming in the show.).

To say that we found it impossible to ever forget we were watching actors playing characters instead of being invested in real people on the screen is putting it far too mildly: with any movie, there is the inescapable fact that you are watching actors. But if every time they go off screen you get distracted by imagining them taking off their wigs, bitching about the sound technician being off on his cues and propping open the stage door to have a cigarette, that's a problem.

It must be said that the broad basics in regards to recorded history are accurate enough: Dickens was in a financial rut when he wrote A Christmas Carol, his father John did go to debtor's prison when Charles was boy, books were still being written by hand, etc. But the laughable portrayal of the creative process, made all the more insulting by the fact that it comes from people who have more or less participated in that process in some form themselves (not on this film of course, but they have other credits) and the ham fisted portrayal of Charles' hypocrisy in his shame toward his father and mistreatment of his wife and servants as he writes about how caring for the poor and how "mankind is my business!"manages to be over milked and completely underdeveloped at the same time.  And then there's the title issue: while A Christmas Carol absolutely did cause a significant rise in charitable donations during the holiday season and leave an indelible impact on that level and others, the movie would have you believe that Dickens was responsible for making Christmas popular again when the truth is that he was shrewdly using the surge in popularity of the festivities in England at the time as a way to sell a sure thing hit (while making a statement at the same time.). The movie doesn't give us any feel of what Christmas was like before the book and only very superficial references to changes that came because of it.

The total failure of this movie is the fact that Dickens himself never remotely plays as even half as real and three dimensional a human being as one his many wonderful characters (or for that matter, any created by A.A. Milne, Stan Lee, William Hanna and Joseph Barberra or any girl mentioned in a Billy Joel song.). The audience is insulted from beginning to end of this mess, and comes out with nothing to show for it.  But for us, there was an upside to this experience: after ten years of reviewing films for various outlets, our enjoyment and appreciation for truly bad cinema has definitely diminished. Despite the widely held belief that critics just love to hate, the truth is that when you are seeing at least one major release a week (and up to four or five in the busy seasons), when the lights go down, we want to be entertained just as much as the average moviegoer does, perhaps even more. no, we don't shell out the ticket price that you do, but we invest time, gas money and other expenses, and we have to spend a lot more time thinking about these films. It's hard to find the same joy in chuckling at some of the garbage that makes it to the big screen, because it is two hours you could have spent with loved ones, reading a book, taking a nap, or actually accomplishing something meaningful, and the novelty of  a night out in the theater simply isn't what it used to be. But The Man Who Invented Christmas was so head scratchingly stupid that it hit us like Three Ghosts; The Ghost of Bad Movies Past, which took us back our early 20's and the days of hanging with our childhood friend Aaron Jenson and deliberately seeking out schlock like Anaconda (Patrick literally fell out of his chair laughing at the image of Owen Wilson's shocked face poking out of the snake's skin.); The Ghost of Bad Movies Present, who pointed out the joy in bringing along our friend Brighton Sloan, who shares not only our love of Dickens but our biting sense of humor, to the screening so she could make snarky jokes throughout, and when Paul let out a zinger worthy of Crow T. Robot and Tom Servo, she laughed so hard her face started changed color at least twice; and the Ghost of Bad Movies Yet to Come, who reminded us that in 2018 we can look forward to Primal, a thriller starring Nicolas Cage and his hair plugs, with the following mouth watering plot description:

A big game hunter for zoos who has booked passage on a reek shipping freighter with a fresh haul of exotic and deadly animals from the Amazon, including  rare white Jaguar - along with a political assassin being extradited to the U.S. in secret. two days into the journey, the assassin escapes and releases the captive animals, throwing the ship into chaos.

Thanks, spirits! We are changed men. We  will honor bad cinema in our hearts, and try to keep it all the year. We will live in the Past, the Present, and the Future. The Spirits of all Three shall strive within us. We will not shut out the lessons that they teach!  God Bless Us, Every One!


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daniel logan science and star wars

Lucasfilm and Disney today released a new episode of Science and Star Wars on the science of Boba Fett. In this week’s video, the actor who plays Boba Fett, Daniel Logan, joins the show to test the bounty hunter’s armor against stabbing knives, a 2-watt blue laser diode and an arm-mounted flamethrower.


As the Star Wars universe’s most famous bounty hunter, Boba Fett has an armored chest plate, a back-mounted jet pack, wrist gauntlets housing a fiber cord whip, and a mounted blaster and a mini-flamethrower. Watch what happens when the actor who played young Boba Fett in Star Wars Episode II: Attack of the Clones tests a recreation of Boba Fett’s armor, a 5.5 Kevlar vest — whose tensile strength makes it 5x stronger than steel — against Star Wars-level weaponry.

Over the course of the series, Science and Star Wars explores science fantasy, science fact, and the gray area in between, every Tuesday on the official Star Wars Facebook page. Please consider sharing this video with your readers.

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Tuesday, 21 November 2017

treks1

THE ICONIC COSTUMES ARE PART OF AN AUCTION OF 400 LOTS OF MATERIAL FROM STAR TREK &
STAR TREK INTO DARKNESS THIS DECEMBER
The full collection of 400 props and costumes from the making of both Star Trek (2009) and Star Trek Into Darkness (2013) will be sold at auction by Prop Store, one of the world’s leading film and television memorabilia companies, in association with Paramount Pictures. The auction will be held at Prop Store’s facility in Valencia, LA County, USA. Bidders can also participate via telephone or online. The auction is a no-reserve sale meaning all final bidding prices are determined solely by bidding activity.
treks2

Sets of Three Enterprise Uniforms and a Pair of Klingon Guard Uniforms will go to the highest bidder in the December 2nd AuctionThese lots, originals used in Star Trek (2009) and Star Trek Into Darkness, are expected to fetch an estimated $2,500-$3,500 and $3,000-$5,000, respectively. Captain Kirk’s Enterprise Captain’s Command Uniform and Mr. Spock’s Enterprise Sciences Uniform are expected to be some of the highest selling, with a sale price of $5,000-$10,000and $8,000-$12,000 respectively. Each costume is complete with a Starfleet insignia badge, and Mr. Spock’s costume also includes a Starfleet phaser, communicator and belt. Also included in the auction are other key character costumes including Lt. Uhura, Dr. ‘Bones’ McCoy, Lt. Commander Scotty and Lt. Sulu, as well as fan-favorite props such as Starfleet phasers and tricorders. All items sold include a Prop Store Certificate of Authenticity.

treks4


A lavish printed catalog is also available for purchase. A selection of key content from the auction will be on display in an auction preview exhibition at Prop Store’s offices from Monday 27th November to Friday 1st December.

treks3

Star Trek is the 2009 reboot of the beloved science-fiction franchise that recast the main characters of the original Star Trek television series. The film was critically acclaimed and grossed over $385 million in worldwide box office; it was also the first Star Trek film to win an Academy Award, for Best Makeup. The follow-up film, Star Trek Into Darkness, grossed over $467 million worldwide and is the highest-grossing Star Trek film to date.

The auction begins at 11:00am PST on Saturday 2nd December 2017. Lots can be viewed and bidders can register to participate at: http://www.propstore.com/auction

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Now this is podracing!  Okay, it isn't but come on just look at these flying R/C models from a recent event in Germany.  There are two videos, the first shows a single Anakin Skywalker podracer and the second a kind of race complete with flashing LED lights on the racers.





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COCO
Starring the voices of Anthony Gonzalez, Gael Garcia Bernal, Benjamin Bratt, Renée Victor, Ana Ofelia Murguia, Alanna Ubach, Jaime Camil, Sofia Espinosa,
Selene Luna, Alfonso Arau and Edward James Olmos
Screenplay by Adrian Molina and Matthew Aldrich
Directed by Lee Unkrich and Adrian Molina



















 Out of Four


Reviewed by Patrick Gibbs & Paul Gibbs

Miguel practices his guitar while watching
an old video of his idol, Enresto De la Cruz.
(Image Courtesy Disney/Pixar)
There are two types of people in this world: those who love Disney-Pixar, and those without souls. But the house of magic has been around for more than 20 years, and while even what we consider to be their only true misfire (The Good Dinosaur), wasn't terrible by any means, the days when the label guarantees major awards and being one of the top three best films of the year simply could not last forever. As such, critics and audience enter the latest film with a little more uncertainty than they used to, and we've found that the general excitement level for Coco has seemed to be lukewarm. If you are in the crowd that doesn't care much about it, we are here to change your mind.

Twelve-year-old Miguel Riviera (voice of Anthony Gonzalez) lives in the small, fictional Mexican village of Santa Cecilia. Miguel dreams of becoming a musician like his idol Ernesto de la Cruz, a popular singer-songwriter and film star who died when he was crushed by a bell in a live concert. However, because Miguel's great-great-grandfather left his family to achieve his musical dreams, his family has banned music for generations. Because of the ban, the only relative Miguel likes is his great-grandmother Coco (voiced by Ana Ofelia Murguia.). On Dia de Muertos, after Miguel inadvertently damages the photo with Miguel's great-great grandfather's face ripped out that is used for Mama Imelda's ofrenda, he finds a bent section of the photo revealing that his great-great grandfather used a guitar similar to De la Cruz. This causes Miguel to believe that he and his family are direct descendants of De la Cruz (voiced by Benjamin Bratt.).

Miguel uncovers a secret.
(Image Courtesy Disney/Pixar)
When Miguel attempts to participate in a talent contest using a guitar he kept away from his family, his father destroys it and he leaves. Looking for a way to participate in the talent contest, Miguel infiltrates De la Cruz's mausoleum to steal his guitar and use it in the contest. However, he becomes a type of ghost unable to be seen or heard by the living except for Dante, a street dog he pets often. In the cemetery, Miguel meets his skeleton deceased relatives who are surprised that Miguel can see them and is there with them. They believe this is related to Imelda's inability to cross "the other side" and they take Miguel to Land of the Dead, an afterlife dimension where the deceased people come to visit their relatives on Día de Muertos. There he meets Hector (voiced by Gael Garcia Bernal), a quirky and opportunistic dead man who is desperate to get to the other side but can't because no one has put up his picture on an ofrenda. Meanwhile, while Miguel runs into some family members, they refuse to help him get back unless he promises gives up music forever.

Miguel suddenly realizes he's not in Santa Cecelia any more.
(Image Courtesy Disney/Pixar)
Coco is easily Pixar's best film since Inside Out, and ranks among their all time best. Itshows that for all of the current emphasis on sequels and playing it safe, they can still create a charming, sweet and visually marvelous tale that breaks the mold of everything you expect from a Disney animated film while still being everything you want from a Disney animated film. It is filled with charming characters and atmosphere of wonder and magic. It's hard for anyone with any artistic aspirations not to strongly identify with little Miguel, whose passion for his music makes you instantly root for him, and it's easy to share his frustration with his family close minded attitude, but they are loving family nonetheless.

There were those immediately jumping to the conclusion that Pixar was remaking The Book of Life after the initial trailers, and the comparison is more than understandable. However, Coco is a movie entirely it's own, with a different story, different characters and situations. It's really a bit like calling What Dreams May Come a remake of Heaven Can Wait. This version of the afterlife is a little less stylized but it's every bit as marvelous.

If you are the kind of person who cried at Up (also known as a good person) be prepared to be hit hard by this film. We admit that the emotion was heightened for us by having no living parents or grandparents, but when the lights came up, our 10-year old niece was smiling and chattering away until she looked at us and asked "Wait . . . are you guys crying?" We are not trying to be funny when we say she had to pull us together. It's also perfect timing for Disney to make a film set in Mexico, especially one so indelibly human.

This film has it all: adventure, love (no central romantic love story it does have a deeper touch of romance) and plenty of hearty laughs. It's by far one of the best films of 2017 and may take our top spot.  Make this one a top priority to see in theaters.


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Monday, 20 November 2017

steven spielberg the post screening
Niko Tavernise/Twentieth Century Fox
Steven Spielberg, Tom Hanks and Meryl Streep were in attendance at AMC Lincoln Square for the first screening of 'The Post.'  A review embargo was in place but that didn't stop the media from giving the cast and crew a standing ovation which is a good sign.  Also in attendance was Bob Odenkirk and fellow Welshy, Matthew Rhys.

“It just felt like this was going to be a movie that I was gonna want to make immediately, and I was still making this other movie for Warner Bros.,” said Spielberg.  “This was like something that couldn’t wait for three years or two years. This was a story that I really felt we needed to tell today.”

During the panel, Hanks recounted his previous meetings with Bradlee and Graham, and praised the movie’s inclusion of the newspaper printing process. “Look how complicated it was to put out a newspaper — that linotype machine along makes you wonder, how did they put that thing out every morning so that they could read it at 6 a.m.?” said Hanks. Spielberg then stressed, “This was a profession that was about the truth and often the cost of compiling stories, and then having to physically go into the linotype room…where it was really a hands-on craft. We wanted to show that because we have such respect for all the news organizations, from the beginning of news, that are able to get this stuff out and disseminated.”

Spielberg also explained why he used the real audio tapes of Richard Nixon in the movie, which are heard over a silhouette of the former president in the White House. “It just seemed to me that there’s a fabulous choice role for Richard Nixon and we should cast him in this movie. It shouldn’t be a voice impersonator; it should be the president himself,” he said, adding that he wanted to keep the focus on the Post staff. As for the movie’s clear connection to the current administration’s relationship with the press, Spielberg said, “The relevance is up to everybody to strike their own balance between the news today and the news then. But obviously, sometimes, bad things happen twice. History is certainly repeating itself.”

Source - Hollywood Reporter

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Sunday, 19 November 2017


The Academy of Motion Picture Arts and Sciences' 9th Governors Awards was held at The Ray Dolby Ballroom at Hollywood & Highland Center and Steven Spielberg had the honourable duty of opening the awards.  You can watch the video below.

On the night the awards ceremony honoured director Agnès Varda, director Alejandro G. Inarritu, cinematographer Owen Roizman, director Charles Burnett and actor Donald Sutherland.

As Steven Spielberg said in his speech at the Governors Awards, 'it is an evening without competition, an evening of community.  To be together, to be in awe and to be inspired by these imperative artists.'



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Saturday, 18 November 2017


Our fifth Christmas gift idea takes us back to 1991 when the classic Terminator 2: Judgment Day hit cinema screens.  The film has held up well thanks to the amazing work from Industrial Light & Magic and the hugely talented and much missed Stan Winston

Complete with groundbreaking special effects, T2 became Arnold Schwarzenegger’s (Total Recall, Predator) most iconic role to date, as well as one of the most quotable scripts of the decade, this brand-new 3D version will blast the seminal blockbuster into the 21st century and introduce it to a brand-new generation of fans.


t2 uhd
Now, thanks to STUDIOCANAL we can enjoy this classic movie on UHD, Blu-Ray, 3D Blu-Ray, DVD and Digital Download.  The new release will be out on December 4th.  To celebrate the release STUDIOCANAL have revealed an extended clip starring Robert Patrick, James Cameron and Brad Fiedel, from the brand new behind the scenes documentary that accompanies the forthcoming release.
The battle for tomorrow has begun…
#T23D




BLU-RAY EXTRAS

-        NEW T2: Reprogramming The Terminator. A 55-minute documentary including exclusive interviews with Arnold Schwarzenegger, James Cameron, Edward Furlong and many more)
-        Feature Commentary with 23 members of Cast and Crew (1993)
-        Feature Commentary with director James Cameron & co-author William Wisher
-        The making of T2. A 30 minute 1993 (from 2003 edition)
-        Seamless Branching of the Theatrical version (137 mins approx.), Special Edition version (154 mins approx.) and Extended Special Edition version (156 mins approx.)
-        Deleted Scenes with audio commentary
-        NEW T2:3D trailer (2017) 
-        T2 theatrical trailers: This time there are two, Same make new mission and Building the perfect Arnold



DVD EXTRAS

-        NEW T2: Reprogramming The Terminator. A 55-minute documentary including exclusive interviews with Arnold Schwarzenegger, James Cameron, Edward Furlong and many more)

The restoration:
The original 35mm negative was scanned and then restored in 4k at Deluxe L.A., under the supervision of Geoff Burdick from Light storm. The film was calibrated in 4k by Skip, James Cameron’s colorist, at Technicolor Hollywood, with a selection of the best 35mm prints from the film's first release. The film was then converted into 3D by Stereo D (Star Wars, Avengers: Age of Ultron, Jurassic world).

This work lasted almost a year and was monitored daily by Light storm’s teams, to produce a high-end 3D version at the level of the latest 3D releases from U.S. Studios. The 3D version then benefited from a calibration and a specific finish at Technicolor Hollywood, still under the supervision of Skip and James Cameron himself.

The restoration project was initiated by Light storm (lei), James Cameron’s production company, DMG Entertainment and STUDIOCANAL. James Cameron's team oversaw this 3D conversion from start to finish. This highly experienced and award-winning team had already supervised Titanic's 3D conversion and is currently working on the Avatar sequels.


T2 Blu-ray 3D

T2 Blu-ray

T2 UHD


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Friday, 17 November 2017

John Williams visits Alan Silvestri and Steven Spielberg

John Williams visited Alan Silvestri and Steven Spielberg at the recording sessions for Ready Player One. 

Photo tip from Go Soundtracks on Twitter.

Ready Player One is out March 2018

John Williams visits Alan Silvestri and Steven Spielberg


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littleBits, the award-winning company that empowers kids to be inventors, joined Lucasfilm today to reveal never-before-seen Droids designed by technologists from top Bay Area innovators, all created in celebration of a global competition aimed to inspire the next generation of inventors and shed light on STEAM (Science, Technology, Engineering, Art, and Math).

Held at the Lucasfilm San Francisco campus, iconic Bay Area technology companies came together for the first-ever “Droidathon,” an event for kids from local organizations including the Black Girls CODE, Booker T. Washington School Community Center, The Boys & Girls Club, and the YMCA where inventors showcased their Droid creations and discussed their ideation and inspiration. Using the littleBits Droid Inventor Kit as a starting point, teams of engineers, programmers, and designers created innovative Droids using the core electronic building blocks together with 3D printing, craft material, soldering and programming. Initial photos from the event can be found here. More content will be available the morning of November 16.

The Droidathon kicked off the littleBits Competition: Droid Inventor Kit which invites kids, families, and Star Wars fans—residing in the US, UK, and Canada - to share their own unique Droid creations with the inventor community.  The competition will run from November 15, 2017 to January 10, 2018. Fans and families will be able to submit their own Droid design creations, with qualifying submissions judged by Star Wars: The Last Jedi stars Daisy Ridley (the actress who portrays Rey in the current Star Wars trilogy) and Kelly Marie Tran (the actress who portrays Rose Tico in Star Wars: The Last Jedi) alongside Ayah Bdeir (founder and CEO of littleBits) and Kathleen Kennedy (president of Lucasfilm).

Droidathon

Star Wars has always expanded kids’ imaginations and inspired them to see what is possible,” said Kathleen Kennedy, president of Lucasfilm. “We’re excited to collaborate with all of these incredible companies and littleBits to showcase the power of STEAM in action and inspire the next generation of inventors.”

Both the Droidathon event and competition seek to inspire kids to explore technology and think of themselves as inventors: to accept challenges, make mistakes, persevere, and feel the triumph and pride of creating something with their own two hands. The littleBits Droid Inventor Kit is a gender-inclusive product that celebrates kids’ own self-expression and ingenuity, while showcasing the same characteristics of imagination, grit and invention that are embodied in the Star Wars franchise. For more information about how young inventors can get involved, visit www.littlebits.com/droidinventorkitcompetition.
“We believe the two best way to inspire kids about STEAM is through fun and role models. What
could be more fun and inspiring than seeing the world’s top innovators and role models creating the
weirdest Droids anyone has ever seen?” said Ayah Bdeir, founder and CEO with littleBits. “We’re thrilled to work together to inspire kids of all ages, backgrounds, genders and interests to become tomorrow's change-makers."

Droidathon
About littleBits
littleBits empowers kids around the world to become inventors. Founded in 2011 by Ayah Bdeir MIT Media Lab alum, its innovative platform of easy-to-use electronic blocks allows anyone to create and invent with electronics, independent of age, gender or technical ability. As the leader in STEAM (Science, Technology, Engineering, Art and Mathematics) learning, littleBits believes in inspiring invention by creating products that encourage self-directed exploration and problem solving; support grit and tenacity; and create a safe place to experience both failure and accomplishment. The company is dedicated to successfully bridging the gender gap with its gender-neutral platform, attracting an industry high thirty five percent of young girls to invent with littleBits. By embracing STEAM, both girls and boys can invent solutions to the problems that matter to them. The company’s products have won over 150 industry awards in the toy and education industries. littleBits is headquartered in New York. For more information and inspiration, go to www.littleBits.cc.
Lucasfilm, STAR WARS and related properties are trademarks and/or copyrights, in the United States and other countries, of Lucasfilm Ltd. and/or its affiliates. © & TM Lucasfilm Ltd.







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