Thursday, 20 July 2017

ghostbusters skycraper

Ghostbusters is a huge favourite of mine.  It's one of my favourite comedies.  1984 was a golden year for movies.  Indiana Jones and the Temple of Doom, The Karate Kid and Police Academy to name a few were released that year.

Horror movies were in abundance too.  Friday the 13th: The Final Chapter, Gremlins and Stephen King's Firestarter were all out with one aim in common, to give me nightmares.  Thank goodness for Ghostbusters to relieve the horror with some comedy.  But wait!  What's this?  Some clever (sick) person has re-imaged a Ghostbusters trailer in the style of a horror movie and...it looks really scary.  I would watch it.  Of course I would.  Also I love the VHS quality, nice touch

Rob "What about the Twinkie?" Wainfur
@thebeardedtrio



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Wednesday, 19 July 2017

t-rex running

"Well we clocked the T-Rex at 32 mph" said John Hammond enthusiastically to Doctor Grant in Steven Spielberg's 1993 dino-classic Jurassic Park.  We all remember that scene.  You know the one where we get the "Welcome to Jurassic Park" and then the glorious John Williams soundtrack.  Well scientists have gone and messed it all up with their science stuff.  It turns out the T-Rex was a slow coach.  A waddling giant that thought walking is better than running.  Perhaps Doctor Grant's advice "come on guys, it's not a race" was the philosophy originally adopted by the T-Rex.

The BBC tell us:

University of Manchester scientists used a new computer simulation to assess the speed of the massive biped.

Based on T.Rex's muscles alone, the model came up with a maximum speed of 30km/h, but this dropped to 20km/h when skeletal strength was assessed too.
Had it moved from a brisk walk to a sprint, the dinosaur's legs would have snapped under the weight of its body.

"T.Rex is everyone's favourite dinosaur, and palaeontologists have been arguing for years about how fast it could run because this would tell us something about its hunting style and the way it caught its prey,'' said Prof William Sellers.

''This project used a highly realistic computer simulation to predict how T.Rex moved, and it shows that running would have been impossible because its skeleton just isn't strong enough.

''That means that T.Rex was actually quite slow and therefore not a pursuit predator.''

I don't care what science tells me I'm going with the Jurassic World idea.  Lets say they created a better version, a faster version, a more bitey version.  One that would attract more guests.  That's what I'm going with.  That puts the film right in my eyes.  John Hammond's statement remains and that Jeep chase is totally legit.  Explains the lack of feathers too.  So there.

Rob "What about having just one IT guy employed for the whole park?  That needs to be answered." Wainfur
@thebeardedtrio



Source - BBC

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Tuesday, 18 July 2017

Valerian and the City of a Thousand Planets ilm


Hybride is extremely proud to have contributed its VFX expertise to Luc Besson’s epic fiction action-adventure, Valerian and the City of a Thousand Planets
Joining forces once again with the team at Industrial Light & Magic (ILM), the studio delivered 300 shots—for a total of 17 minutes of screen time—for one of the biggest cinematic events of the summer. 

Working closely with ILM visual effects supervisor Philippe Rebours, Hybride artists skillfully crafted VFX for the opening Big Market sequence on the desert world of Kirian. Based on the look development created by ILM’s art department, Hybride artists produced assets that include highly detailed slanted rock formations and mushroom shaped rocks for Kirian’s colorful and unique geology that can be seen outside of the arena market, as well as at the main gate and tower. 

Hybride also produced massive desert set extensions and populated the desert arena with nearly 12,500 digi doubles based on a range of 250 leading characters using Horde — an innovative in-house proprietary crowd system. To stay true to the film’s highly colorful look, the studio recreated a specific wardrobe for the characters based on images received of the extras that had been filmed on set. 


On Kirian, Valerian uses a virtual reality technology to travel to an enormous virtual market set in a double world. “The Big Market is actually located in a desert arena, with a million shops on five different levels”, said Hybride visual effects supervisor Joseph Kasparian. “When you’re in the first world, all you see is the desert. The shops appear when you put on your helmet and sensors on.” The final Kirian desert sequence shots were split between ILM and Hybride: the shots seen from the desert side were produced by Hydride, whereas the scenes inside the market were all created by ILM. 

Since the clouds were a key aspect of the sequence’s look, Hybride used a sky
set up system filled with multicolored clouds provided by ILM to customize the look of each shot. “The library contained a variety of clouds with frontlighting and backlighting, so we could change the colors and orientation depending on the shot,” said Hybride visual effects supervisor Joseph Kasparian. “We needed to make sure that each shot was esthetically pleasing and well balanced because the environments play a huge part in immersing the audience into this visually spectacular fantasy world.”  Hybride artists were also tasked with animating an alien creature created by ILM, which also meant sharing rendered backgrounds. Hybride also generated several shots for the bus sequence, delivering rendered backgrounds to ILM for scenes where the bus is attacked by a Megaptor — a ferocious beast with six stubby legs and a lobster-like carapace. Hybride’s contribution also includes motion designs for binoculars, market maps, helmet interfaces and UIs for teleportation devices. 

“This was our 11th collaboration with ILM and another great opportunity to showcase our creative team’s talent and efficiency”, noted Pierre Raymond, President and Head of Operations at Hybride. The project was also a huge collaborative effort between the two Hybride locations. Everybody truly stepped up to the plate and made this show a tremendous success.”

Valerian and the City of a Thousand Planets is based on the French science fiction comics series Valérian et Laureline, written by Pierre Christin, illustrated by Jean-Claude Mézières and published by Dargaud. 

The film, written and directed by Luc Besson, stars Dane DeHaan (Valerian), Cara Delevingne (Laureline), Clive Owen (Commander Arün Filitt), with Rihanna (Bubble), Ethan Hawke (Jolly the Pimp), Kris Wu (Sergeant Neza), Rutger Hauer (President of the World State Federation). Produced by Virginie Besson-Silla, and distributed by STX Entertainment, the movie hits theatres July 21, 2017. 



About Hybride 
Hybride Technologies, a division of Ubisoft, specializes in delivering spectacular visual effects for the film and television industry worldwide. 

Among some of its most memorable contributions to the film industry are several international mega-productions including Jurassic World, Star Wars: The Force Awakens, Warcraft, Rogue One: A Star Wars Story, Arrival, The Great Wall and Kong: Skull Island. 

www.hybride.com


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Monday, 17 July 2017

martin landau savage spielberg

The actor Martin Landau, best known for roles in the TV series Mission: Impossible and Space 1999, has died, aged 89.  Steven Spielberg fans will know him as Paul Savage in the director's 1973 TV movie, "Savage."  The movie was about a TV reporter who investigates compromising photographs of a nominee to the Supreme Court.  The episode was produced as a pilot but unfortunately was not picked up.

His publicist Dick Guttman confirmed the death, saying: "We are overcome with sadness."

martin landau columbo
Columbo - Double Shock
Columbo fans will also remember him from the excellent episode Double Shock in which Landau plays two people, Dexter Paris and Norman Paris.

His many TV appearances over the decades made him a well loved personality and a fan favourite.  He will be missed.  He died on Saturday in Los Angeles of "unexpected complications" following a hospital visit.

Source - BBC



Rob Wainfur
@thebeardedtrio

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Sunday, 16 July 2017

THE EXCEPTION
Starring Lily James, Jai Courtney, Janet McTeer, 
Ben Daniels, Eddie Marsan and Christopher Plummer
Based upon the novel "The Kaiser's Last Kiss" 
by Alan Judd
Screenplay by Simon Burke
Directed by David Levaux

Reviewed by Patrick Gibbs

















Out of Four


WARNING: THIS REVIEW CONTAINS SOME SPOILERS, BUT IN FAIRNESS, THE FILM IS QUITE PREDICTABLE . 



Kaiser Wilhelm II, the German Emperor who lead the country during World War I and ultimately abdicated the throne in 1918 (due to lack of support from the military), is to say the least an interesting historical figure, and his later years living in exile as Hitler and the Third Reich took over Germany are certainly a ripe setting for drama and character study.

The Exception follows a German Officer, Stefan Brandt (Jai Courtney) who is assigned to head Wilhelm's personal bodyguard at the former leader's castle in the Netherlands. Following the invasion, German authorities are concerned that Dutch spies may be watching the Kaiser. Brandt, who suffers from demons but is  a dutiful soldier and deeply devoted to Germany, arrives at the castle, where the only thing that really grabs his interest is a beautiful maid (Lily James.). When the maid arrives to deliver a message, the officer has been drinking, and he orders her to take her clothes off and rapes her (though when he has her bent over a table, he does politely respond to her request to do it "gently", which plays even more awkwardly than it sounds because it seems more like an instruction coming from a girl patiently teaching a guy how to kiss than a desperate plea from a victim.).

Upon meeting with a local SS officer, Brandt learns that a British agent has infiltrated the household, and he informs Wilhelm (Christopher Plummer), who takes the news less than seriously .
"An agent?" Wilhelm muses. "We'd better inform the ducks."

Wilhelm is getting old and doesn't like being told what to do or say, and he has a general disdain for the Nazis. His wife, Princess Hermine (Janet McTeer), wants him to exercise more caution and watch his words, as she hopes that the shift in power can lead them back into Germany's good graces.  Meanwhile, the maid, whose name is Mieke, confronts Brandt in his bedroom and a passionate affair begins between them, complicated slightly by the facts that "copulation is forbidden between the staff" and that Meike is hiding the fact that she is Jewish (and if you guessed that it's not all that she's hiding, you'd be right, and frankly it's quite impressive that anyone can hide so much while spend so much of the movie naked.).

Wilhelm develops an almost grandfatherly fondness for Mieke and finds her a refreshing presence. Everything else suddenly becomes secondary, however, at the news that the castle is expecting a vistior: SS Reichsführer Heinrich Himmler (Eddie Marsan.).

The fact that the film tries to approach the study of real life figures through fictional characters and events is nothing new, and not the worst way to go. Even the overwrought, '80's Richard Chamberlain miniseries style affair set against the backdrop of espionage plot isn't as bad as it sounds, and the capable cast sells it nicely, though the film is far more interesting the less it focuses on the romance. The portrayal of Wilhelm and his wife and as they try to test the waters of the new German regime is quite interesting and plays out wonderfully, and while the spy plot is very by the numbers, it plays well enough and provides some genuine suspense.

What doesn't play, at all, is our central character's status as "The exception rather than the rule", meaning the good Nazi. It's very hard to get past the fact that this "romance" started with a rape, and the clumsy attempts to lessen that ("Meike, I wanted to apologize for the way we met") only make it worse. We are quite literally expected to excuse our so called hero's actions because the object of his lust "wanted him." And what's worse, eventually the question of whether she seduced him is thrown into the mix. If this had all been played more ambiguously as a product of the time and setting, if Brandt were portrayed as a deeply flawed man with despicable qualities who begins to rise above them but is never fully redeemed, and if Meike's motivations were more complex and this was indeed all about the mission, some of these elements might come together, but if you're going to go dark and morally shaky, you need to really commit to it.  As it stands, there was a simple answer to the problem: if we are meant to like the characters and care about their relationship, leave the rape out of the story in the first place. Or am I making too much sense?

The performances all click, but Plummer and McTeer are clearly the standouts, with some wonderfully played moments and great dialogue, and they may even get some Oscar talk. Eddie Marsan's brief turn as Himmler is chilling, and the interaction with him provides some of the best moments.  Lily James is a strong presence, and Jai Courtney, an often maligned actor who has had a lot of bad luck with material, gives a very solid leading man turn, even if it pales in comparison to what Ralph Fiennes would have done with it if this movie had been made in the mid to late '90's when this sort of thing was actually box office and Oscar bait. I could have done without the silly sexcapades, and I personally did not need to see our leads completely naked (and I mean completely) so many times (if at all), but I suppose those who enjoy torrid affair movies have certain expectations (though, and I can't overstate this, starting things off with a rape generally isn't among them.).

On the whole, The Exception is a well paced and involving enough film, with some moments of genuine greatness, but severely wrongheaded choices and the disturbing messages sent by those choices lead to the feelings that some of the critics who were so hard on The Book of Henry may owe Colin Trevorrow an apology.



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galaxy's edge falcon

Star Wars: Galaxy’s Edge.  The Official Name For Disney's Star Wars Land

Bob Chapek, Chairman of Walt Disney Parks & Resorts, revealed the official name of the Star Wars-inspired lands that are currently under construction at the Disneyland and Walt Disney World Resorts, and shared details on the immersive experiences guests will be able to enjoy when the lands open in 2019!

Expect gates to be open in 2019.



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john williams bbc proms radio 3

Tune in to BBC Radio 3 on 20th July 7:30-10:15pm to listen to the BBC Concert Orchestra pay tribute to John Williams and his 85th Birthday.

Live at the BBC Proms from London’s Royal Albert Hall, the BBC Concert Orchestra, conductor Keith Lockhart, Jamal Aliyev (cello), Annelien Van Wauwe (clarinet), Jess Gillam (alto sax), Haringey Vox and Islington Music Centre celebrate the music of legendary film composer John Williams.

Winner of five Academy Awards, 22 Grammy Awards and seven BAFTAs, John Williams is among the greatest of film composers. His scores for Star Wars, Harry Potter, E.T. The Extra-Terrestrial and the Indiana Jones films have made him a household name.

The BBC Proms celebrates his extraordinary achievements in a concert to mark Williams's 85th birthday. Keith Lockhart – a long-time colleague of Williams at the Boston Pops Orchestra – conducts the BBC Concert Orchestra in an evening featuring excerpts from the composer's best-loved scores, as well as some lesser-known gems.

Overture to Goodbye, Mr. Chips
Raider's March from Raiders of the Lost Ark
Main Theme from Jaws
March from Superman
Suite for Cello and Orchestra from Memoirs of a Geisha - Sayuri’s Theme
Viktor’s Tale from The Terminal
Dartmoor, 1912 from War Horse
Theme from J.F.K
Prayer for Peace from Munich
Dry Your Tears, Afrika from Amistad
Devil's Dance, from The Witches of Eastwick
Escapades (No. 3) for Alto Saxophone and Orchestra from Catch Me if You Can
March of the Resistance from Star Wars: The Force Awakens
Rey's Theme from Star Wars: The Force Awakens
Main Title from Star Wars: A New Hope
Hedwig's Theme from Harry Potter and the Sorcerer's Stone
A Child’s Tale: Suite from The BFG
Flying Theme from E.T. the Extra-Terrestrial

In the Interval…

Matthew Sweet and guests discuss John Williams's dazzling career in film music. Highlights of a discussion recorded earlier in the day at the Imperial College Union.

Presenter: Katie Derham
Producer: Neil Varley

How to listen to BBC Radio 3

The show will also be shown on BBC 4 8PM on Friday 21st July.

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Saturday, 15 July 2017



Just release are these character posters for Star Wars: The Last Jedi.  Red is definitely the theme for this film it seems.



Kylo Ren Character poster for #TheLastJedi


character posters for Star Wars: The Last Jedi

character posters for Star Wars: The Last Jedi

character posters for Star Wars: The Last Jedi


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the last jedi day 1

Lucasfilm have recently been on stage during the live-action presentation at D23 Expo and even though Kathleen Kennedy wasn't present, director of The Last Jedi, Rian Johnson was joined on stage by Daisy Ridley, John Boyega, Gwendoline Christie, Kelly Marie Tran, Laura Dern, and Benicio Del Toro.

Mark Hamill also made an appearance and Star Wars fans were treated to a behind the scenes reel to The Last Jedi which you can watch below.

Still no trailer but expect that soon...Very soon.




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4k blu-ray e.t.

In 1982, acclaimed director Steven Spielberg created iconic movie magic with his classic film, E.T. The Extra-Terrestrial, the unforgettable and emotional adventure of an adorable alien lost on Earth and the lonely boy who befriends him. Winner of four Academy Awards®, including Best Music, E.T. The Extra-Terrestrial has become a cinematic touchstone for generations of moviegoers and one of the most beloved films of all time. Now, Universal Pictures Home Entertainment celebrates the film's original theatrical release with a special gift set, E.T. The Extra-Terrestrial 35th Anniversary Limited Edition on 4K Ultra HD + Blu-ray™ + Digital available on September 12, 2017. This special gift set features premium packaging, includes a re-mastered CD soundtrack of the original Grammy Award®-winning album, is packed with over three hours of bonus features and includes a collector's booklet with behind-the-scenes stories and rare images from the archives. E.T. The Extra-Terrestrial 35th Anniversary Limited Edition retains all the excitement, drama and warm-hearted humor that made it an instant worldwide classic.

4k blu-ray e.t.


Fans can also relive the adventure and magic of one of the most beloved motion pictures of all-time, with the 4K Ultra HD Combo Pack along with the new Blu-ray™ Combo Pack and DVD editions that showcase new artwork of the beloved cast on September 12, 2017. All releases include a code to redeem the film on Digital plus over three hours of bonus features such as deleted scenes and revealing interviews that bring back the film's humor, suspense and wonder, making this a must-own movie for everyone's library.

Captivating audiences of all ages, this timeless story follows the unforgettable journey of a lost alien and the 10-year-old boy he befriends. Join Elliot (Henry Thomas), Gertie (Drew Barrymore) and Michael (Robert MacNaughton) as they come together to help E.T. find his way home. E.T. The Extra-Terrestrial is "one of the great American films" (Leonard Maltin) that forever belongs in the hearts and minds of audiences everywhere.

E.T. The Extra-Terrestrial returns to movie theaters nationwide for a two day cinema event on Sunday, September 17, and Wednesday, September 20. These special event screenings will feature an exclusive commentary from TCM Primetime Host Ben Mankiewicz. Tickets and participating theaters are available at www.FathomEvents.com.



BONUS FEATURES on BLU-RAY™ and DVD:

The E.T. Journals - Retrace the day-to-day experience of creating E.T from never-before-seen, behind-the-scenes footage shot by Academy Award®-winning cinematographer John Toll.
Steven Spielberg & E.T. - Watch an interview with Steven Spielberg, as he reflects back on the film and discusses his experience working with the actors, as well as his overall and current perspective on E.T.
The Music of E.T.: A Discussion with John Williams - Interviews and footage focused on the long-standing relationship between John Williams and Steven Spielberg.
Designs, Photographs and Marketing of E.T
E.T. Designs by Production Illustrator Ed Verreaux
E.T. Designs by Carlo Rambaldi
Spaceship Designs by Ralph McQuarrie
Designs by Production Illustrator Ed Verreaux
Production Photographs
Marketing E.T. A Look Back - A special insider's look into the making of E.T. featuring interviews with Steven Spielberg, the cast, and others intimately involved with the film.    
The E.T. Reunion - The cast and filmmaker reunite to discuss their thoughts on the impact of the film.
The 20th Anniversary Premiere - Composer John Williams played the score of E.T. live at the Shrine Auditorium for the re-release premiere of E.T.   This featurette gives us a behind the scenes look at this presentation.
Deleted Scenes
Theatrical Trailer

FILMMAKERS:

Cast: Henry Thomas, Drew Barrymore, Dee Wallace, Robert McNaughton, Peter Coyote
Directed By: Steven Spielberg
Written By: Melissa Mathison
Produced By: Steven Spielberg, Kathleen Kennedy
Executive Produced By: Amanda Lewis, Samantha Vincent
Director of Photography: Allen Daviau
Production Designer: James D. Bissell
Edited By: Carol Littleton
Composer: John Williams

TECHNICAL INFORMATION – 4K ULTRA HD:

Street Date: September 12, 2017
Copyright: 2017 Universal Pictures Home Entertainment. All Rights Reserved.
Selection Numbers: 61190959 (US) / 61191125 (CDN)
Rating: Rated PG for language and mild thematic elements
Layers: BD-66
Aspect Ratio: 2.40:1
Sound: DTS:X Immersive Audio; 2.0 DTS Headphone:X; DVS 2.0 Dolby Digital, Spanish (Latin American), French (European), Portuguese (Brazilian) and Japanese DTS Digital Surround 5.1, Japanese DTS Digital Surround 2.0
Language/Subtitles: English SDH, Spanish (Latin American), French (Canadian and European), Portuguese (Brazilian), Mandarin (complex) and Japanese Subtitles
Running Time: 1 Hour 55 Minutes

TECHNICAL INFORMATION – BLU-RAY™:

Street Date: September 12, 2017
Copyright: 2017 Universal Pictures Home Entertainment. All Rights Reserved.
Selection Numbers: 61190462 (US)/ 61191153 (CDN)
Rating: Rated PG for language and mild thematic elements
Layers: BD-50
Aspect Ratio: Widescreen 1.85:1
Sound: DTS-HD Master Audio 7.1, Spanish/French DTS Digital Surround 5.1
Bonus Feature Disc Sound: English Dolby Digital 2.0
Languages/Subtitles: English SDH, French and Spanish
Bonus Feature Disc Languages/Subtitles: English SD, French-Canadian and Latin American Spanish subtitles
Running Time: 1 Hour 55 Minutes

TECHNICAL INFORMATION DVD:

Street Date: September 12, 2017
Copyright: 2017 Universal Pictures Home Entertainment. All Rights Reserved.
Selection Numbers: 61190460 (US)/ 61191148 (DVD)
Rating: Rated PG for language and mild thematic elements
Layers: Dual
Aspect Ratio: Widescreen 1.85:1
Sound: English Dolby Digital 5.1 and 2.0, Spanish and French Dolby 5.1
Bonus Feature Disc Sound: English Dolby Digital 2.0
Languages/Subtitles: English SDH, French and Spanish
Bonus Feature Disc Languages/Subtitles: English SD, French-Canadian and Latin American Spanish subtitles
Running Time: 1 Hour 55 Minutes

4k blu-ray e.t.


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Friday, 14 July 2017


Ready Player One will be at San Diego Comic Con next week and the Steven Spielberg directed movie is set to create some buzz.  In anticipation a photo has been released (via Entertainment Weekly) and shows Wade Watts in his hideout.

Look closely and you will see newspaper clippings about James Halliday, the Gregarious Games founder who created the OASIS simulated world, hero of Wade Watts.  Also look out for a He-Man Masters of the Universe sandwich tin.

Ready Player One is out March 2018.

Also released this week was the official logo for the movie which you can see below.

Click the images for a larger version.


Official logo for Ready Player One
Official logo for Ready Player One

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WISH UPON
Starring Joey King, Ki Hong Lee, Mitchell Slaggert, Shannon Purser, Sydney Park. Elizabeth Rohm, Sherilyn Fenn and Ryan Phillipe
Written by Barbara Marshall
Directed by John R. Leonetti

Reviewed by Patrick & Paul Gibbs

.








\\


Some bad films are made with such passion, such enthusiasm for the material and such a delusional sense of artistry and quality that they are enjoyable in spite of themselves, because there is just something so absurdly funny about the fact that someone put their heart and soul into this junk.

Wish Upon is NOT one of those films.

The movie begins with a grotesque (if cheesy) sequence of a mother hanging herself in front of her 4-year old daughter, and becomes less pleasant and entertaining from there.

Our teen heroine, Clare Shannon (Joey King) has been plagued by this recurring nightmare since childhood, reliving in her dreams what is decidedly the most traumatizing moment of her life (and this is a girl who has been in multiple Roland Emmerich films.). She now lives at home with her Dad (Ryan Phillipe), who spends most of his time dumpster diving with his token black friend, friend Carl (ever notice how white people have names like Lenny, whereas black people have names like Carl?).

At school, Clare has her two besties, Meredith (Sydney Park) and June (Stranger's Things' Shannon Purser, a.k.a Barb.) The three like, talk and take selfies and totally do other besty type things, which is why they are like, total besties. But unfortunately, the school bitch, Gina (Alice Lee) has it in for them, and she like, totally destroys the mural Claire made to advertise the big dance by throwing a drink at it (the mural, not the dance.). Later that same day, Claire and Gina get into a girl fight in the cafeteria, but it's, like, not even hot (teenagers are shallow and stupid. Remember that.).

When Claire gets home, her Dad gives her a present: a thing he and Carl found in the garbage! Specifically, it's a box with Chinese writing on it, and since Clare is studying Mandarin in school (and also likes things), Dad naturally thought of her. Studying the writing on the box, Clare discovers that it can supposedly grant seven wishes. Not taking the promise seriously, she wishes that " Gina would just like, just go rot." The next morning, Gina wakes up to find that her skin is literally rotting away in several places, and when Clare gets to school she learns that Gina has necrotizing fascitiitis, and she is going to lose some toes, part of the flesh on her leg and even some of her face. Claire and her besties (especially Meredith) react to this news with unbridled glee. That's right: a girl is losing several toes and part of her face, but since she's like, a total bitch, the characters we are supposed to be rooting for are celebrating, because that's what teenagers do, of course. (Teenagers are shallow and stupid. Remember that.).

What's more, bad things start happening (because a girl's face rotting off soooo doesn't count) it seems that every time a wish is granted, someone in Clare's life dies. Not that Clare notices this right away. She makes five wishes before she starts to notice a connection. FIVE DAMN WISHES. If you had a magic box that granted you wishes, by the second time somebody dropped dead the same day the MAGIC BOX GRANTED YOUR WISH, you'd be pretty sure there was a connection. But not Clare. Because Clare is becoming an addict, denying that she has a magic box problem until it is too late to get help (Teenagers are shallow and stupid. Remember that.).

It's one thing when a movie is stupid because the filmmakers ares stupid. But one gets the feeling viewing Wish Upon that in this case it's a matter of them thinking their audience is stupid. There's a palpable feeling of disdain for the very teenage filmgoers upon which the film is relying for its box office. Barbara Marshall's screenplay made Hollywood's celebrated Blacklist (a list of the best unsold screenplays for the year), which means either the script was butchered somewhere along the line or some producer/executive was playing a very sick practical joke. And the insipid writing isn't helped by director John R. Leonetti's odd choices in shot selection, his tendency to have characters stand and stare just barely off-camera, or the "we're keeping this PG-13" pattern of setting up elaborate, labored grisly accidents only to cut away when they actually happen, annoying the crowd that wants to see gore and boring the crowd that doesn't laugh at the silliness of how the characters keep getting themselves into these "And now I am going to pull my legs out of the quicksand with my face" situations.

The cast is mostly capable, but can't do anything with the material: King overacts her most emotional scenes and Phillipe sleepwalks (is this really all he can get these days?). Purser and especially Park do their best to make something out of the horribly written roles, and its a testament to Park's charisma that she manages to make a somewhat positive impression while playing the most obnoxious character in the film.
watching

Any small amount of credit the movie earns for having an Asian-American romantic interest (Ki Hong Lee of Unbreakable Kimmy Schmidtt) is completely undone by the  moment when he reasons that he can bribe his cousin into translating ancient Chinese because "she's a slut for won tons." What's more, the under appreciated Asian friend with a crush is becoming a stock character type in High School movies. In fact, all of the characters are cookie cutter teen movie characters and the situations cookie cutter teen/horror contrivances, and much like when a beginner uses a cookie cutter for the first time, a lot of dough is wasted here.

That's not to say that the film has a slick, big budget look. For a studio release, this looks and plays remarkably like a student film, and the cinematography looks like digital video in the same way that something you shot on your phone does, not like a master craftsman making a movie with cutting edge technology.

It's very hard to believe that anyone out there is going to find this movie enjoyable, as it fails to provide scares, thrills, drama, or any intentional laughs. And if teens do enjoy it, that should not be seen as a defense of the film, but as an indictment of the meager quality of entertainment choices aimed at that audience. The Hunger Games was a phenomenon because it was so far above most of what is aimed at that age range, and frankly, even Twilight was slightly above average. If we care about our teen audiences (and our teen actors), we need to start respecting them. We need more Edge of Seventeens, Stranger Things and Spider-Man: Homecomings that portray kids as people (and intelligent ones at that) in compelling situations. Teenagers are only shallow and stupid if we teach them that they are. Remember that.

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TERMINATOR 2: JUDGMENT DAY 3D

IN CINEMAS NATIONWIDE FROM SEPTEMBER 1ST
DIRECTED BY JAMES CAMERON
STARRING: ARNOLD SCHWARZENEGGER,
LINDA HAMILTON, EDWARD FURLONG and
ROBERT PATRICK
STUDIOCANAL and DMG ENTERTAINMENT are delighted to announce that James Cameron’s (TItanic, Avatar) multi Oscar Winning epic action/sci-fi masterpieceTERMINATOR 2: JUDGMENT DAY will return to UK cinemas from August 29th in a breath-taking new 3D conversion overseen by James Cameron himself.

Having originally hit British screens in 1991, complete with groundbreaking special effects, this 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.
It has been 10 years since the events of Terminator. Sarah Connor’s (Linda Hamilton The Terminator, Dante’s Peak) ordeal is only just beginning as she struggles to protect her son John (Edward Furlong American History X, Pecker), the future leader of the human resistance against the machines, from a new Terminator (Robert Patrick Walk the Line, ‘The X Files’), sent back in time to eliminate John Connor while he’s still a child. Sarah and John don’t have to face this terrifying threat alone however. The human resistance have managed to send them an ally, a warrior from the future ordered to protect John Connor at any cost.
The battle for tomorrow has begun…
The restoration:
The original 35mm negative was scanned and then restored in 4k at Deluxe L.A., under the supervision of Geoff Burdick from Lightstorm. 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 WarsAvengers: Age of UltronJurassic world).
This work lasted almost a year and was monitored daily by Lightstorm'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 Lightstorm (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.
WWW.TERMINATOR2-3D.CO.UK / RUNNING TIME: 137MINS / CERT TBC
#T23D


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