The Screengrab : neil gaiman

The Screengrab Highlight Reel: Jan. 31-Feb. 6, 2009

Scott Von Doviak — Fri, 06 Feb 2009 22:00:00 GMT

What the fuck is it with you? What don't you fucking understand? You got any fucking idea about, hey, it's fucking distracting having somebody clicking on a link in the middle of the fucking Highlight Reel? Give me a fucking answer! What don't you get about it?

I’m trying to tell you about the fucking Screengrab Predicts the Oscars: Winners (Parts One, Two, Three, Four, Five, Six and fucking Seven)! Do you want me to fucking go trash your blog? Then why are you clicking my links? Why are you clicking on posts about Christian Bale Goes Apeshit or Christian Bale Freakout – Remixed! like I’m some kind of fucking trained chimp for your amusement?

Fuck’s sake, man, you’re amateur! I’m trying to fucking figure out a clever way to mention Screengrab Review: Fanboys and The Three Catastrophes of Terry Gilliam and fucking Star Trek Showdown IV: Shatner’s Last Nerve and you’re distracting me! Are you professional? Fuck it, do your own Highlight Reel.

Five 3-D-tastic Films

Coming Soon: 55 Remakes!

A Few Minutes with Neil Gaiman

SXSW Lineup Announced

Five Films for a Super Bowl Hangover

A Few Minutes with Neil Gaiman

Scott Von Doviak — Tue, 03 Feb 2009 17:00:00 GMT

Hey, longtime Screengrab fans, you remember our ol’ pal John Constantine, don’t you? He used to make you all angry with his posts theorizing that Diablo Cody is actually Kevin Smith before he took off to the warmer climes of 61 Frames Per Second. Well, John has been begging and pleading and scraping and bowing and really just debasing himself in all sorts of pathetic ways in hopes that we’d link to an interview he did with Neil Gaiman over at The Daily Beast, and we simply can’t take it anymore. Gaiman, as you may know, is the author of the young adult novel Coraline, the movie version of which opens Friday. I have seen it and it’s a creepy good time, if you like that sort of thing. John talks to Gaiman about the movie and how it “lacks people being eaten by vaginas,” as well as his previous fantasy film Mirrormask and his hopes to adapt his own comic book miniseries Death: The High Cost of Living for the screen.

There is also some talk of blowjobs. You can read the full interview here. There – hope you’re happy, John!

Trailer Review: Coraline

Paul Clark — Fri, 19 Dec 2008 17:00:00 GMT

After The Nightmare Before Christmas, I had high hopes for the career of its director, Henry Selick. But while producer Tim Burton has continued to be one of Hollywood’s most distinctive and bankable filmmakers, Selick’s career has foundered, producing only two features since then- 1996’s middling James and the Giant Peach and the 2001 flop Monkeybone. Finally, with Coraline, his first new feature in eight years, Selick appears to be back in track. Basing his project on Neil Gaiman’s beloved fantasy book surely helps, supplying the creative backbone for the film in a way that not even James, itself based on a children’s book, did. Yet it’s Selick’s bravura stop-motion animation that comes through most clearly in this trailer, with bravura flights of fancy that surely needed computer assistance but which nonetheless look to be fully integrated into the old-school effects. Plus, it’s hard not to love a family movie in which Ian McShane and John Hodgman provide voices. All in all, this should be one of the more satisfying movies of early 2009.

DVD Digest for November 18, 2008

Paul Clark — Tue, 18 Nov 2008 15:00:00 GMT

This week, some of summer’s biggest hits arrive in stores in time for the holiday shopping season, along with a handful of choice classics.

DVD of the week: With all the care Pixar devotes to creating their theatrical releases, it’s amazing that they have any time left for their DVDs. However, Pixar’s DVD editions are almost invariably first-rate, and this week’s release of WALL-E would appear to be no exception. We begin, of course, with the razor-sharp transfer of the movie itself, which comes directly from the digital master, making it arguably crisper than could be found in the theatre. But that’s only the beginning, with two animated shorts (one seen in theatres, the other a DVD original), featurettes on the film’s sound design, visual design, music, character design, and more. Finally, there are a number of features on WALL-E that take viewers into the world of the film, including a documentary about the movie’s robotic cast, and short films about the nefarious “Buy N Large” corporation from its inception to their Earth Exit plan, and beyond. Needless to say, WALL-E is an ideal DVD for kids, but it’s also a must-have even if you don’t have a family to buy for this holiday season.

Other recent releases coming to DVD this week: Ben Stiller’s Hollywood action satire Tropic Thunder (Paramount, also Blu-Ray); America Ferrara, Amber Tamblyn and friends in The Sisterhood of the Traveling Pants 2 (Warner, also Blu-Ray); and a quartet of acclaimed indie films- Werner Herzog’s Encounters at the End of the World (Image); the documentary Gonzo: The Life and Work of Hunter S. Thompson (Magnolia); Harmony Korine’s Mister Lonely (Genius); and Audrey Tautou in Priceless (First Look).

On the classics front, the big release this week is David Lynch: The Lime Green Box Set (Absurda), which includes the new-to-DVD Industrial Symphony No. 1, plus the remastered Eraserhead, a Lynch-approved 5.1-surround version of Blue Velvet, The Elephant Man, Wild at Heart, The Short Films of David Lynch, Dumbland, along with new extras for Elephant Man and Wild at Heart, the Eraserhead soundtrack, and a “Mystery Disc” full of exclusive Lynch goodies. Or if you’re looking for something a little more “classical”, pick up the new Criterion editions of Martin Ritt’s masterful adaptation of the John le Carre novel, The Spy Who Came In From the Cold, or the French swashbuckler Fanfan la Tulipe. Also worth mentioning is the release of Fred Schepisi’s long-unavailable classic of Australian cinema, The Chant of Jimmie Blacksmith (Ryko Distribution).

In a slow week for TV on DVD, the most noteworthy title is Bones Season 3 (Fox).

Finally, this week presents the most definitive argument that Blu-Ray has really arrived, with a plethora of mostly crappy Blu-Ray only releases. The exceptions are Curtis Hanson’s pretty-good Eminem vehicle 8 Mile (Universal) and the Neil Gaiman-scripted Mirrormask (Sony). But other than that, it’s looking pretty dire, with the Martin Lawrence double feature of Blue Streak (Sony) and National Security (Sony), Guy Ritchie’s Revolver (Sony), and Richard Kelly’s Southland Tales (Sony), which if nothing else remains the most definitive cinematic statement about the ongoing war over teen horniness. I’m for decriminalization, by the way.

DVD Digest for July 29, 2008

Paul Clark — Tue, 29 Jul 2008 14:00:00 GMT

As we get ready to tear into the dog days of summer, this week brings a number of great new DVDs to help you beat the heat.

DVDs of the Week: In a banner week for culty fare, I would like to spotlight two especially noteworthy new DVD releases. First is the long-awaited release of Alex Proyas’ director’s cut of Dark City (Warner, also Blu-Ray). A flop on its original release, Dark City has in the intervening years become something of a cult film, its critical reputation salvaged in part by the ongoing support of Roger Ebert, who memorably chose it as his #1 film of 1998. With this director’s cut, Proyas has added more than ten minutes of footage to an already compelling original, in addition to making other noticeable changes (not least, dropping the introductory voiceover that was present in the theatrical cut). In addition to the original disc’s commentaries by the filmmakers and Ebert, the new edition includes two new featurettes, a review of the film by Neil Gaiman, and a number of other features. Most double-dips and “director’s cuts” are largely marketing department bluster, but Dark City should prove to be worth the upgrade.

My other pick this week is Peter Watkins’ Privilege (New Yorker), a movie which as some of you might recall I loved so much I kind of want to marry it. At the time I originally saw the film, I had no inkling that it would be released on DVD, as for years it had been unavailable in any home-viewing format, and was only available to theatrical venues in a single print. So if you’ve been waiting eagerly to see Privilege- and Lord knows you should have been- your day has finally arrived. New Yorker’s DVD is light on special features, but you know what? It doesn’t matter. That it’s available is cause enough for celebration, and should lead to the film becoming the cult classic it so richly deserves to be.

Other classics coming this week to DVD include the Tyrone Power Matinee Idol Collection (Fox, includes 10 feature films) and WarGames: 25th Anniversary Edition (MGM).

As for recent releases, you know it’s a good week when the release of a Martin Scorsese film on DVD isn’t the biggest story. Nevertheless, it’s still nice to have Scorsese’s Stones doc Shine a Light (Paramount, also Blu-Ray) available, even if it can’t match the spectacle of seeing the film in IMAX. Other recent releases coming to DVD include: the stoner sequel Harold and Kumar Escape From Guantanamo Bay (New Line, also Blu-Ray); Owen Wilson in Drillbit Taylor (Universal, also Blu-Ray); the famously Oscar-snubbed Israeli crowdpleaser The Band’s Visit (Sony); Doug Pray’s documentary Surfwise (Magnolia); the year’s non-Mamet MMA drama Never Back Down (Summit); the postapocalyptic actioner Doomsday (Universal, also Blu-Ray). Also, three direct-to-DVD sequels: Lost Boys: The Tribe (Warner, also Blu-Ray), WarGames: The Dead Code (MGM), and Stargate: Continuum (MGM, also Blu-Ray).

This week’s TV on DVD releases include: Centennial: The Complete Series (Universal); Law & Order: Special Victims Unit Season 7 (Universal); and Witchblade: The Complete Series (Warner). This week also brings the release of Masters of Horror Season 2 (Anchor Bay), and while many of the installments are of dubious quality, at least the box set can boast this week’s coolest packaging.

Finally, Blu-Ray only releases this week include the Paramount’s Jack Ryan tetralogy of The Hunt for Red October, Patriot Games, Clear and Present Danger, and The Sum of All Fears. Also of note: Beowulf: The Director’s Cut (Paramount); Top Gun (Paramount); The Lost Boys (Warner); and Harold and Kumar Go to White Castle (New Line).

SXSW Short Takes

Scott Von Doviak — Wed, 12 Mar 2008 18:00:00 GMT

Odds and ends from the first few days of SXSW:

Humboldt County – After being flunked out of medical school by his own father, Peter Hadley (Jeremy Strong) goes for a ride with free spirit Bogart (Fairuza Balk) and ends up in California’s redwood country. There he meets Bogart’s friends and family, all of whom live off the grid and earn their keep by growing and selling marijuana. The debut feature from writer-directors Danny Jacobs and Darren Grodsky boasts an alluring setting and several strong performances, most notably Brad Dourif as the patriarch of the pot-farming clan. There’s a hole in the center, however: Hadley is an underwritten character and Strong is unable to breathe much life into him.

Older Than America – Director Georgina Lightning stars as Rain, a resident of the Fond du Lac Indian reservation in Minnesota who has been experiencing strange visions. Years earlier, her mother was institutionalized after suffering from similar delusions – or at least, that’s the official story. The truth Rain uncovers is based in reality: the children of the reservation were forced to attend a Catholic boarding school with the motto “Kill the Indian, save the man” – a place where unspeakable abuses took place. The history and setting could have made for a powerful movie, but Older Than America is a bit too clunky. The performances aren’t particularly lively, and the mystical elements don’t mesh well with the real-life horror. As a visiting government geologist, Bradley Cooper too often seems to be in his own separate movie.

Dreams with Sharp Teeth – Erik Nelson’s documentary on author/media personality/all-around cranky guy Harlan Ellison gives you just about what you’d expect, which in this case is not a bad thing. Nelson combines archival footage of Ellison’s TV appearances with newly shot material showing the author at his typewriter (yes, a manual typewriter, kids), reciting his work, and even being fitted with a hideous neck goiter for a role in a science fiction program. Friends and admirers ranging from Robin Williams (in his most bearable screen appearance in years) to Sandman creator Neil Gaiman are on hand to offer their two cents and/or take some cheerful abuse from the film’s subject. While there is an element of shtick (or as Gaiman prefers, “performance art”) to Ellison’s ranting, suffer-no-fools persona, he’s certainly worth watching for 90 minutes as Dreams with Sharp Teeth proves.

Gilliam’s Quixote Flick Kind of Sort of Maybe Possibly Happening Again

John Constantine — Fri, 04 Jan 2008 18:57:00 GMT

Empire got word from Terry Gilliam today that his great white whale might finally be slain. After one failed attempt, a documentary about the failure, and years of legal snafus over ownership of the property, Gilliam says The Man Who Killed Don Quixote, his stylized take on Cervantes’ bitchin’ page turner, is ready for round two. “[Producer] Jeremy Thomas is very close to getting all the pieces of paper signed from all the people who you gotta get signed," Gilliam told us. "He’s been on it for a year now, and he’s come the closest to getting it untangled from the legal swamp it was in. And, um, I don’t see why, I don’t see anythying that’s gonna stop it now. He’s just gotta get all the paperwork done and then I call Mr Depp and see which pirate film he’s still on." Gilliam also mentions that his adaptation of Terry Pratchett and Neil Gaiman’s novel Good Omens – another film that’s spent a decade plus in development hell – is close to finally getting made as well. We’ll believe it when we see it, Terry.

Thanks to Cinematical for the spot.

Take Five: The Classics

Peter Smith — Fri, 16 Nov 2007 21:00:00 GMT

"Read the classics, sir," advises Jason Miller's Lieutenant Reno in The Ninth Configuration. "It improves the entire respiratory system." Sure, but who has time for that? When it comes to the great works of western literature, it's all well and good for academics to slog through the thousands of pages of their Penguin Classics editions, but we're busy people. We have screenings of Saw V: Saw Harder to get to. We need our classics simple, direct, stripped of poetry and obscurity, and preferably less than two hours long and starring someone who can sport a decent six-pack. Robert Zemeckis' all-star adaptation of Beowulf, opening wide this weekend, is much more our speed; if we have to sit through a bunch of crazy Old English dialogue, even brought up to speed by comics legend Neil Gaiman, it better be accompanied by some naked Angelina Jolie. Here's a handful of other cinema-clarified classics.

FRANKENSTEIN (1931)

America's middle school students have one thing to look forward to in the long slog through English classes: Frankenstein. It's part of the holy triumvirate of bona fide classics (along with Dracula and Beowulf) that spice up the prose with a good solid monster. Dr. Victor Frankenstein and his "Adam" have become such iconic figures in our culture that it's hard to imagine a time when he was perceived as anything other than Boris Karloff's shambling, neck-bolded patchwork man; and James Whale's confident direction here, remarkably sophisticated for a film that was made over seventy-five years ago, is still electric today.

TOM JONES (1963)

As school-assigned, instructive Classics of Western Literature go, Henry Fielding's Tom Jones is a relative favorite, containing as it does lots of screwing and fart jokes. Tony Richardson's big blow-out adaptation, like the novel a compelling combination of arch and earthy, tries to bring the same tastes-good-and-good-for-you sensibility to the big screen and largely succeeds, despite having been made in the early 1960s when a few of the book's raunchier moments had to be implied rather than depicted. Aided by some gorgeous photography, the film boasts a terrific cast led by young and studly Albert Finney and Susannah York, who's never looked better.

MADAME BOVARY (1991)

Though a number of adaptations of Gustave Flaubert's essential novel have been attempted over the years, perhaps the definitive version comes from the talented and prolific Claude Chabrol. In many ways, he's the perfect director to take on the project: quintessentially French, like Flaubert, but also like Flaubert, just alienated enough from his society and times to view them with a properly jaundiced eye. Given his history of making compelling films about unsatisfied women who come to a bloody end because of their frustration and lack of options, Chabrol was almost born to make Madame Bovary, and he couldn't have made a better choice to play Emma than his Violette Noziere star, the phenomenal Isabelle Huppert.

RICHARD III (1995)

When discussing the classics and their transition to film, there's no avoiding ol' Will Shakespeare. But if you're trying to get the kids on your side, forget glitzy romance and postmodernist flash; forsake the pomposities of a Baz Luhrmann's Romeo + Juliet and go straight for Richard Loncraine's inventive, delightful Richard III. Nothing animates a Shakespeare play like a good villain, and Ian McKellen — who wrote the adaptation — plays the twisted, perverse, gleefully murderous Richard to the hilt. The setting is likewise outstanding, and the conceit of setting the story in an alternate England of the 1930s, overcome by fascist nationalism, works like a charm, particularly in a dynamite opening sequence.

TRISTRAM SHANDY: A COCK AND BULL STORY (2005)

If someone tells you often enough that a great novel is unfilmable, you might just start to believe it. For the first hundred years or so of the motion picture industry, no one would tough Laurence Sterne's brilliant, hilarious, rambling Tristram Shandy — a work of postmodernist genius written at least a hundred years before there was even modernism — with a ten-foot lens. It took the arrival of Michael Winterbottom, a man who has made a career out of not listening to people when they tell him what kind of movie he should make next, for anything remotely resembling a big-screen adaptation to be made, and even then, it was more of an impression than it was a reproduction.

— Leonard Pierce