With Batman vs Superman: Dawn of Justice just over 7 months away. Zack Snyder has ramped up his campaign to bring DC into the light once again. Recently, Empire Magazine who is known for getting exclusive photos and stories on upcoming block busters, recently released its images from the upcoming ‘Batman v Superman: DOJ.’
The feature released in Empire Magazine had an interview with movie set designer Patrick Tatopoulos. He spoke a bit about his inspiration for the design of The Batmobile, Batwing and the BatCave. He claims his inspiration came from the upcoming Justice League which isn’t set to hit theaters till 2017. Justice League won’t even begin filming until next year. So What does this mean for BvS..?
In an interview with Empire, Patrick Tatopoulos has this to say:
With The Justice League coming, it influences my designs of the Batcave, the Batmobile, the Batwing.
He went on to say:
We are creating a world for Batman – every set, every prop, is real. We have to be ready for whats next.
Tatopoulos explains that:
“He is not driving a Formula 1 car, he’s driving a tank that is very sexy looking,” He adds. “Batman is rougher, tougher, and grungier. So everything is rough: the weapons, the suit and the car.”
Tatopoulos goes on further to say:
“There are machine guns mounted on the front. When you first see the Batmobile, it is being fixed. It is not – boom! – coming out of the garage brand new. It is scratched, damaged.”
With all that being said, it makes you wonder what exactly DC has planned for the Justice League. Director Zack Snyder even mentioned that they originally had a plan for the Justice League, and all the other movies are just there to set that up.
Snyder went on further to mention that the DCCU is like a sandbox that has boundaries, but everyone is able to play in that sandbox. In other words other directors of DC properties will have room to play with the style and tone of their perspective projects, but will still need to be mindful of what the overall goal is for DC and the Justice League.
I mean come on, he brought the curl back!!
One Thing ‘Trick’ Has In Bulk Is Gore
Genre : Horror
Rating : Unrated
Director: Patrick Lussier
It seems that few genres of film are as collaborative as horror. Despite being considered the black sheep of the film genres horror has produced some incredible creative teams over the years. Whether it’s Wes Craven turning Robert Englund into a bonafide icon or director Guillermo del Toro working with Guillermo Navarro to bring fairy tales to life there’s no denying that there is something about scary movies that brings people together. One of the most promising duos of the 2000’s was director Patrick Lussier and Todd Farmer. Collaborating on 2009’s My Bloody Valentine 3D they would go on to cement their place in genre film history with the bats**t insane Nicolas Cage film Drive Angry. The two seemed to be on the verge of their big break with a sequel to Rob Zombie’s Halloween 2 before going their separate ways. A decade after their first collaboration the two are back to try and make their mark on the slasher genre. Will this Trick be a disaster or more of a treat?
Considered a smart and quiet teenager Patrick Weaver goes on a stabbing spree at a Halloween party in 2015. Claiming several victims, he is able to escape despite capture, being shot several times and falling out of as second story window. Despite this Detective Mike Denver (Omar Epps) and Sheriff Lisa Jayne (Ellen Adair) are unable to find a body. Over the next four years a killer, now simply known as “Trick”, wreaks havoc every year on Halloween tormenting the two. Convinced that Patrick is behind these massacres Mike is back on the hunt, certain that he can capture the elusive killer.
Needless to say, it isn’t the most original of plots. Between Trick being a stand in for Michael Myers and Detective Denver as a new version of Dr. Loomis it would be easy to mistake Trick as Lussier and Farmer’s old Halloween script with a few name changes. They even have Tom Atkins from Halloween 3: Season of the Witch in a fun cameo as Mr. Talbot. Rounding out the cast are Ellen Adair as Sheriff Jayne and Kristina Reyes as Cheryl, a survivor from Trick’s initial killing spree. Despite being two very different characters the two put their all into the role with Sheriff Jayne being the consummate professional and Cheryl as your classic final girl. Aside from a poorly cast Jamie Kennedy in a supporting role the cast do all they can to carry Trick’s cliché-ridden script.
With visual effects from Jean-Francois Beaulieu and visual effects supervisor Pete Sussi the one thing Trick has in bulk is gore. With Trick utilizing a mix of Saw-esque traps and good old-fashioned slashing Trick accumulates a nice little body count. Each kill emphasized by some gnarly looking practical effects. This would be great if Trick had a great slasher of its own. With a painted face and a variety of masks Trick is somehow not only the smartest guy in the room but also the faster than Usain Bolt and more proficient with weaponry than three John Wicks. So instead of Myers we get a 13-year old’s version of what the coolest and most XTREME Halloween movie would be like. We get an explanation for this near the end of the film but by then it’s too little too late.
Watching Trick I couldn’t help but think of Mark Millar’s (writer of Kick-Ass and Old Man Logan) comic book Nemesis. Working with artist Steve McNiven the two created classics. Letting the two work on their own project without any continuity to worry about seemed like a perfect idea. Yet when left unrestrained and to their own devices they stumbled over their own feet. The same can be said of director Patrick Lussier and writer Todd Farmer with Trick. With one too many ideas without all the resources Trick ends up feeling more like a collection of cool scenes without a proper through line and instead of creating the next horror legend we get another horror what if.
Links : IMDB
Trick is now available on VOD, DVD and Bluray
Thriller ‘Knives and Skin’ Cuts Deeper Than Most
Genre : Thriller
Rating : Unrated
Director: Jennifer Reeder
A small rural town is turned inside out when local student Carolyn Harper goes missing. Despite the best efforts of the suburban sheriff and Carolyn’s mother she cannot be found. As the days go by a wave of fear and distrust slowly begin to seep into the town’s foundations. As more and more townspeople try to figure out how to deal with their shared trauma a collective awakening takes over the town’s youth.
As simple as that synopsis may sound Knives and Skin is so much more. Written and directed by indie favorite Jennifer Reeder (2017’s Signature Move), Knives and Skin is a hard movie to explain. What starts out as a conventional teen thriller becomes a surrealist take that’s two parts Twin Peaks, one-part Rian Johnson’s Brick with a dash of Heathers to help it all go down. And although Knives and Skin is a grounded mystery it tackles so much more including toxic masculinity, LGBTQ issues and shared trauma.
Just as unique is how Reeder and cinematographer Christopher Rejano present their tale of tragedy. Nostalgic for the bright and vibrant look of the 80’s Knives and Skin uses deep blues and reds feel like they belong more in an Argento film than grounded thriller. Just as intricate are the relationships and characterizations of the town’s inhabitants. Mostly focused on Afra (Haley Bolithon), April (Aurora Real de Asua) and Joanna (Grace Smith) the most compelling performance Carolyn’s mother Lisa (Marika Engelhart). Over the course of the film we watch Lisa go from choir teacher and concerned mother to unraveling mess to a weird kind of acceptance. Marika’s performance is able to straddle tightrope between tragic and touching all at the same time.
As unique as Knives and Skin is in presentation it has its drawbacks. By taking inspiration from David Lynch it also replicates his signature acting style. How his style could make a performance feel stacato and suddenly give off a burst of intensity. Or how someone who was a normal teenager in the scene before would do a complete 180 and feel like a nihilistic monster in the next. Although David Lynch has shown that this style of telling a story can work it can just as often feel off putting. Just as confusing is the narrative of the story. Although the story itself is straight forward I found the way it was being told to be a bit jumbled in execution. Needless to say, Knives and Skin isn’t the kind of movie you put on as background noise.
A bit of a sleeper on the festival circuit Knives and Skin emerges as one of the most unique thrillers of the year. Jarring in presentation and story it isn’t for everyone. And that is probably it’s biggest strength. Not only does writer-director Jennifer Reeder show a skill at genre conventions but she also shows a willingness to look at topics we don’t typically talk about in genre cinema. Whether you love it or hate it Knives and Skin will speak to you in some way.
Links : IMDB
Knives and Skin is now in theaters and on VOD
Gary Oldman Boards a Sinking Ship in ‘Mary’
Genre : Horror-Thriller
Rating : Unrated
Director: Michael Goi
Things have been pretty rough for David (Gary Oldman) as of late. Working as the captain of a fishing tour boat he dreams of starting his own boating business to provide for his family. At a local boat auction he finds an old vessel, The Mary. Desperate and unable to resist the opportunity to be hi own boss he buys the ship despite the financial risk. With the help of his wife Sarah (Emily Mortimer) and daughters Lindsey (Stefanie Scott) and Mary (Chloe Perrin) are able to clean up the ship making it look as good as new. Joined by the young Tommy (Owen Teague) and David’s second in command Mike (Manuel Gracia-Ruflo) the family sets sail towards the Bahamas before the ship’s mysterious past comes to light.
Told in a series of flashbacks during a police interogation Mary should be great. In fact writer Anthony Jaswinski (The Shallows) has proven that an ocean setting is more than enough to craft a compelling tale of terror. Using it as the backdrop for a haunted house story seems like a no brainer. Sadly that isn’t quite what we get. With Jaswinski and director Michael Goi seemingly unsure what they wanted we get a mix of terror and family drama that doesn’t quite commit to either.
For the most part Mary sticks to jump scares. Whether it’s doors banging by themselves or mysterious footprints appearing out of nowhere, Mary treads very familiar waters through most of it’s run time. There are moments of intrigue such as when the ship that haunts The Mary takes control of Tommy but any chances for development are quickly glossed over in the next scene with just as much care going into the dramatic scenes. With tensions high from the time David buys the boat, we get hints through the film before Lindsey confronts her mother about committing infidelity. Although hardly the revelation they want it to be the scene is sold beautifully by Emily Mortimer. In fact, Mortimer does a wonderful job throughout the film.
Her first horror movie in nearly a decade Emily Mortimer is more than ready to carry the film on her shoulders. Playing an unreliable narrator to a criminally underused Jennifer Esposito she gives Mary her all with a performance that wouldn’t be out of place in some of her best roles. She particularly pops when paired up with Gary Oldman. While not given too much to do besides look concerned there are glimpses of suspicion when David catches Sarah talking to Mike. The two are so good together that you can’t help but be disappointed we aren’t watching the two in a straight up dramatic movie.
Between the performances from Emily Mortimer and Gary Oldman and the shots emphasising the isolation of the ocean you can see glimpses of brilliance in Mary. But like the ocean itself these hope spots are swept away just as fast. Instead what we get is a cliche ridden mess that doesn’t quite know what it wants to be. Leaving the door open for a sequel Mary has sunk before it even left port.
Rating 4/10 Links : IMDB
Mary is now on Bluray, DVD and on VOD