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David Poland

By David Poland


12 Responses to “Amenabar/Weisz/Agora”

  1. Hallick says:

    For Socrates, it was hemlock. For the box office, a trailer called “Agora”.
    It is as if Rachel Weisz asked herself this question:”How do I make the people who didn’t like The Brothers Bloom realize just how bad an experience they could have had?”.

  2. LexG says:

    Whoa… Weisz is cool and all (and a very good actress)… but did somebody actually bankroll what looks to be a 150-million dollar movie with NO male lead that looks like a “strong female” version of KINGDOM OF HEAVEN?
    This could be reach Cutthroat Island levels of major tankage. (So will that Amelia Earhart movie.)

  3. Hallick says:

    Isn’t this also the movie they run on the 3ABN channel every other night?

  4. LexG says:

    Hallick: TOTALLY.

  5. LYT says:

    I really miss Don LaFontaine.

  6. Eric says:

    Someday I’ll get this movie from Netflix, let it sit by my television for three weeks, then send it back unwatched.

  7. martin says:

    Looks boringly expensive.

  8. They even have character poster sets for this movie (a movie without a distributor, btw). Like… wha? They’ve gone about this movie all wrong, starting with, er, making it (apparently).

  9. yancyskancy says:

    I’d have liked it about 20% better without all the blackouts. God, that’s gotten old.
    But it’s a trailer. And gone are the days when you could count on somebody to cut together a good trailer, regardless of the movie’s quality.

  10. Blackcloud says:

    I’m sure the history’s completely fraudulent. Not that anyone will notice, since no one will be watching this thing.

  11. leahnz says:

    i’ll watch it. because i have a massive girl-crush on rachel, she is the bomb (and luminous from within!)

  12. Yancy, have you watch the trailers for old movies? People talk about trailers today giving away too much, but old trailers actually show you the final scenes and the voice overs tell you exactly what will happen!

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima