Now that Spider-Man: Homecoming is out on home video (and Screen Junkies has taken care of their workplace sexual harassment scandal), we can take the time to enjoy some fun being poked at your friendly neighborhood wallcrawler.
The Spider-Man: Homecoming Honest Trailer has no problem reminding us that this is the second time the comic franchise has been rebooted this decade, not to mention honing in on the fact that this new millennial Spider-Man doesn’t ever really seem to suffer any consequences for his mistakes and ill-advised actions. Watch below!
Spider-Man: Homecoming, or The Perks of Being a Wallcrawler, takes a few jabs at the computer animated slug-fest that takes place between Spidey and Vulture in the sky and on the beach. Those confrontations pale in comparison to the one that takes place immediately after the true identity of Vulture is revealed later in the movie. It’s a spoiler that was kept hidden in the marketing and created audible gasps in theaters, and it works extremely well.
But perhaps the most glaring problem with Spider-Man: Homecoming is how it fits into the overall Marvel Cinematic Universe timeline. Looking at Tony Stark alone, it seems weird that the guy who was so adamant about the government keeping track of superheroes in Captain America: Civil War gives a teenager a superhero suit and doesn’t do all that good of a job keeping track of him until he creates problems.
Spider-Man: Homecoming is available now on home video, so go ahead and pick it up.
Miley Cyrus went on Sirius XM with shock-jock Howard Stern for a long, in-depth discussion of her life from Hannah Montana right up to her newest album “Younger Now.” The full interview is about an hour and a half long, so here are some highlights, straight from the Cyrus’ mouth.
1. Miley got kicked out of school for teaching the other kids to french kiss
According to Cyrus she came back from Canada having learned what a French kiss was and gave a demonstration for the kids in her class. This didn’t go well at her private religious school and so she had to leave. Read more…
Butch and Sundance return to the Hole in the Wall Gang… and a challenge.
Fight scenes. Whether swords or knives, guns or fists, lasers or kung fu, fight scenes are a staple of the movies. One problem: They’re so common, what can a screenwriter do to distinguish theirs from all the previous examples? William Goldman came up with an unexpected twist with this fight scene featuring Butch Cassidy (Paul Newman) and the much bigger Harvey Logan (Ted Cassidy).
Here is the scene as scripted by Goldman:
BUTCH AND HIS MEN
BUTCH Now let's just forget about Harvey taking over. Okay, Flat Nose?
FLAT NOSE CURRY has been nicknamed for obvious reasons.
FLAT NOSE CURRY You always told us anyone could challenge you --
BUTCH That's 'cause I figured nobody's do it.
smiling, starting toward Butch again.
LOGAN Figured wrong, Butch.
BUTCH AND HIS MEN
BUTCH (a little desperate now) You can't want Logan --
NEWS -- at least he's with us, Butch -- you been spending a lot of time gone --
CLOSEUP - BUTCH
BUTCH That's 'cause everything's changing now -- it's all going new on us --
LOGAN Guns or knives, Butch?
Going rapidly on, doing his best to ignore Logan.
BUTCH --everything's harder than it used to be -- you got to plan more, you got to prepare, you got to be damn sure you're doing or you're dead --
moving in front of Butch now.
LOGAN Guns or knives?
BUTCH I don't want to shoot with you, Harvey.
LOGAN Whatever you say, Butch.
And suddenly a knife is in his hand and --
and with the appearance of the knife they start to get really excited, and from here on in that excitement only builds as they surge toward Logan who is calmly taking off his shirt. Butch moves to Sundance.
on his horse, waiting quietly at Butch approaches. Butch is doing his best to cover how he feels.
BUTCH Maybe there's a way to make a profit on this -- bet on Logan.
SUNDANCE I would, but who'd bet on you?
BUTCH I made this gang. You know I did. Now look at 'em.
clustered around Logan. He is stripped to the waist and his body is brutal. Suddenly he calls out --
LOGAN Sundance -- when we're done, if he's dead, you're welcome to stay.
BUTCH AND SUNDANCE
Looking out at Logan. Butch speaks quietly to Sundance.
BUTCH Listen, I'm not a sore loser or anything, but when we're done, if I'm dead, kill him.
SUNDANCE (to Logan, but in answer to Butch Love to.
He fidgets a moment, then starts the long walk back toward Logan. Logan is younger and faster and stronger and Butch knows it, and knowing it doesn't make the walk any pleasanter. Still he moves forward, unarmed as yet, toward the other man.
watching him come. In the sun his body glistens.
moving through the gang toward Logan. He is unarmed and a knife is offered him by one of the gang.
BUTCH Not yet. (moving up to Logan now) Not til Harvey and me get all the rules straight.
LOGAN Rules? In a knife fight? No rules!
As he finishes speaking Butch delivers the most aesthetically exquisite kick in the balls in the history of the modern American cinema.
For a moment he just stands there. Then he makes an absolutely indescribable sound and, as the look on his face moves from disbelief to displeasure, he sinks slowly to his knees.
He goes on as if nothing whatsoever had happened.
BUTCH Well, if there aren't going to be any rules, I guess we might as well get this fight started. Somebody say 'one-two-three-go.'
SUNDANCE (like a shot) One-two-three-go.
He is green now, and still on his knees. Butch approaches, nods, locks his hands together and, as if swinging a baseball bat, delivers a stunning blow to Logan's jaw. Logan falls and lies there.
FLAT NOSE CURRY AND SEVERAL OTHERS
all hurrying to Butch.
FLAT NOSE I was rooting for you, Butch.
BUTCH (with great earnestness) I know, Flat Nose. That's what sustained me in my time of trouble.
“As he finishes speaking Butch delivers the most aesthetically exquisite kick in the balls in the history of the modern American cinema.” Great stuff. And notice how deftly Goldman wove in one of the key themes of the movie with this line: “That’s ’cause everything’s changing now — it’s all going new on us.” The world is changing (e.g., bicycles!), but Butch and Sundance don’t end up changing, and it costs them plenty — their lives.
TIFF kicked off yesterday and the talent behind Borg/McEnroe sat down to discuss how the film is about far more than just a game.
Danish filmmaker Janus Metz, who made his feature debut with the acclaimed 2010 doc Armadillo, is making his first foray into fictional films, though this one is based on a real-life, world-famous rivalry that changed the sports world in the 1980s. Borg/McEnroe chronicles how in the early 1980s, tennis was changed forever by the rivalry between Björn Borg and brash American upstart John McEnroe, who became infamous for his temper (and acted as an indirect inspiration to filmmaker Wes Anderson.)
But the director said that his film, scripted by Ronnie Sandahl (Underdog) was not just the story of a sports rivalry. According to Metz, “it doesn’t make sense to make a sports movie…unless you have a story,” and while the tennis “had to sell” on screen, as a director he approached the film as a “psychological thriller,” albeit one that was played out (at least in part) before millions of people, in this case at Wimbledon in 1980.
Yep, it’s already that time of year again. The summer is over, the leaves are starting to change. You know what that means right? It’s the fall film festival season! And also the beginning of the awards season. The Venice Film Festival and Telluride Film Festival both kick off this week, and as always, we’re in for a treat with all the new films coming up this fall (it seriously looks like a stacked season). Just a few weeks later in September, the Toronto Film Festival continues festival mania with hundreds of films showing. And the month ends with the beloved Fantastic Fest in Austin, showing the best genre films from around the world. I’ll be covering the Venice Film Festival this year, and watching for reports from the other fests. ›››
I think every filmmaker at some point gets sucked into the 48 Hour Film Project. If you’re unfamiliar, here’s the jist of it: filmmakers pay an entrance fee and gather a cast and crew together for a weekend shoot. On Friday evening, they are given a genre, a line of dialogue, a character and a […]
This is Spinal Tap is still the gold standard in mockumentaries. Since most of the movie’s dialogue is improvised, I also thought it would be interesting to see the script, written by Christopher Guest & Michael McKean & Harry Shearer & Rob Reiner, from which the cast worked. The entire script is written this way, so it’s only 60 pages long.
Here is the famous “These go to 11” scene featuring documentary director Marty (Rob Reiner) interviewing rocker Nigel (Christopher Guest) amidst all the guitars and amps he’s acquired over the years.
INT. DETROIT CONCERT VENUE
During the soundcheck, Nigel is showing Marty DiBroma his large collection of guitars, including a cordless model which plays through its amp by means of a tiny radio transmitter. It's like watching a kid show off his toys. He points out that he has his amps customized with special dials. Unlike most amps, whose highest volume level is indicated by a "10" on the dials, Nigel's dials go up to 11.
Here is a transcript of the last part of the scene’s dialogue from the movie:
Nigel Tufnel: The numbers all go to eleven. Look, right across the board, eleven, eleven, eleven and... Marty DiBergi: Oh, I see. And most amps go up to ten? Nigel Tufnel: Exactly. Marty DiBergi: Does that mean it's louder? Is it any louder? Nigel Tufnel: Well, it's one louder, isn't it? It's not ten. You see, most blokes, you know, will be playing at ten. You're on ten here, all the way up, all the way up, all the way up, you're on ten on your guitar. Where can you go from there? Where? Marty DiBergi: I don't know. Nigel Tufnel: Nowhere. Exactly. What we do is, if we need that extra push over the cliff, you know what we do? Marty DiBergi: Put it up to eleven. Nigel Tufnel: Eleven. Exactly. One louder. Marty DiBergi: Why don't you just make ten louder and make ten be the top number and make that a little louder? Nigel Tufnel: [pause] These go to eleven.
And now the scene as it plays in the movie:
My movie Alaska was a Castle Rock production, so I was hanging around their offices doing rewrites when Christopher Guest and company were shooting Waiting for Guffman. As a bonus, I got to see some of the dailies and read the script. Guest uses pretty much the same approach with every one of his movies which include Best in Show, A Mighty Wind and For Your Consideration: Work out the story with each scene’s beginning, middle and end, cast the movie with skilled improvisational actors, try out a variety of takes, edit the best story possible. Spinal Tap was in effect the proof of this particular concept — and it has proven to work wonderfully as with this great scene.
(Welcome to Now Stream This, a column dedicated to the best movies streaming on Netflix, Amazon, Hulu, and every other streaming service out there.)
Crank the air conditioner – August is upon us, bringing with it the dog days of summer and the realization that the winter is more terrifyingly close than ever. But there’s still plenty of time left to stream movies. In fact, you have your entire life to do that, so why not get started now? If you’re unsure of just what to watch, never fear – Now Stream This is here.
In this edition, we have a recent film with a stellar performance from the late, great Sam Shepard; one of the most genuinely creepy ghost movies ever made; an ambitious, often misunderstood sci-fi epic; a Stephen King adaptation; one of the strangest sequels in Hollywood history, and much more! So dab some sunscreen on your nose and pull the recliner up nice and close to the TV. Let’s get streaming.
1. Cold In July Now Streaming on Netflix
Actor and playwright Sam Shepard died earlier this week. Shepard’s death is a great loss to film and theatre, but at least he leaves behind a wealth of work to cherish. There’s plenty to pick from to highlight Shepard’s talent, but one of the best recent examples is Jim Mickle’s 2014 thriller Cold In July. Adapted from a story by Joe R. Lansdale and throwing off some serious John Carpenter vibes, Cold In July features Michael C. Hall as a man who kills a home intruder, only to be drawn into a much bigger and far more sinister plot with the dead intruder’s father, played masterfully by Shepard. Don Johnson also shows up, and nearly steals the whole film, but this is a perfect showcase for Shepard’s talents.
For fans of:Hap and Leonard, Christine, Blue Ruin, mullets.
2. The Friends of Eddie Coyle Now Streaming on FilmStruck
If you like your crime dramas bleak and grainy, don’t miss Peter Yates’ marvelous, depressing The Friends of Eddie Coyle. Robert Mitchum gives a career-best performance as weary, aging bakery truck driver Eddie Coyle. To make ends meet, Coyle runs guns on the side – a smooth operation that goes south very quickly. One of those ’70s flicks where the film grain is essentially a character itself, The Friends of Eddie Coyle is melancholy and memorable, just don’t sit down to watch it expecting a feel-good experience.
For fans of: The Taking of Pelham One Two Three, The Town, existential woe.
3. Lake Mungo Now Streaming on Shudder
This criminally underseen 2010 Australian chiller from Joel Anderson is the rarest of the rare: a modern horror movie that’s actually scary. And I’m not talking about cheap jump scares here. No, Lake Mungo is a ghost story that creeps under your skin and chills your blood, having you nervously looking around once it’s over. A found-footage style story of a family coming to terms with the sudden death of a loved one who may or may not have entirely departed. This is the perfect horror film to watch in your living room with the lights turned down. Just don’t be surprised when you’re quickly turning them back on once the credits are rolling (oh, and by the way, keep watching all the way through the credits for even more creepiness).
For fans of: Session 9,Paranormal Activity, The Others, getting the creeps.
4. Laura Now Streaming on FilmStruck
Otto Preminger’s brilliant film noir sets up a seemingly straightforward mystery: who killed successful advertising executive Laura Hunt (Gene Tierney)? But nothing is straightforward in Laura, and the film travels down dark alleys you wouldn’t have suspected as the cop investigating the case (Dana Andrews) finds himself smitten with the dead dame. Somehow simultaneously breezy and disturbing, Laura is one of the best movies Hollywood ever produced, so you should probably get around to watching it if it’s somehow escaped you all this time.
For fans of: Anatomy of a Murder, The Big Sleep, Touch of Evil, Vincent Price without a mustache.
5. Cloud Atlas Now Streaming on Netflix
Even if you don’t entirely like Cloud Atlas, you have to appreciate it for the ambitious, wild film experience that it is. The Wachowskis and Tom Tykwer adapted David Mitchell’s novel into a sprawling 171 minute extravaganza. Multiple plots stretch out across six different time periods, from the past into the distant future, with a cast that includes Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving, Jim Sturgess, Ben Whishaw, Hugh Grant and many, many more, all playing multiple characters. It’s almost impossible to summarize this movie – you just need to see it to believe it.
For fans of: The Fountain, The Matrix, The Hours, Tom Hanks using an incredibly unconvincing Irish accent.
Luke confronts a phantasm of Darth Vader… and his own Shadow.
I would argue the best Star Wars movie is The Empire Strikes Back (1980). And one of the reasons is because it trafficked in the some of the most interesting ideas in the SW saga, in particular the relationship of Luke Skywalker to the “dark side” of the Force.
This scene occurs on Dagobah, where Luke has been in training with aged Jedi master Yoda, learning the ways of the Force, and signifies a major turning point for young Luke — as he is forced to confront his own shadow self. It’s a scene thick with metaphorical and symbolic import, and I feel confident in saying that Carl Jung himself would have been proud of it.
EXT. DAGOBAH — DAY
With Yoda strapped to his back, Luke climbs up one of the many thick vines that grow in the swamp. Panting heavily, he continues his course – climbing, flipping through the air, jumping over roots, and racing in and out of the heavy ground fog.
YODA Run! Yes. A Jedi’s strength flows from the Force. But beware of the dark side. Anger… fear… aggression. The dark side of the Force are they. Easily they flow, quick to join you in a fight. If once you start down the dark path, forever will it dominate your destiny, consume you it will, as it did Obi-Wan’s apprentice.
LUKE Vader. Is the dark side stronger?
YODA No… no… no. Quicker, easier, more seductive.
LUKE But how am I to know the good side from the bad?
YODA You will know. When you are calm, at peace. Passive. A Jedi uses the Force for knowledge and defense, never for attack.
LUKE But tell me why I can’t…
YODA (interrupting) No, no, there is no why. Nothing more will I teach you today. Clear your mind of questions. Mmm. Mmmmmmmm.
Artoo beeps in the distance as Luke lets Yoda down to the ground. Breathing heavily, he takes his shirt from a nearby tree branch and pulls it on.
He turns to see a huge, dead, black tree, its base surrounded by a few feet of water. Giant, twisted roots form a dark and sinister cave on one side. Luke stares at the tree, trembling.
LUKE There’s something not right here.
Yoda sits on a large root, poking his Gimer Stick into the dirt.
LUKE I feel cold, death.
YODA That place… is strong with the dark side of the Force. A domain of evil it is. In you must go.
LUKE What’s in there?
YODA Only what you take with you.
Luke looks warily between the tree and Yoda. He starts to strap on his weapon belt.
YODA Your weapons… you will not need them.
Luke gives the tree a long look, than shakes his head “no.” Yoda shrugs. Luke reaches up to brush aside some hanging vines and enters the tree.
INT. DAGOBAH — TREE CAVE
Luke moves into the almost total darkness of the wet and slimy cave. The youth can barely make out the edge of the passage. Holding his lit saber before him, he sees a lizard crawling up the side of the cave and a snake wrapped around the branches of a tree. Luke draws a deep breath, then pushes deeper into the cave.
The space widens around him, but he feels that rather than sees it. His sword casts the only light as he peers into the darkness. It is very quiet here.
Then, a loud HISS! Darth Vader appears across the blackness, illuminated by his own just-ignited laser sword. Immediately, he charges Luke, saber held high. He is upon the youth in seconds, but Luke sidesteps perfectly and slashes at Vader with his sword.
Vader is decapitated. His helmet-encased head flies from his shoulders as his body disappears into the darkness. The metallic banging of the helmet fills the cave as Vader’s head spins and bounces, smashes on the floor, and finally stops. For an instant it rests on the floor, then it cracks vertically. The black helmet and breath mask fall away to reveal… Luke’s head.
Across the space, the standing Luke gasps at the sight, wide-eyed in terror.