Archive | January, 2017

Grunting at the Screen (222)

30 Jan

 

 

 

The information age isn’t finished with us.

 

January is the slow part of the year. The world is in recovery from Christmas and there is not a huge amount of news.

 

 

There are a couple of scheduled releases:

Underworld Blood Wars January 6th 2017

Resident Evil: The Final Chapter January 26th.

 

 

 

It seems these series always end up next to each other. (Why don’t they just get a room?*) Despite some ropy recent instalments I’d like to check out the Underworld Sequel and if there is a non-3D version of Resident Evil 6, I might do that one too!

 

I’m not a huge fan of sequels, but these are a couple of series which have been mid-budget and fun and, despite a certain decent into cheesiness, lack the cynicism of some other franchises out there.

Really.

 

Reviews for Underworld: Blood Wars are out and they are pretty mediocre, well the ones that aren’t plain bad.

Still… if I can catch it cheap, I just might.

 

 

 

We are hearing about a new Science Fiction project from producer Jerry Bruckheimer; It is called Origin, Joachim Ronning is to direct. Ronning and his brother Andreas Ronning will write.

No details of story as of yet but I doubt it is related to the Swedish film of the same name.

Bruckheimer is a film industry legend, known for producing big budget action films. Lately he has been associated with the box office sensation Pirates of the Caribbean franchise.

He is not known for making Science Fiction, although he did produce the time travel feature Deja Vu in 2006.

 

Origin is described as “contemporary, big scale, high concept”. Not very informative. Let’s see if we can interpret.

Easiest is “big scale”, they want to spend a ton of cash on it, maybe 100, 150 million dollars and upward.

High Concept? Ah, it is so simple you can put it a single sentence (You’d think it would be the opposite, but this is Hollywood speak); well that explains why they are so cagy about the story; if it is that simple anyone can do it.

Contemporary? Well I don’t know. Set in contemporary times? Maybe. But I suspect what they mean is it’s pretty much like something we all know and has been known to already make money. So, not very original.

In any case, we may not see at all. Many of these mysterious film projects with no names, or no known stories end up languishing in turnaround for years before quietly fading.

 

 

Steven Hammel and Keanu Reeves have a production outfit called Company Films and yes, they too are going to China.

They are lining up a number of TV and feature film projects to be co-producing by Chinese companies.

Lined up so far is: Rally Car, Olivier Megaton directing, Jeremy Lott writing; Reeves is a rally driver in a race across the Gobi desert.

Unmanned, Tim Webber directing to be shot in the autumn at Wanda’s studios in China; human soldiers are paired with robot drones that will soon make them obsolete.

Company Films is also working on an untitled (uh-oh) Science Fiction feature with Shu Huan.

And there is also Looking for Aladdin; a quest to find the lost lamp of Aladdin.

 

 

When we last reported on Rupert Wyatt’s Captive State (Grunting 211)

we had no details.

Well, we’ve got details.

For a decade Chicago has been occupied by an extraterrestrial force. This film is to highlight life in the surveillance state.

Just Chicago? Surly not. And is it really aliens we have fear in an authoritarian society?

Cast are John Goodman and Ashton Sanders, no word on schedule.

 

 

With the New Year come new DVDs.

Rupture had a cinema release, but hardly anyone heard about it. Morgan, well I didn’t take to it on the big screen, I doubt that will change for a home release, and here is something interesting: Somnus. Looking at the cover it looks like the typical cheap straight to video release. Only thing, this one went to Cannes. A commercial spacecraft takes an unscheduled trip to the colony Somnus where things are not as they should be.

Chris Reading is the director and it seems he has taken some interesting strategies in making it. It was shot in redressed cold-war aircraft interiors. CG was kept to a minimum and miniature work was used in the space sequences. And there were some visual nods to 2001 and Alien.

Increasingly at the independent level we are seeing films reverting to old-school methods where they can.

Anyway, I have seen a few reviews, they are mixed but by and large they agree that it is an amalgamation of earlier films, it brings little new to the pot

 

 

 

 

 

Attack on Titan is getting a live action feature. What? It had one already? Ah yes. This one is an American feature.

Producer will be David Heyman, the studio is Warner Bros.

As ever there is no word on script writer, cast or schedule.

This is just the latest in a string of Anima or Manga adaptations, it also slips into the trend for giant monsters: King Kong Skull Island opens this year, nest year we will have Pacific Rim: Maelstrom and in the mid-future will be the King Kong vs. Godzilla rematch.

 

 

It’s not a movie but we like Andy Weir; the author of The Martian is writing and producing the TV series Mission Control; it’s about the personal and professional lives of astronauts. CBC is the network. So far they have only asked for a pilot but if it goes well a series may be commissioned.

Just so long as it isn’t Defying Gravity.

 

 

Brandon Sanderson’s novella “Snapshot,” has been optioned by MGM: in the future the police take a snapshot of a day to solve crimes. During one investigation a horrifying discovery is made.

So far there is no director, no script, you know the routine.

 

 

 

 

Ubisoft continues to reposition its games as feature films, latest one is The Division; (formerly known as “Tom Clancy’s The Division”) a third person shooter set in a pandemic aftermath.

 

They are already quite far along with the preparations; director will be, Stephen Gaghan, Jessica Chastain and Jake Gyllenhaal have been cast.

No schedule of yet.

 

 

What’s Ridley Not Doing.

Ridley Scott’s Scott Free production company is actively pursuing the acquisition of The Wailing remake rights, this was a south Korean movie from 2016; a police office in a small village comes up against a strange contagion where people randomly become violent to others or themselves; a Japanese man said to be demon possessed is the chief suspect, but soon the policeman and his family become targeted by the contagion.

Now Scot Free has not acquired it yet, and if it does there is no indication that Ridley Scott would direct.

In fact the studio head Hosung Kim, from Fox International Productions, Korea does not believe it could be remade outside of its specific cultural context and certainly not without its original director Na Hong Jin.

 

 

 

The Dune feature film may well be dead.

Oh there has been no announcement but I have reason to believe.

It goes like this.

Thomas Tull, The head of Legendary (the film studio that acquired Dune) has been replaced.

There is a terrible truth from the plains of Africa: when the new lion takes over the pride, he kills the pride’s cubs so he can make his own.

It is just so in Hollywood studios.

Well, not exactly so…

When the new studio head comes along the films greenlit by the old studio head face a hard time. Those not in yet in production are put into turnaround. These completed and facing release are dumped in unfavourable parts of the year with little or no promotion.

The problem is , not only was Dune bought under Thomas Tull’s regime, he will remain the producer even after leaving the studio.

But why would a studio head sabotage his own pictures: it is all about perception; if these “legacy” films do well, the success belongs to his predecessor, if they do badly it is proof that replacing the old regime was the right thing to do.

It’s just politics.

 

 

Good news everyone. The Arrival has been nominated for a Best Picture Oscar, Director Denis Villeneuve has also been nominated.

All in all it got seven, with nominations for best Cinematography , best sound mixing, best sound editing, best production design and best adapted screenplay

I usually cannot be bothered with awards, they are mostly crap. But it is irksome when year after year great genre pictures fail to even get a nomination, enough so that it is worth noting when they do.

Also gaining a couple of nods was Passengers; best original soundtrack, and best production design. Not too bad.

 

 

Michael Bay continues to attempt to make another science fiction feature, the latest one is Little America. Sadly he is not directing this one. To be written and directed by Rowan Athale: in the future the president has bankrupted the USA, Americans are emigration to China to find jobs, and a Chinese billionaire hired and American ex Force Recon marine to find his lost daughter.

No cast or schedule as yet.

 

 

 

 

 

 

 

 

* Actually, it was discussed bringing these titles together until it was pointed out no camera could contain that amount of tight latex without actually exploding.

 

I’m Jack Eris and if you know me, you know Jack.

 

 

 

 

 

 

 

 

And if you want some real movie news you know what to do.

http://www.darkhorizons.com/

 

And if you want to walk the wild side of genre video try Starburst’s review section

http://www.starburstmagazine.com/reviews/DVD-and-blu-ray-home-entertainment-reviews

 

 

 

 

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Grunting at the Screen (221)

7 Jan

 

 

 

The information age isn’t finished with us.

 

 

 

 

Cyberpunk Special: Winter.

 

Winter isn’t coming… it is very much here.

And in keeping let’s start with Neuromancer.

Neuromancer is dead. There has been no such announcement but the failure of any movement since the announcement of Chinese investment points towards a project too deep in turnaround for recovery.

Which is a pity because this should be its time. With the cyberpunk meme rising again, it is mete that one of the films in production should be adapted from William Gibson’s most iconic novel.

This is not to be.

The current reason that it is difficult to adapt is that so many of its ideas have been stolen by other productions. This sounds like pure prevarication to me: this is a good reason to not produce the umpteenth Star Wars or Star Trek sequel, because none of them have a fresh idea between them. Any old idea can be made fresh again, and Neuromancer is made for this age.

 

 

And what of the other Gibson adaptation, Dogfight?

Well, director Simon Pummell has had this project for two decades, it is not going anywhere and I think his other project, Piper is more likely to film first.

 

 

Meanwhile we are hearing that Gibson’s comic, Archangel has been optioned a TV series. The word came straight from his twitter account. There are no details, so we don’t know who has bought it, who is cast, when it is scheduled to shoot or when or where the broadcast date is.

And yes, Archangel is not cyberpunk.

 

 

Gibson’s Blue Ant trilogy has also been re-optioned.

Pattern Recognition was previously under option, nothing came of that.

 

 

 

Let’s also drop a word of commiseration for the Anime-to-live-action adaptation; Bubblegum Crisis.

It started so well, with a reality show to find the stars.

Now there has been no word for years.

In retrospect maybe it was not such a great idea. It worked well as anime, but as live-action it was in danger of becoming a hodgepodge of Blade Runner and The Terminator (and with those suits someone was bound to invoke Power Rangers as well…)

There is a moral in there, I am not sure what it might be but it is bound to start with: Don’t cast your movie from a reality show.

 

 

 

When Scott Derrickson moved to Marvel the films he had on his slate: Deus Ex Human Revolution and When Gravity Fails, slipped by the wayside.

Despite hints, there is no indication either will see production soon.

Given the current cultural and political atmosphere (it’s funny but no-one seems to mention that general anxiety over Islamic terrorism might just affect which western fantasy films get greenlit…) it is unlikely we will see When Gravity Fails, (unless they shift the background to like…Shanghai!) To be honest I assumed this was a factor generally, but I am surprised to see movement on a new version of Sinbad (let’s see how much of the Arabic origins survive there.) But anyway.

As for Deus Ex, the fact that it is seen as a Videogame movie more than cyberpunk may be exacerbate the delay. Every year one film is nominated to finally break the “curse of the videogame movies” (there is no such curse: Tomb Raider, and Resident Evil both made enough money to support sequels.) However this year Warcraft underperformed in the US (which is what matters for future financing) and that casts any forthcoming games-based features into doubt.

 

 

 

 

 

And what has happened with True Skin? I last blogged it back in Grunt (199) and it has become a bit of a mystery. Since its acquisition by Amazon in March, there has been a deafening silence.

In interview True Skin creator Stephan Zlotescu said the project was “Coming together very nicely”.

We have learned that Nicole “Guardians of the Galaxy” Perlman was hired to write the script. But she is not due to start working on it until 2017. That pushes any possibility of the series into late 2017- early 2018 at the very best.

 

 

 

Robert Rodriguez, has been a busy man, running a cable network (he really has to start going On Demand, it’s the future…) producing other film makers and planning other features like Jonny Quest. But it looks like he is settling back into the director’s chair with Alita: Battle Angel. He’s been aggressively casting:

Rosa Salazar as Alita

Christoph Waltz as Doctor Dyson Ido

Leonard Wu as Kinuba

Lana Condor as Koyomi

Jorge Lendeborg Jr. as Hugo

Mahershala Ali as Vector

Jackie Earle Haley as an unnamed cyborg and

Eiza González in an unknown role

 

Encouraging.

But is he up to it? I love Rodriguez, I own most of his movies, but I also know he is soft on story.

Alita is a huge project and it needs to hang together, my hope is the supervision of James Cameron and script inherited from earlier days will keep Rodriguez on track, but a good script is no deterrent for a director who values visuals over narrative (Tim Burton, I am talking about you).

I want Alita to be good. But I am concerned.

Rodriguez did his best work at low-budget, using his own screenplays and without much supervision. Alita cannot help but be a major project with a budget on the high side and with James Cameron’s name on it I would be astonished if it did not attract more studio oversight than Rodriguez is used to.

At let’s not forget his most problematic film have been made inside the studio-system.

This is way outside his comfort zone.

They were talking about principle photography in October, but it seems unlikely it has begun. Rodriguez has only said he will make Alita before he tackles Johnny Quest.

 

 

 

 

 

In keeping with earlier considerations of short films with potential which one do we think is worthwhile this time?

Now it gets difficult.

Honestly the first thing that occurred to me was Kike Maillo’s Eva. But guess what? It’s already been made into a feature film. So you haven’t seen it? There is the rub. It got Snowpierced*, it has been sold to the Weinsteins and since then, like so many foreign language films they bought, was never seen again. Well that’s not fair, it did show on Netflix.

 

OK, so which other short film is worthy of a feature? Uh, try Rise by David Karlak (it was close to hand): It looks good, has a familiar theme (the robots are revolting) but with a twist (it is shown from the robots’ point of view).

 

 

 

We’ve been keeping an eye on Jon Spaihts who is having a hell of a year with Dr. Strange and Passengers. During the Passengers interview on Coming Soon Spaihts spoke casually about the origin of the plot “I pitched a big noir sci-fi story. It prominently featured, at the end of the story, a man stranded alone in space”.

Whoa, whoa; wind that back a little; “I pitched a big noir sci-fi story.” Oh did he? That sounds promising especially since he says later that he has stories and scripts ready to go.

We certainly hope someone buys up that “noir story” so we can see what it is.

 

 

 

Progress continued on Netflix’s Altered Carbon series: joining Joel Kinnaman will be, Martha Higareda as city cop Ortega, James Purefoy as ancient plutocrat Laurens Bancroft, and Kristin Lehman as Miriam Bancroft, his wife.

 

The series started filming mid-November at Skydance Studios in Vancouver. Miguel Sapochnik is directing the pilot.

Reportedly Netflix is spending a ton of money on it, it is the biggest series they have done and some are whispering of it in terms of Game of Thrones.

 

 

 

I win the bet! As I expected Blade Runner 2 has had a title adjustment. The Blade Runner sequel is now called “Blade Runner 2049”.

 

Mid-December a whole lot of Blade Runner: 2049 news arrived;

Harrison Ford’s role might turn out to be a cameo,

Harrison Ford punched Ryan Gosling so hard they both required ice, **

Gosling said the film was the equal in scope of three movies,

Denis Villeneuve called it his biggest artistic challenge.

In all of this I detect the publicity machine turning over.

It all begs the question? Why all this media activity at this point?

 

Then at the end of December the teaser trailer came out;

You might as well see it;

 

My first reaction was dismay; I was looking at the same kind of sights as I’d seen before. Then the scene in the desert started and I thought, “This might be interesting”

As for the giant head, what is going on? Ridley Scott is only the producer, but is stamping this one with a Prometheus signature, just to remind us he is still around?

Harrison Ford turned up doing something similar to what he did before.

The music is basically Vangelis cues, we know he will not be doing the soundtrack, and trailers usually have temp tracks, there is no guarantee any music from the trailer will make it to the feature.

It is only a teaser, so it likely not as indicative as we think it is.

 

 

 

Now here is a question. Ready Player One opens on December 15th 2017: is it cyberpunk?

Personally I hate getting into these discussions, (and yet here I am) I am not the authority to rule whether this or that work is fit to enter the sacred sun-genre. And it generally causes pointless controversy. But some journalists on the blogs are using the “C” word and hell, I have nothing better to do.

I’d say look at origin and attitude. Not the origin of the author but the origin of the idea.

I’ve read Ready Player One as a novel.

What it is is a love-letter to the author’s game-playing youth. A youth of 8-bit and text-based games. The story itself largely takes place in a Virtual Reality gaming environment. The protagonist is in search of a prize that will put him in control of the biggest game company in the world.

This is played against a background of a world of gross inequalities, (the protagonist lives in a high-rise trailer park.)

The elements are there: a bohemian sub-culture (gamers), a disruptive technology (games played in virtual reality), even an evil corporation (a rival company trying to take over). Superficially there is little distinguishing Ready Player One from genre-cyberpunk.

However it comes out of a deep appreciation of game culture and not an analysis of the intersection between information technology and society. The difference is subtle but real.

And then there is attitude. This is the most important aspect of Cyberpunk. You can sport the tropes all day long but without the attitude you are just a wanna be. The question is: is it dangerous? Cyberpunk attitude threatens established order, it is rowdy, a little revolutionary, a little anarchic. And Ready Player One? Kind of good matured.

If I had to answer (and no -one asked, but it’s relevant to our future coverage) Ready Player One isn’t Cyberpunk. But I’m still looking forward to seeing it… even if it is a Spielberg film.

 

 

 

We need to talk about Hard Boiled.

When world dropped at the beginning of December I was so stunned I really had nothing to say.

First matter: is it cyberpunk? I don’t think so, it’s more like a surrealist take of The Terminator. The thing is, when journalist see the pages of the Graphic novel, with the busy urban spaces, the hyper-detailed backgrounds, the 30’s styled automobiles, the intricate articulated machinery… they are going to say “Cyberpunk”.

Though I won’t agree.

 

Second question: can it be done? When I heard the news I re-read the book. It is nuts! Bugfuck! Fully three-quarters of it is brutally violent action; gunfights, car- chases and crashes. To be honest there is so little story there we are doubting there is enough for a feature film.

 

But the third and most important question that came to mind was: can they pull it off? Ben Wheatley is the currently darling of the critics. They fall over themselves to praise His every release. His latest; the adaptation of High Rise was deemed an extraordinary success.

To me… not so much.

I don’t hate him, but I haven’t been moved to see the early ones like Kill List, I fell to sleep during A Field In England and my response to High Rise was … “analytical” where it should have been “engaged”.

He does not excite me.

Then comes the question. He’s (apparently) a pretty good art-film maker but can he do action? Interestingly we will be able to answer that question next year when Free Fire comes out, it is reportedly wall to wall action.

So far all of Wheatley’s films have been low budget. This will not wash with Hard Boiled; at minimum it will be a Mid-budget film of at least a hundred-million dollars (yes, it pains me to use the phrase “mid-budget” in connection with such astronomical numbers but the big-budget films now start and $150m and clime quickly into the $300m zone). British money will not buy you a Hard Boiled movie, only US or multinational cash can bring it home.

Furthermore can anyone make Hard Boiled? The visual style was created by comic book artist Geoff Darrow and it is intricate, precise and hugely detailed. To recreate it on film (will digital video) will be a nightmare. To be honest I don’t think it can be done.

Now before you say “well they did it for the Matrix”, I’ll have to disagree: sure Geoff Darrow did the conceptual art for the Matrix movies, but hold his art up against frames from the film and you see he was used more as inspiration than art direction. The film is an impression of his art, not a recreation. For Hard Boiled, as everything about it is rooted in the distinctive art with the massive double page spreads, and minimal dialogue; an impressionistic interpretation would just betray the work.

How would an adequate visual translation be achieved? I strongly feel a CG heavy version would look cheap. And a Live “on-set” version would be expensive beyond anyone’s ability: even filming in Eastern Europe or China.

Then I had an inspiration. A live-action Hard Boiled is impossible, but an animated one would work fine. Then I had another inspiration: a Claymation version would be even better. And then I thought I’d had one inspiration too far.

Last of all we know Wheatly collaboration Tom Hiddleston has already been cast to play Nixon.

My first reaction has “huh?” He didn’t strike me as the ideal killer cyborg material. Then I re-read the graphic novel: You know the distinguishing feature about the protagonist Nixon is his ordinariness. He’s not muscle-head. Now Hiddleston’s quite charismatic, but I think he can pull off ordinary.

 

All in all I don’t think it can be done.

Convince me.

 

 

 

 

In October Duncan Jones commenced shooting “Mute” at Babelsberg studio, Berlin. It stars Alexander Skarsgard, Paul Rudd and Justin Theroux. The remaining cast was out with filled with German actors. Clint Mansell has been tasked with writing the soundtrack.

 

Although he shot it at a studio, he used an exterior set at night. Which proved challenging as the weather turned inclement.

Jones tweeted heavily throughout the shoot, counting down the days, complaining it was “cold as brass”, giving an occasional (generally cryptic) photo from the set. There were some hints and details, but nothing particularly gripping; he showed pictures of future German currency; David Hasslehoff is on one of the notes.

 

“Mute” is a bit of an adventure for all concerned, it’s the first Netflix original feature film produced in Germany. For years it was considered too risky, because it had a thriller story in a futuristic setting where the setting was not strictly necessary to the plot.

 

On December 16 he announced principle photography was done.

That just leaves re-shoots and post-production.

 

William Gibson seems to be enthusiastic; he re-tweeted Jones several time.

And just as we went to press (!) the first images from the shoot emerged. Typical.

 

http://screenanarchy.com/2017/01/first-mute-images-show-a-neon-soaked-future.html

 

(Not as Blade Runner as I expected)

 

 

 

 

Details are emerging about the Ghost in the Shell live-action feature.

The story is set in the fictional Japanese city of Niihama, however the style leans toward Hong Kong and in fact part of the principle photography took place in Hong Kong itself and the (now demolished) Walled City of Kowloon was an inspiration.

 

I feel that Scarlett Johansson has been looking for this project for a long time: look at her earlier choices: Aeon Flux, Lucy, and The Black Widow.

This could be the apex of her journey towards an iconic action heroine.

 

We previously said it would be an adaptation of the Stand Alone Complex TV series. Now we are hearing that it will take from a number of the storylines (manga, anime) but not be beholden to any particular one.

It seems to take elements from the manga, the first anime, the TV series. The villain seems to be an amalgam of the character from the second series of the TV show, the Puppetmaster from the first feature anime and Laughing Man from Stand Alone Complex.

 

They are taking elements from each source: the geisha androids from Innocence, the shootout from the first film.

I am questioning as to if this will work. The scenes are visually important but narratively they need to work they need to fit. Can the film makers achieve this? We will see.

 

The publicity process kicked in to high gear with Ghost in the Shell.

There were journalist set-visits but more interesting, set-visits from original Ghost in the Shell directors, Mamoru Oshii (the animated features), and Kenji Kamiyama (The TV series). Their response was positive. I have to note Japanese people are very polite and they are not likely to just say they hated everything they saw. On the other hand when the Wachowskis asked Mamoru Oshii to do a short film for them, he let them know just what he thought and it wasn’t good.

Let’s just treat it like it sounds; approval.

 

 

To be honest I have not thought much of the Ghost in the Shell live-action production: it has been bouncing around for a while, after it was dropped by Spielberg, Rupert Sanders took over, and this seemed to seal the impression that we were not due for anything special.

 

The jury is still out, but some interesting factors have emerged. The Live-action film is a collage of different aspects of the various anime production. One scene they are reproducing is the “shelling” sequence from the opening of the first Anime feature.

 

They are doing it 60 percent live-action animatronic. Interesting. Of course that still means 40 percent CGI but four years ago that would have been 100 percent CGI.

I can only ask why they have decided to go this way, because, after all, the original was animated (well the real original was drawn, but you know what I mean). The director is insisting on a live recreation of an absent original. It is almost Baudrillardian.

And what the director was requiring was “reality”, it had to really look like the manufacturing process of a cyborg body.

 

Clint Mansell was announced as the soundtrack composer. Mansell has been best known as Darren Aronofsky’s collaborator; he was with the director from the beginning of his career. Lately he has been associated with Duncan Jones and will also provide the soundtrack for Mute.

 

And also in November the first trailer came out. There were several nods to the animated feature and the execution was acceptable. Reception to the trailer was positive and for the first time people started thinking that we might have something special.

Everyone else is showing the trailer:

 

 

Normally I’d approve.

And I am struggling to understand just why I am feeling apprehensive; maybe I fear they are putting so much emphasis on making perfect jewels of the iconic scenes in the original that the whole: the story, may be lost in it.

I’m going to see it, and I’d like it to be good. But I’m not ready to raise my expectations just yet.

 

 

With Mansell writing the soundtracks of both Mute and Ghost in the Shell, this places him in pole position as the go-to cyberpunk composer. And there is the fact that he also did Pi.

Mansell was the guitarist and lead singer for Pop Will Eat Itself.

His film scoring career began with Pi after the demise of his band.

He is most associated with Darren Aronofsky’s films, although he has scored films for many other directors, including Park Chan-wook and more lately Duncan Jones.

 

Which begs the question: who is the ideal cyberpunk composer?

This is the one aspect of cyberpunk film I have not thought about. Off the top of my head, the favourite soundtracks have been Tetsuo, Ghost in the Shell anime feature, Blade Runner. But can we do better?

I’m no soundtrack expert so I canvassed some opinions. I was recommended Masafumi Takada (nice choral work) and Makeup and Vanity Set who do some good work. I also got a vote for Thurston Moore who is interesting and somehow I think some novelists might approve

 

In my inexperience I was tempted to just opt for Chu Ichikawa, who did Tetsuo and most of Shinya Tsukamoto’s films.

 

But I think I have an answer: Petra Hadens; she is heavenly. Tell me I am wrong.

http://boingboing.net/2016/12/30/petra-hadens-stunning-a-cape.html

 

OK, the release schedule does not look too different:

Ghost in the Shell will be released March 31st 2017.

Blade Runner 2 October 6, 2017

Alita: Battle Angel will be released on July 20, 2018

We have no release date for Mute (Netflix is generally cagey) but we’d lay good money on it being in 2017.

 

 

 

In Other News

 

 

Progress on the live- action Fullmetal Alchemist continues. Take a look at the photos.

http://screenrant.com/fullmetal-alchemist-first-photos-live-action-adaptation/

 

 

 

 

The long shadow of Gravity continues to be cast, but the studios are no longer interested in fantasy, they want reality which is why they are going with First Man – a biopic of Neil Armstrong, the first man on the moon.

Josh Singer is writing, Damien (La La Land, Whiplash) Chazelle is to direct, Ryan Gosling is to star.

 

 

The Great Wall. Starring Matt Damon has had its China release and it is doing OK, it opened at $64.7 million.

This is a Chinese co-production directed by Zhang Yimou and co-starring Donnie Yen.

 

 

*that so is a “thing”.

**accidents happen!

 

 

 

I’m Jack Eris and if you know me, you know Jack.