There are some directors who seem to be able to summon great casts with a simple snap of their fingers and the great David Cronenberg is one of them. His latest film, 'Maps to the Stars,' has not only secured financing, but a cast that includes Robert Pattinson, John Cusack and Julianne Moore.
The opening credits of 'The Twilight Saga: Breaking Dawn - Part 2' alternate between red and white images; seeping blood, spreading ice crystals. The symbolism couldn't be clearer: bundle up, Twihards, it's going to be a long cold lonely winter. Here comes the sun, dawn is breaking, and with it the end of your beloved franchise. After this, no more sexy vampires and hunky werewolves. It's all over -- and now that it is all over, let's give 'Twilight' its due: as one of the absolute bats--- craziest blockbusters in Hollywood history.
We're impressed with the level of ridiculous this week has to offer. James Franco is making a movie about Lindsay Lohan's life, Universal is or isn't or is lying about dumping Kristen Stewart from the 'Snow White and the Huntsman' sequel, a dude shot himself in the butt at the movies, and 'The Price is Right' wants to add male models to their showroom. Could this week be any more ridiculous? Wait, don't answer that.
So much has been written as of late about Kristen Stewart and her possible involvement with a ‘Snow White and the Huntsman’ sequel that we’ve practically forgotten she still has one more chapter in ‘The Twilight Saga’ before she closes the book on that franchise for good.
In an effort to get ‘Breaking Dawn: Part 2’ back on everyone’s radar, Summit Entertainment has released pristine copies of the film’s promotional images (no pesky watermarks!), so Twi-hards can investigate every inch of the frame for clues. And it's not awkward at all, err, ummm...
It's better to think of David Cronenberg's 'Cosmopolis' as a dream than a movie. It might not work in cinematic terms -- it's talky, it's stiff, it's aimless -- but it makes perfect sense in hypnagogic ones.
The film, based on a novel by Don DeLillo, has been billed in some corners as a science-fiction story, but that's not quite right. Other than the protagonist's hi-tech limo -- which has touchscreens, swivel chairs, and a hidden pull-out toilet -- nothing in the New York City of 'Cosmpolis' looks all that different from our own. When our hero eats lunch, it's at a generic coffee shop. When he passes people on the street, they're dressed like normal 2012 citizens. Things grow increasingly hostile -- and increasingly weird -- on the other side of his limousine windows, but they never get any more technologically advanced. This is more of a twisted fantasy of the present than a vision of the future.