So now that I have both hands free and am not illegally texting while driving, how have I not heard of Joss' new Shakespeare project of Much Ado About Nothing? (And why did my little brother know about it before me! Damned Nathan Fillion fanboy) And what do we think the success of it getting picked up for mainstream distribution? I hunted around, and posters on IMDB said that he was shopping it to film festivals. What is the turn-around if things go well for him?
I'm remembering commentaries or interviews where it was made known that he'd have Shakespeare readings with his gang, so in a way I'm not surprised he filmed it in 15 days. I'm so freaking curious! Did he keep the language?! Is it updated?! Will Sean Maher player the d-bag be more interesting than Keanu Reeve's turn at it? And, OMG at Fillion being Dogberry, and hearts times a million at Denisof and Ackers being Benedict and Beatrice.
I hope that we are on the cusp of a cinema Jossocalypse.
He's too wholesome?
Tell me what's too wholesome about him. I don't think he's more wholesome than Captain America, and I think he can match him angst for angst, so I don't get that.
I think wholesome, pluse a whole lot of UST, or URT, is actually quite refreshing, and I thought that point of Captain America was also resfreshing and poignant. Wholesome doesn't have to mean sexless or lacking sexuality or romance. There was a Brendan Frasier movie where he was totally wholesome, and the romance was wonderful. Also, see Due South for romance and wholesomeness.
If done right, it's awesome.
Avengers in the style of Friends: [link]
Lots of outside footage, so it pings my wrongdar, but cute.
Also they misspelled Clark Gregg's name. Come on, IMDb, people.
A Japanese trailer for Brave has a ton of new footage:
[link]
So I have watched War Horse.
It was a very well executed film. There were many things good about it. I can't quite say I enjoyed it, but I can't quite say I didn't, either. I'm certainly glad I got to see the play first.
The problem with the movie for me (and my roommate, who has not seen the play) is that it didn't quite grab me emotionally. As I think about it now, I think it's because the puppetry of the play explicitly asks the viewer to take a profound emotional step from the very beginning. By accepting and taking that step, you are already far more emotionally invested in the story than the film quite manages to elicit from you.
Interestingly enough, this was exactly how I was expecting to be disappointed in the film, and was thus not really disappointed. It is what it is. I'm looking forward to the play coming to the Ahmanson, so I can see it again and see how it holds up on second viewing.
I personally did not like the play very much. It was spectacularly produced, but I failed to connect emotionally even with the adorable puppets. I loved the historical bits and accuracy, in all its gory details, but found the primary story to be a little too child-like for my taste, which is odd considering how much I normally enjoy children's tales. Maybe I would like the book (or the movie) better, since I saw the play in a theater (the main theater at Lincoln Center) that I associate with works that I think have more heft: The Coast of Utopia, Cymbeline, even South Pacific.
I'm with you, Gris. I loved the spectacle, but I couldn't really get into the story.
