Writer-director Peter Docter ’s upcoming film is set in a place where few men have dared venture: the mind of a pre-pubescent girl. Pixar’s Inside Out—out June 19—was inspired by the Up director’s young daughter Elie, whose entry into adolescence transformed her from a mischievous girl into a “quiet” pre-teen. “[As parents] we were like, ‘Wow, that’s so unlike her, what’s going on her brain?’” recalls Docter, who made his directorial debut with Monsters Inc. “And that’s what lead to the heart of the story—the question of what goes on inside our own minds.” READ FULL STORY
Tag: EW Exclusive (21-30 of 740)
Mr. Peabody and Sherman were the stars of one of last winter’s most popular animated films. It was a well-deserved and long overdue promotion, since the characters got their start in 1959 as supporting characters in the Rocky and Bullwinkle cartoon universe. Well, the tables have turned. In the new 3-D Blu-ray of Mr. Peabody & Sherman, which arrives Oct. 14, the clever squirrel and not-so-clever moose return for another crazy adventure titled “Another Fine Moose You’ve Gotten Me Into,” or “The Man In The Iron Moose!”
Of course, if Rocky and Bullwinkle are back, then Boris Badenov and Natasha Fatale can’t be far behind. In this new five-minute short, written by Thomas Lennon and Robert Ben Garant and directed by Gary Trousdale (Beauty and the Beast), Bullwinkle has fallen head over heels in love and is getting married on a cruise ship. But Rocky isn’t so sure about Bullwinkle’s new squeeze: she’s kind of stiff, almost robotic, and, well, she can shoot fire out of her eyes.
Of course, Fearless Leader’s nefarious minions are behind it. “After all these years, why does Fearless Leader want to kill us anyway?” asks Rocky. You’ll have to watch this exclusive clip to find out. READ FULL STORY
Community creator Dan Harmon is a comedy heavyweight. He’s also something of an actual heavyweight. (I write this as a man who could stand to lose a pound or 20 myself.) But did that stop the mercurial, mirth-creating madman attempting to crowd surf when he took his Harmontown podcast on the road in early 2013? It most certainly did not, as the exclusive clip below from the tour-documenting, and utterly fascinating, new film Harmontown very much makes clear.
When Walt Disney’s Sleeping Beauty first arrived in theaters in 1959, reviews were mixed, in part because the conceit of a wicked sorceress putting a beautiful princess to sleep seemed like such a blatant Snow White rip-off. But over time, Sleeping Beauty has carved out its own space, no doubt because of its mesmerizing villain, the elegantly evil Maleficent—a fact brought to cinematic fruition this year with Angelina Jolie’s live-action blockbuster. Maleficent wasn’t a hag, like the in-disguise apple-offering witch in Snow White, nor a prim harpy, like Cinderella’s stepmother. She was undoubtedly grotesque, with devilish horns, yellow eyes, and pale green skin… but also beautiful and alluring, especially with the unsettling patrician voice of Eleanor Audley.
Maleficent was drawn by Marc Davis, one of Disney’s original Nine Old Men, and his style is part of why the character was both frightening and seductive. He had been one of Walt Disney’s go-to animators for pretty girls, working on Cinderella, Alice, Tinker Bell, and even Beauty‘s Princess Aurora, and he instilled what could’ve been just another fire-breathing dragon-lady with enough mystery and subtext to make her the most interesting character in the animated film.
Davis’ achievement is examined in one of the extras on the new Sleeping Beauty Diamond Edition Blu-ray, out Oct. 7. In an exclusive clip from “Art of Evil: Generations Of Disney Villains,” old interviews with Davis, who died in 2000, and new tributes from current animators combine to celebrate the legacy of Maleficent and the man who created her. READ FULL STORY
Stephen King may be one of our most prolific writers, but he tends to let others get the ol’ finger blisters when it comes to adapting his tales for the big screen. One exception? The forthcoming, Peter Askin-directed A Good Marriage, for which Uncle Stevie did decide to pen the screenplay version of his novella.
Edge of Tomorrow, Tom Cruise’s summer sci-fi movie about a reluctant soldier who’s cursed with the gift of reliving the same day that he’s killed by aliens over and over again—until he navigates through battle safely—wasn’t the blockbuster that it might have been. It inched past $100 million in the U.S. and grossed a total of $369 million, but critics heaped praise on Cruise, whose Major William Cage reminded some of A Few Good Men‘s lackadaisical Daniel Kaffee, and Emily Blunt, who played a heroic supersoldier with a sixth sense for slaughtering the spidery aliens that invaded Earth.
The film’s lukewarm box-office reception was held up as evidence of Cruise’s diminished clout, but those pundits weren’t in London in November 2012, when the city shut down Trafalgar Square so that Cruise and co. could land a helicopter right in the heart of one of the city’s biggest tourist attractions. “In the history of England, a helicopter has never landed in Trafalgar Square,” says director Doug Liman, in a Blu-ray extra. “And Tom just gives one of his smiles, and next thing you know, [location manager] Sue Quinn comes back and says, ‘Yes, we’re going to land a helicopter in Trafalgar Square.'”
Patton Oswalt, Amy Poehler, Sarah Silverman, Adrian Grenier, and Werner Herzog are among the more than 80 actors, directors, and academic and civic leaders who are collaborating on the digital series We the Economy: 20 Short Films You Can’t Afford to Miss. Paul G. Allen’s Vulcan Productions and Morgan Spurlock’s Cinelan will produce the series of informative and entertaining films that tackle serious economic issues.
“At its core, the vision of this project is to fuse artistry and storytelling with economic expertise to engage the public in a truly informed dialogue about the U.S. economy,” says Carole Tomko, general manager and creative director of Vulcan. “This esteemed group of artists and thinkers galvanizes our mission of bringing innovation to the public discourse about the economy, and empowering people to make better economic choices in their own lives.”
Directors such as Adam McKay, Catherine Hardwicke, Joe Berlinger, Ramin Bahrani, Barbara Kopple, Albert Hughes, and Steve James recruited famous friends and sat down with Nobel laureates (Joseph Stiglitz), activists (Robert Kennedy Jr.), and economic insiders (CNBC’s Jim Cramer) for short films about crucial money matters.
On Oct. 21, the free series will launch across multiple platforms, including online, VOD, broadcast, mobile, and theatrical. READ FULL STORY
Ever had one of those days when you wake up in a hospital following a car accident to discover the cops believe you killed several of your friends and that a surgeon has mistakenly grafted a Nazi-zombie arm onto your right elbow? Who hasn’t, right? Regardless, that is the situation facing Martin (Vegar Hoel) in the new horror film Dead Snow 2: Red Vs. Dead. Like 2009’s original, undead-Nazi tale Dead Snow, this sequel is directed by Tommy Wirkola (Hansel & Gretel: Witch Hunters) and finds Hoel’s Martin once again facing down Ørjan Gamst’s dreaded—and deaded—Colonel Herzog.
Is it possible to set an entire film on a computer screen? Yes! In the new thriller Open Windows, Elijah Wood plays a blogger obsessed with an actress named Jill Goddard (Sasha Grey) who is persuaded to spy on the star by an unseen but seemingly helpful third party. The twist? Well, there are a few of them in this film from Timecrimes director Nacho Vigalondo. But the most obvious is that the movie does, indeed, all take place on a computer screen.
Who on earth would set a high-octane, high-body count, bulletfest of an action movie in a single room? The answer is director Joe Lynch. The filmmaker’s new film, Everly, stars Salma Hayek as a prostitute who must kill a small army of assassins sent to murder her at an apartment by a yakuza crime boss. At Christmas.
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