Actor In A Miniseries Or A Motion Picture Made For Television:

Jeremy Irons – Georgia O’Keeffe – Lifetime Network

His fellow nominees in the same category are:

Kenneth Branagh – Wallander – PBS / BBC
Brendan Gleeson – Into the Storm – HBO
Kevin Bacon – Taking Chance – MPCA / Civil Dawn Pictures / HBO Films
William Hurt – Endgame – PBS
Ian McKellen – The Prisoner – AMC

14th Annual SATELLITE™ Awards

Celebrating
The International Press Academy’s SATELLITE™ Awards
will acknowledge this year’s outstanding artists, films, television shows, DVDs, and interactive media.

The 2009 14th Annual Satellite Awards presentation
will take place on

Sunday, December 20, 2009

2009 14th Satellite Awards
Grand Salon/InterContinental Hotel
2151 Avenue of the Stars
Los Angeles, CA 90067

5 p.m. – Arrivals
6 p.m. – Awards Presentation
8 p.m. – Dinner
Formal Attire

In Bruges è un film del 2008 scritto e diretto da Martin McDonagh. Il film è interpretato da Colin Farrell e Brendan Gleeson, come sicari in clandestinità, con Ralph Fiennes, come loro capo gangster.

Leggi altre notizie su: | Martin McDonagh | Colin Farrell | Brendan Gleeson | Ralph Fiennes

I recorded Thaddeus O’Sullivan’s biopic of Winston Churchill, Into the Storm on BBC1, and managed to watch it recently.

Whilst Brendan Gleeson was faultless as Churchill, it was a pity that the drama didn’t offer anything new about Churchill.  The continuity editing did also appear lacking making it feel like a sketch show.  That is me being a bit picky, but I have to say, I did enjoy it and it was a wonderful drama.

Un film del 2010, regia di Brendan Gleeson, con Jonathan Rhys Meyers / Colin Farrell / Cillian Murphy / Gabriel Byrne. Prodotto da ()

Uno studente dublinese sta scrivendo un romanzo su un romanziere moderno di nome Trellis. Questo autore vuole scrivere un libro contro il peccato e, a tale scopo, recluta molti personaggi presi in prestito da altri romanzi o da antiche saghe e favole irlandesi come il famoso eroe Finn McCool. Infine ne crea alcuni completamente originali. Però Trellis è anche uno che dorme molto e mentre dorme i suoi personaggi non sanno cosa fare e parlano del più e del meno, interrotti costantemente da Finn che vuole raccontare la storia di Sweeney sugli alberi. Durante i sonni di Trellis succede poi che i personaggi si ribellino. Pare infatti che Trellis abbia violentato un personaggio femminile di sua creazione e allora gli altri decidono di punirlo per le sue malefatte cominciando a raccontarsi storie in cui il povero romanziere viene picchiato e tormnetato con mezzi magici, per essere alla fine sbattuto sull’albero dove si trova il pazzo Sweeney.

Un film del 2010, regia di Brendan Gleeson, con Jonathan Rhys Meyers / Colin Farrell / Cillian Murphy / Gabriel Byrne. Prodotto da ()

Uno studente dublinese sta scrivendo un romanzo su un romanziere moderno di nome Trellis. Questo autore vuole scrivere un libro contro il peccato e, a tale scopo, recluta molti personaggi presi in prestito da altri romanzi o da antiche saghe e favole irlandesi come il famoso eroe Finn McCool. Infine ne crea alcuni completamente originali. Però Trellis è anche uno che dorme molto e mentre dorme i suoi personaggi non sanno cosa fare e parlano del più e del meno, interrotti costantemente da Finn che vuole raccontare la storia di Sweeney sugli alberi. Durante i sonni di Trellis succede poi che i personaggi si ribellino. Pare infatti che Trellis abbia violentato un personaggio femminile di sua creazione e allora gli altri decidono di punirlo per le sue malefatte cominciando a raccontarsi storie in cui il povero romanziere viene picchiato e tormnetato con mezzi magici, per essere alla fine sbattuto sull’albero dove si trova il pazzo Sweeney.

So, last week I blogged about the lack of imagination and message in franchise horror movies. I said that, essentially, franchise horror is the “safe choice,” which is what makes it so popular. I also claimed that I don’t really “get” the appeal of franchise horror movies. For the most part, this is true. While, like many horror fans, I enjoy the “ride” predictable horror movies provide, I still require some kind of moral question, or a good reason behind the violence on screen. Otherwise, I feel like the movie just isn’t worth my time.

Perhaps that’s why, in the entirety of my experience watching horror movies, there is one particular subgenre that, although it’s one of the most formulaic, manages to consistently present a message along with massive amounts of gore. That subgenre is the zombie movie.

Ever since George Romero’s “Night of the Living Dead” kicked everything into messy high gear in 1968, the zombie has come to represent more than just an undead cannibal corpse lusting after brains. The zombie is the perfect blank slate for horror movie symbolism. It can represent just about anything you want. The zombie has been used to represent consumerism (“Dawn of the Dead,”) suburban complacency, (“Shaun of the Dead,”) racism and fear of the other (“Night of the Living Dead,” “Land of the Dead”). Romero has said of his films, “My movies are about other things, and zombies are just an annoyance.” In a zombie movie, it’s not the zombies that are actually the important thing. What’s important is the human drama created by their presence.

That human drama is the characteristic that, in my mind, makes the zombie movie so cool, as well as easy to replicate. Zombie movies follow a formula that is tailor-made to create moral dilemmas and human tension. Generally what happens is this: Zombies attack. The main character, in an attempt to escape the carnage, falls in with another survivor, or a group of survivors. After barricading themselves into a makeshift stronghold, the group tentatively starts forming connections. But there’s always at least one jerk that ruins it for everyone else. Arguments and accusations start flying, someone gets bitten, everyone gets conflicted over whether or not they should kill said bite victim. After waiting too long to make a decision (they always wait too long, instead choosing to discuss the ethical implications), the bitten friend or relative comes back to life, at which point all the outside zombies somehow find a way to infiltrate the stronghold, where there is the Final Showdown. At this point, there are usually two outcomes: a) everyone dies, b) the two characters with romantic chemistry survive to (we can only assume) repopulate the earth.

See what I mean? Yes, you can probably figure out from moment one of a zombie movie what’s going to happen and how, but the dynamic that emerges when anxious people with differing points of view are boarded up in one room and asked to work together or die can be just fascinating to watch.

Whenever I’m asked to convince people as to what makes zombie movies a genre worthy of attention, I give two examples: “Dawn of the Dead” (Romero’s original), and “28 Days Later.” Both are excellent representations of zombie movies at their political and morally thoughtful best.

“Dawn of the Dead” strikes me as the most politicized of Romero’s catalog. The consumerist tone is clearly presented from the moment the protagonists set up camp in the shopping mall. At one point, looking over the undead mob congregating outside the mall, one character, Peter, muses, “They’re after the place. They don’t know why, they just remember. Remember that they want to be in here.” Romero is presenting his audience with the notion that, as consumers, people are sheep. We want stuff, and lots of it. We don’t know why, we just know that we want it. In another scene, the whole group of survivors goes hog wild in a department store, excited that they can now appropriate anything they could possibly need or want for free. The mall is their haven. After a while, of course, as is the fashion with zombie movies, everything falls apart. But while it lasts, the situation seems pretty nice.

“28 Days Later” is, in my opinion, about as good a movie as you can find in either the zombie subgenre, or the horror genre as a whole. Generally speaking, director Danny Boyle’s movies can be pretty hit-or-miss, but his horror movies and psychological thrillers tend to be right on the money. His first film, “Shallow Grave,” presented audiences with a moral dilemma if ever there was one, and “28 Days Later” does exactly the same thing. Essentially, the audience is given this horrible apocalyptic situation, and two different ways that people choose to survive in that situation. We could take the moral high ground, with Cillian Murphy and Brendan Gleeson, and realize the importance of maintaining human connection in a mostly-abandoned world. Or, if straight-up ruthless survival sounds better, we can side with Christopher Eccleston and his sexually frustrated soldiers. Of course, Boyle sends the message that the way of Eccleston and co. is basically the road to self-destruction, but you can’t help but feel a little bad for the guy. He may have acted horribly but, in the end, he was only doing what he thought was right.

Zombie movies may be formulaic. They may be easy to set up. But, unlike so many other subgenres, they have the potential to make an audience think. We laugh at the zombies trying to force their way into the mall in “Dawn of the Dead,” or the zombie carnival in “Land of the Dead” because these things are absurd. But, if we consider what these characterizations are meant to represent, how absurd do they make us look? Zombie movies are, at their most basic level, an opportunity for a director to turn the camera back on his audience and say “Look. These guys are us. They are what we have become.” If they want to throw a gallon or two of red corn syrup around for emphasis, then so much the better.

OOOOOOOOOOOOOOOOOOOOOOOO JASON BORNE IS BACK, INO INO DATS AINT HIS NAME IN THIS FILM BUT WE ALL NO IT IS SERCRETLY

BUT THIS FILM DOES FEEL LIKE ITS BIN DONE ALREADY……….

Release Date: 12 March 2010
Cast: Matt Damon, Jason Isaacs, Greg Kinnear, Brendan Gleeson, Antoni Corone
Genre: Drama | War
Director: Paul Greengrass
Writer: Brian Helgeland, based on the novel by Rajiv Chandrasekaran
Studio: Universal Pictures

WWW.APBLOG.TK

I had a teacher that once said that drama is for feelings and comedy is for thought. At first I dismissed this idea because how can a movie like Little Nicky or Dickie Roberts: Child Star be thoughtful. But if you think about it, although they are horrible movies, they are indeed thoughtful. The former deals with living up to your father’s expectations, while the latter is about the effects stardom have on a child.

For this reason comedy is my favorite genre. Can you make a drama about a girl trying infiltrate a clique of popular girls to bring them down, and eventually becoming one of them? Yes you can, but it does not have the same effect as a comedy. So, I was quite excited about compiling a list of my favorite comedies of the decade, but it turned out to be harder than I thought. I’m sure I left out a few good ones, but I feel happy with the way it turned out.

Here’s my list for the 10 best comedies of the decade:

10. Shrek

Andrew Adamson, Vicky Jenson | 2001

I saw this without having seen any sort of promotional material for it (how I managed to do that, I don’t know), so imagine my surprise when the movie started. Shrek is a clever take on fairy tales that has jokes coming in very often, and they never get old. Will the movie age well? Probably not because of all the pop culture references, but I will always have fond memories of it.

9. I Love You, Man

John Hamburg | 2009

A great story about friendship sewn together by great chemistry between Paul Rudd and Jason Segel. Together, they make some poorly written lines and situations work. The rest of the cast also does a pretty good job of making this work, among them the always reliable JK Simmons, Andy Samberg, and Rashinda Jones.

8. Anchorman: The Legend of Ron Burgundy

Adam McKay | 2004

This movie came out at the peak of Will Ferrell’s popularity, that is when he used to do the things he still does, but with good scripts. The story is inpired and a perfect fit for Ferrell’s comedic abilities. The sight gag are great and the dialogue (which is rather good) is delivered perfectly by the cast. And I believe that this is still Ferrell’s best performance.

7. Ratatouille

Brad Bird | 2007

This movie is full of sophisticated and innocent humor. Prior to this it had been a while that I had not seen a non-Pixar animated movie that was hilarious and had clean humor. Yes, there is a poop joke, but that fits the personality of the character that is involved in the joke. Ratatouille made once again made the messy kitchen, the food to the face, slapstick feel fresh once again.

6. School of Rock

Richard Linklater | 2003

Jack Black gives his best and funniest performance here. Yes, the plot has been done before, but the way the story is told, and the earnest performances from the young cast, makes this stand above the rest of other movies with the same plot. Plus, the ending is pure magic.

5. Mean Girls

Mark Waters | 2004

Before “30 Rock” and Sarah Palin made Tina Fey a house-hold name, and before Linday Lohan started doing drugs and ruined her career, they made this movie. Lohan, along with Rachel McAdams, Amanda Seyfriend, and Lacy Chabert, make Fey’s creations come to life in a great way. The movie is full of your typical Fey dialogue, and that alone makes it stand above other comedies.

4. Hot Fuzz

Edgar Wright | 2007

The love that Edgar Wright and Simon Pegg have for bad action movies shows here. And only them could they make an intentionally hilarious action movie like this. The biggest laugh, however, don’t come from the spoofing, but rather from the small moments, like the old man being stabbed in the foot, or the crossword puzzle dialogue exchange. Just great stuff all around.

3. Happy-Go-Lucky

Mike Leigh | 2008

Some do not think that this is a comedy, and I can see why they think that however, since this made me cry because of all the laughter, it definitely qualifies as a comedy. No other movie made me laugh this hard this decade. This is all thanks to Mike Leigh’s great writing and direction, which fleshed out every single character, even those who are on-screen for only a few minutes. The movie also works as a comedy thanks to Sally Hawkins’ amazing performance.

2. Knocked Up

Judd Appatow | 2007

One would think that it would be hard to find comedy in an uncomfortable situation such as an unwanted pregnancy. However, Judd Appatow did, not in the actual situation, but in the fall out from it. Seeing these two people and their families trying either help them or trying to tear them apart is funny as well as seeing them trying to make things work when they are clearly not meant for each other. While his direction may not be the best, Appatow’s script makes the movie work, and one of the best comedies of the decade.

1. In Bruges

Martin McDonagh | 2008

Like Knocked Up, In Bruges finds comedy in a situation that would not necessarily require it. This time it is two killers hiding out after a job goes wrong. The comedy here is mixed in with the anguish that the main characters are feeling, and it works. On one hand we have Ray (Collin Farrell) feeling bad about what he did, and on the other we have him, and his partner Ken (Brendan Gleeson), getting into all sorts of trouble with their boss, a local drug dealer, Canadians, Americans, thieves and a midget. Even when things get awfully dark, the movie keeps it’s sense of humor, and that’s why it is the best comedy of the decade.

Honorable mentions: The 40-year-old Virgin, Role Models, Superbad, WALL-E, Amelie, Cheaper by the Dozen, Shrek 2, Blades of Glory, Juno, Little Miss Sunshine, The Spongebob Squarepants Movie, Forgetting Sarah Marshall, Shaun of the Dead, The Royal Tenenbaums, The Darjeeling Limited

Thanks for reading. Feel free to comment about this list.

A scant five days after the best movies of 2009 are crowned at the Academy Awards, a movie will be released that could have been among those.  ”Green Zone” was slated for release this year, but the decision was made to push it back to 2010.  This was probably for financial reasons as so many great movies get lost in the heap during the month of December, and this year has taught us that a movie can make a nice chunk of change in the early months of the year.

“Green Zone” reunites the versatile Matt Damon, who at the time of release could be fresh off an Oscar win or nomination for either “The Informant!” or “Invictus,” with Paul Greengrass, director of the final two installments of the Bourne trilogy.  But Greengrass is capable of making something other than an epic action movie; he was nominated for Best Director at the Academy awards in 2006 for his work on “United 93.”  Damon’s character Roy Miller is a U.S. Army officer in the volatile Green Zone region, the center of international presence in Baghdad, who discovers that the CIA is working directly in opposition to his efforts to remove terrorist leaders.  In order to do what he feels is the greater good, he goes rogue.  Featuring an ensemble cast including Brendan Gleeson, Jason Isaacs, and Oscar nominees Greg Kinnear and Amy Ryan, “Green Zone” can hopefully provide awards-level entertainment in the fairly barren winter months.

However, the movie being set in Iraq could hamper the film’s receipts.  There has yet to be any bonanza made off a movie set in the Middle East, and only recently has their been a movie, “The Hurt Locker,” that has opened to widespread critical acclaim (although I loved “The Kingdom” … never have I felt so patriotic).  That movie focused more on characters and not on action, and if the same applies to “Green Zone,” it should do fine.  Universal put out two trailers for the movie this week.  The domestic trailer makes it look more like the “Bourne” movies with plenty of action, while the international trailer focuses more on the plot.  I embedded the international trailer here because if you have read this blog at all, you know my main concern is story.  A side note/quick pondering, does this mean that Universal thinks that Americans only want action and no plot?  Whatever the case may be for “Green Zone,” I’m sold.

Green Zone

Matt Damon ve yönetmen Paul Greengrass The Bourne Supremacy ve The Bourne Ultimatum filmlerinin ardından Green Zone adlı filmde yine aksiyon dolu bir yapıma imza atıyorlar. Filmin konusu Irak savaşında kaosun hüküm sürdüğü, hiç kimsenin birbirine güvenmediği, alınan her kararın beklenmedik sonuçlara yol açabileceği ilk günlerde geçiyor. Tebligat Çavuşu Roy Miller (Damon) bu tehlikeli yerde en zor bulunan silahın gerçeğin kendisi olduğunu keşfediyor. Film bir değişiklik olmazsa ülkemizde 30 Nisan 2010 tarihinde gösterime girecek.

Filmin altyazılı fragmanını aşağıdan izleyebilirsiniz.

Yrkesmördarna Ray (Colin Farrell) och Ken (Brendan Gleeson) ställer till det för sig under ett uppdrag och skickas av sin gangsterboss Harry (Ralph Fiennes) utomlands tills läget blir lite lugnare. Av alla ställen att välja på hamnar de i belgiska Brügge där Ray genast får ångest och längtar hem, men Ken förälskar sig i den medeltida arkitekturen som genomsyrar hela staden.

Tanken är att de ska ligga lågt, men naturligtvis dröjer det inte länge förrän den rastlöse Ray ratar Kens sightseeingförslag, ger sig ut på stan och träffar en kvinna som han omedelbart börjar flörta med. Härifrån tar historien en ny twist och oplanerade händelser börjar att avlösa varandra.Långfilmsdebuterande Martin McDonagh lånar friskt från Tarantinos hejdlösa, studsande, replik-tempo och Guy Ritchies nyskapande brittiska gangsterstil, mixar ihop allt med sin egen lågmälda melankoliska touch och lyckas göra något eget av denna historia som rymmer allt från ironi, svart humor, filosofiska utsvävningar och uppdämd sorgsenhet.
I all sin enkelhet en av de starkare brittiska filmupplevelserna på senare tid. In Bruges överraskar faktiskt hela tiden vilket måste anses vara mycket bra i filmsammanhang.

Colin Farrell och framför allt Brendan Gleeson är lysande som de två torpederna, i början till synes så olika, men allt eftersom växer ett tätt brödraskap fram hos dem. Farrells Ray är ängslig, rastlös, nästan barnslig, för att i nästa sekund förvandlas till den stenhårde torped han nu är.
Speciellt märkbart när gangsterbossen Harry, skönt överspelad av Ralph Fiennes, dyker upp för att personligen styra upp situationen när det skruvar till sig som mest.

In Bruges bjuder på toppklassunderhållning och får mig att skratta högt, men låter mig aldrig vila i säkerhet att jag vet vad som ska komma härnäst.

Here’s an odd one.  This is a movie about an elite, rogue soldier fighting against his own government and uncovering multi-layered conspiracies.  It stars Matt Damon and is directed by Paul Greengrass.  I won’t be the first person to say that this is essentially a Bourne prequel.  It most definitely isn’t but it might as well be.  That’s not to say that it isn’t worth watching, I absolutely loved the Bourne movies, and especially the last two (the ones Mr. Greengrass directed).

This movie is something about W.M.D.s and Baghdad, I don’t really know, I have no interest in war stuff.  It also starts Amy Ryan, Greg Kinnear and Brendan Gleeson.  I kinda wish Amy Ryan wasn’t a successful film star, but Only because I want her to go back on The Office.  Brendan Gleeson appears to be playing an American in this movie.  That should be interesting.  I love the guy, especially his accent, but without the accent I’m afraid he might just come off as extremely effeminate.  We shall see.

Click the picture to watch the trailer.

From Yahoo.

- izi

‘Tis the season! With the end of the decade and Halloween approaching, now’s the best time to torture your soul with the best horror this decade has to offer. Now, please, forgive me. The horror genre, like everything else, is getting blurrier. It’s hard to tell just what exactly is a horror film these days. I attempted to honor the genre, while keeping a clear opinion of what the best are. Enjoy!

10. 30 Days of Night

It was either this or Zombieland. A) You already know and love Zombieland. B) This is a comic site! I have to mention the adaptations when I can. 30 Days of Night could’ve easily been mediocre. An essential part of the book’s success was Templesmith’s art. Having said that, this movie looks pretty damn good. Snow always feels epic. 30 Days of Night is well-acted and well-made. It manages to naturally stretch Niles’ novel, making it, in some ways, better. To those of you who vomit at the sight of sparkly, beautiful teenage vampires, watch 30 Days of Night. These are just about the ugliest vampires ever filmed, and that’s a good thing.

9. Land of the Dead

I would’ve loved to re-watch this one, but I figure I have to get this out before Halloween. Romero’s return wasn’t as earth-shattering as we may have liked, but there’s plenty of merit here. For one thing, Land of the Dead looks great and features actors who can actually act. For another, Romero still manages to scare us with creatures who aren’t all that scary, providing uniquely gory deaths for his decent actors. And what would a Romero Dead flick be without some social commentary? With “Fiddler’s Green,” he managed to capture both the atmosphere of rich nations, who live in luxury while many still live in hell-holes, and of a post-post 9/11 world. While we sit comfortably, discussing American Idol, the evil is still lurking, and, perhaps, evolving.

8. The Mist

Ok, it’s kind of a zombie movie with bugs, but that’s different, right? In fact, thanks to the titular mist, the creatures can be grand and epic, without looking too cheesy. We’ve got some great actors here: Thomas Jane, Marcia Gay Harden, Toby Jones. They help elevate the material. Frank Darabont, the director of The Shawshank Redemption and The Green Mile, completes his King trilogy, and it’s a lot of gruesome fun. This being a comic site, I have to mention Darabont’s Walking Dead TV involvement. If you want to see if he’s right for that adaptation, this movie will give you a clue.

7. 28 Days Later

Again, I would’ve loved to re-watch this. I even rented it, and I will watch it, but I’m a slave to this post. Danny Boyle was a good director before Slumdog Millionaire. I swear he was, and this film is part of the proof. I mentioned in my introduction how the horror genre has gotten blurry. Indeed, this film helped start that, with many rabid fans crying, “These aren’t zombies!” Well, whatever they are, they’re scary as hell. 28 Days Later has many impressive, grim shots of a destroyed London. It has great performances from the then-newcomer Cillian Murphy and the always-fantastic Brendan Gleeson. This may have helped splinter the zombie genre, but at least it’s pretty damn good.

6. Shaun of the Dead

This movie hammered home what George Romero has known since the 70’s: zombies are hilarious! They’re such boring monsters. In this film, we can barely tell them apart from the boring humans, maybe that’s just because they’re British. Shaun of the Dead is hilarious, but it also manages to touch upon the important elements of zombie movies, such as banding together, social commentary, and that wonderful gore.

5. Drag Me to Hell

I don’t want to oversell this, but Drag Me to Hell is arguably Raimi’s best film. We’re back to Evil Dead 2, with the perfect mixture of terror and comedy. Christine isn’t as lovable as Ash. She’s not really meant to be. However, Alison Lohman is a perfect horror heroine. She has the innocent looks and a wonderful scream. Amongst the laughs and gasps, this movie teaches us some very valuable lessons. Never deny an old gypsy! And never dig up a body in the worst storm of the decade!

4. Grindhouse

Yeah, it’s one film, damn it. Funny thing about this being on a “best” list, it’s trying so hard to be bad. That said, this is probably the most enjoyable pick on my list. Ok, so Deathproof isn’t much of a horror film, even though hot girls are getting hunted and slaughtered by a badass Kurt Russell, but Planet Terror is horror all the way, in the vein of a Carpenter flick. You’ve got the babes. You’ve got the gore. You’ve even got the great actors, like Bruce Willis! And if you’re not at least a little scared of testicle harvesting, I don’t know what to tell ya.

3. American Psycho

Finally, a slasher movie where the murders don’t matter, even within the context of the film! Bateman’s murders are an expression of his boredom and vanity. Mary Harron took this material and made it an exploration of male insanity, rather than just Bateman’s. You’ve all seen these guys. They’re on Wall Street. They’re trying to sell you something. They might even be firing you. American Psycho documents masculine squabbles in deliciously, horrific detail. Perhaps, most chilling of all, the film asks, “What if these assholes really are killing, and, with wealth & power, their mess is wiped clean?”

2. Antichrist

I was mugged by God. That was my initial reaction to this film. True of almost every great film, on the first viewing, we’re not really sure what we’ve seen. This movie’s depth is so endless, it threatens to swallow you whole, taunting you to disregard it as Eurotrash. What I am sure of is the bravery of Willem Dafoe and Charlotte Gainsburg, who follow Trier’s insanity to the end. Trier is a madman, as most great directors are, and his images, no matter how shattering to our senses, are fully realized here.

1. Sweeney Todd

The bloodiest musical, Burton’s possible best, and indeed, the greatest horror film of the decade. Burton stays faithful to the original tale, as well as Sondheim’s music. Depp and Carter are dressed like 30’s horror stars, paying homage to both the genre and the original film. I never felt Sondheim’s music should be gloriously sung, no matter how talented Angela Lansbury is. These songs are sad and personal, and though Burton’s cast aren’t singers, they are actors, and they deliver their tunes in the best possible way. You won’t find any prancing or choreography here. Sweeney Todd is a dark, terrifying tragedy that will slash its way into your nightmares as efficiently as Mr. Todd’s razors.

For more comic goodness, go here.

Prueba número 2. Matt Damon es un crack porque a ver quién es el guapo (literalmente) de Hollywood que saca en una misma semana (casi en un mismo día) dos pedazo de trailers de dos pedazo de películas (en este caso la calidad se presume, como el valor en la mili) con dos pedazo de directores. En Invictus, que está justo debajo, es Clint Eastwood y en Green Zone es Paul Greengrass, con quien ya trabajó y trabajará Damon en la saga Bourne. Green Zone, que hace verde a la Zona Verde o Ciudad Esmeralda de Bagdad, es un thriller que mezcla acción y política y en el que Damon interpreta a un militar enviado a Irak en busca de armas de destrucción masiva. Esta misión podría ser la broma pesada del año (al menos por lo encontrado hasta ahora en ese convulso territorio) de no ser porque el soldado se juega el cuello en cada esquina para desmantelar una red de armas convencionales y una conspiración política que, al parecer, surge del bando de los buenos. Greg Kinnear, Amy Ryan, Brendan Gleeson, Jason Isaacs y Khalid Abdalla acompañan a Damon y Greengrass en uno de los trailers / película más intensos del año. El estreno para el 12 de Marzo.

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Matt Damon and director Paul Greengrass re-team for their latest electrifying thriller in “Green Zone”, a film set in the chaotic early days of the Iraqi War when no one could be trusted and every decision could detonate unforeseen consequences.

During the U.S.-led occupation of Baghdad in 2003, Chief Warrant Officer Roy Miller (Damon) and his team of Army inspectors were dispatched to find weapons of mass destruction believed to be stockpiled in the Iraqi desert. Rocketing from one booby-trapped and treacherous site to the next, the men search for deadly chemical agents but stumble instead upon an elaborate cover-up that inverts the purpose of their mission.

Spun by operatives with intersecting agendas, Miller must hunt through covert and faulty intelligence hidden on foreign soil for answers that will either clear a rogue regime or escalate a war in an unstable region. And at this blistering time and in this combustible place, he will find the most elusive weapon of all is the truth.

Warner Bros. have given us our first look at the latest Clint Eastwood movie, Invictus, starring Matt Damon and Morgan Freeman.

The story is based on the John Carlin book Playing the Enemy: Nelson Mandela and the Game That Changed a Nation which is the true story of newly elected President of South Africa, Nelson Mandela, played here by Morgan Freeman, and his attempts to unite his bitterly divided country through sport. No sport is South Africa highlighted the Apartheid racial divide more than rugby, and so Mandela sets about rectifying the situation in the run-up to the South African based 1995 World Cup. Matt Damon plays Francois Pienaar the captain of the host nation, desperate to win the Webb Ellis trophy for his team and for his country.

The movie will be out on December 11th in the US, just in time for the Oscars and can be seen in Ireland on February 5th, 2010.

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Matt Damon is again present in the new Iraqi war drama, Green Zone, from The Bourne Supremacy and The Bourne Ultimatum director Paul Greengrass.

The film, set in the chaotic early days of the Iraqi War, is based on the 2006 book Imperial Life in the Emerald City by journalist Rajiv Chandrasekaran and centres in Green Zone, Bagdad. Damon stars alongside Amy Ryan, Greg Kinnear, and Ireland’s very own Brendan Gleeson.

Damon plays Chief Warrant Officer Roy Miller, leader of a team of Army inspectors who were dispatched to find weapons of mass destruction believed to be stockpiled in the Iraqi desert, during the U.S.-led occupation of Baghdad in 2003. All is not what it seems however as the team must work with faulty intelligence and search for answers that will either clear a rogue regime or escalate a war in an unstable region

Greengrass and Damon’s last two outings were excellent and this is shaping up to be a barn-stormer too. Green Zone is out March 12th, 2010.

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Martin Scorsese’s new movie Shutter Island has been looking promising for a while and the lastest trailer has hit the internet.

The movie stars Leonardo DiCaprio and Mark Ruffalo as two US Marshals, Teddy Daniels and Chuck Aule. The story takes place in 1954 on Shutter Island, home to a psychiatric hospital called Ashecliffe. The two marshalls are sent to investigate the disappearance of a patient who had committed multiple murders. As a hurricane hits the island the pair run into trouble when they are deceived by the hospital’s chief administrator and an inmate riot traps them.

Scorsese and DiCaprio have a great track record and Denis Lehane books have been adapted incredibly well recently with Mystic River and Gone Baby Gone. The movie will be out February 19th, 2010.

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Walt Disney Pictures have released a full-length trailer for Tim Burton’s epic 3D fantasy adventure Alice in Wonderland.

The movie is an extension of the Lewis Carroll novels Alice’s Adventures in Wonderland and Through the Looking-Glass, and sees Alice return to Wonderland 10 years after her first visit. The white rabbit comes back for Alice claiming that she alone is the only one who can slay the Jabberwock, who guards the Red Queen’s empire. She embarks on an adventure of self discovery and to save Wonderland from the Red Queen’s reign of terror with the help of her Wonderland friends.

Johnny Depp returns to work with his favourite director, in the guise of the Mad Hatter, while the rest of the cast is suitable impressive. Newcomer Mia Wasikowska plays Alice; Helena Bonham Carter is Iracebeth, the Red Queen; Anne Hathaway is Mirana, the White Queen; Michael Sheen the White Rabbit; Alan Rickman the Caterpillar; Stephen Fry the Cheshire Cat; and Christopher Lee is the Jabberwock. Matt Lucas is also present playing both Tweedledum and Tweedledee.

If ever a director and book were more suited then I don’t know which one. Burton’s fantastical mind should make this movie an absolute must see when it is released March 5th, 2010.

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Quick round-up of the rest:

The Men Who Stare at Goats, the quirky dark comedy inspired by real life event surrounding a top-secret wing of the U.S. military with an insane mission, and starring George Clooney and Ewan McGregor, has a new TV Spot.

A Christmas Carol, the Disney motion-capture take on Charles Dicken’s immortal Christmas parable, starring Jim Carrey, Jim Carrey and Jim Carrey, has a new Featurette. Link

The Twilight Saga: New Moon, the second installment of Stephenie Meyer’s phenomenally successful Twilight series, starring Kristen Stewart and Robert Pattinson, has a new Featurette. Link

Ninja Assassin, the upcoming martial arts film from V for Vendetta director James McTeigue and starring South Korean pop-sensation Rain, has a new Featurette. Link

The Men Who Stare at Goats is released November 6th, 2009.
A Christmas Carol is released November 6th, 2009.
The Twilight Saga: New Moon is released November 20th, 2009.
Ninja Assassin is released November 27th, 2009.