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Posts Tagged ‘Danny Glover’

Death at a Funeral – Poster and trailer

Posted by LiveFor on April 22, 2010

Still find it crazy that they remade the 2007 film, but there you go. It is a classic british style farce and here is what happens when Chris Rock and Martin Lawrence have a go at it.

Made up Peter Dinklage is playing the same character from the original and James Marsden can be surprisingly funny. Danny Glove is always cool. Have a look at the trailer.

It is out in the UK and Ireland on 2nd June.

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2012 – Movie Review

Posted by LiveFor on March 27, 2010

Director: Roland Emmerich
Starring: John Cusack, Amanda Peet, Chiwetel Ejiofor, Thandie Newton, Woody Harrelson, Oliver Platt, Danny Glover

Score: 6/10

Reviewed by pjowens75

What is it about Roland Emmerich? Why is he so much fun to hate? Maybe it’s because there has to be an Irwin Allen in every movie generation. Irwin Allen is best known for his disaster movies, TOWERING INFERNO and THE POSEIDON ADVENTURE. And that’s what Roland Emmerich has become: this generation’s King of disaster flicks. I mean is there anyone out there who does the end of the world better than him? At least we know what to expect from one of his movies: great special effects, little logical story, and convenient forgettable characters. And if we’re honest with ourselves, we have to admit that we keep going back for the thrills, plain and simple. We want to sit back with our bag of popcorn and give our brains a rest for a couple of hours. And in 2012, we get what we paid for.

2012 is the ultimate disaster flick, based on several ancient civilizations predicting the end of the world, as we know it, on December 21, 2012. It seems that on that date, all the planets will line up, causing untold catastrophe. Well, at least according to the Mayans, anyway. Gotta hand it to those Mayans, they could see the writing on the wall. I mean, let’s face it, they got the hell outta Dodge a couple of thousand years ago. So what if they bugged out a little early? Better safe than sorry, I always say. And who better to show us exactly what catastrophes we’ll face than the King himself…the ultimate popcorn movie maker.

One of the things about Emmerich is that he always manages to get a couple of respectable actors in each of his films; actors of enough caliber that it leaves you scratching your head going “What the hell are they doing in here?” In this case it’s John Cusack as our hero, and Danny Glover as the President of the United States. But as you can guess, they are only there to add some dialog between each new earthquake, eruption, or tsunami. What story there is has Cusack trying to save his recently estranged wife and kids by stowing away on some gigantic secret ships the governments of the world have been building for just such an occasion. And that’s really all you need to know about the plot. Period. If you want a decent script, you’ve picked the wrong movie, dude.

Because 2012 is all about destruction, with one “can you top this” disaster after another. From cars trying to outrun the giant crack-in-the-earth appearing beneath the rear wheels in Los Angeles, to St. Peter’s Basilica collapsing and rolling over the thousands of faithful in Rome, to a giant tidal wave crashing over the Himalayas, be grateful you can watch all this on film because you sure wouldn’t want to be there in person. If you should make the mistake of actually stopping to think about some logic-defying event you’ve just seen, like how it only takes a couple of hours to drive the 1000 miles from LA to Yellowstone Park, don’t worry, something will come along shortly to numb that thought right out of your head.

Amidst all this hellfire and brimstone, there always seems to be one scene that makes you stop and go “wow”. In 1998’s GODZILLA, it was the scene of the submerged lizard chasing the poor fisherman up the dock. In 2012, it involves Glover, wearily looking up after the collapse of the Washington Monument. From over his shoulder, we see a faint object gradually materializing through the thick dust and smoke, eventually becoming recognizable as the aircraft carrier John F. Kennedy being carried high up on a massive tsunami. Like I say, no one films destruction like Emmerich.

The problem is, where does he go from here? With each successive film, his disasters have gotten bigger and bigger. Now that he’s pretty much destroyed the Earth, what does he do next, take on the destruction of the entire solar system? I mean, what is there left to destroy? My hope is that he does something completely unexpected, perhaps a small, intimate character study. Because I’ve got to believe that he wants to be more than a “Johnny One Note”. Or maybe I’m wrong and he is perfectly happy making the movies that he does. Maybe he’s content to be the most expensive “popcorn maker” on earth.

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Dragon Fire – Danny Glover talks about the hunt for dragons

Posted by LiveFor on February 23, 2010

Last month there was a tiny piece of news about Danny Glover and Vinnie Jones starring in a film called Dragon Fire that was apparantly based on Moby Dick.

Now there is some video footage of Glover talking about the film along with some behind the scenes footage.

/Film had the photo and below Danny Glover talks with Tony Toscano on the set of the new film.

It has only got a small budget of $5 million and the idea sounds good. It al depends on how good the Dragon looks on the big screen.

What do you reckon? Yay or Nay Captain Ahab?

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Dragon Fire – Vinnie Jones and Danny Glover go Moby Dick

Posted by LiveFor on February 3, 2010

First I heard about this was reading about it over on the Empire web site. They haven’t heard much about it either but it does sound intriguing.

Danny Glover and Vinnie Jones have signed on to star in Ryan Little’s new fantasy thriller Dragon Fire and it is apparently based on Moby Dick.

That’s all we know, but it could be about some people hunting down a Dragon maybe? Who knows.

It does start filming this week in Utah.

Anyone else know anything about it?

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Death at a Funeral – Trailer for the Chris Rock remake

Posted by LiveFor on December 5, 2009

The original Death at a Funeral was only made back in 2007 by Frank Oz. It was an okay comedy, well more of a farce really and I’ve never been that big a fan of those. However, it made me laugh in places an had some good performances. Peter Dinklage as the person who gets it all started was excellent (as he always is).

As you may or may not know Chris Rock decided to remake it and the trailer is below.

The remake stars Chris Rock, Martin Lawrence, Tracy Morgan, Danny Glover, James Marsden, Luke Wilson, Zoe Saldana and Peter Dinklage in the exact same role he played in the original.

It is directed by Neil Lebute and is out on 16th April 2010.

I think Martin Lawrence’s expression in the above photo sums it up.
Vodpod videos no longer available.

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2012 – Trailer for the end of the World

Posted by LiveFor on June 19, 2009

Never before has a date in history been so significant to so many cultures, so many religions, scientists, and governments. A global cataclysm brings an end to the world and tells of the heroic struggle of the survivors.

Roland Emmerich films may not be that satisfying in the story department but he sure knows how to make some stunning imagery. I do like the fact the film will show what happens after the World Ending event.

Great trailer. JFKs return to the White House is cheesy as hell but still makes you go “Oh yeah!”

Written and directed by Roland Emmerich
Starring John Cusack, Amanda Peet, Chiwetel Ejiofor, Danny Glover, Thandie Newton and Woody Harrelson,

Due out on 10th July 2009
Discuss in the forum or leave a comment below.


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Night Train – Danny Glover, Steve Zahn and Leelee Sobieski get up to no good

Posted by LiveFor on April 15, 2009

The Trailer for Night Train starring Leelee Sobieski, Steve Zahn, and Danny Glover. Two passengers (Sobieski and Zahn) and the conductor (Glover), discovered that a person has passed away on their Night Train cabin. They come across valuable jewels on his person, that they wish to keep for themselves. So, to make it look like the man never boarded the train, they conspire to dump his body in a river that the train passes. Their scheme to get rid of the corpse escalates to the point where they have to chop up his body just to fit him into a small trunk. They then become paranoid, as they might turn on each other.

Leave a comment on this post below.


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Lethal Weapon 5 – Mel says he is too old for that Shit!

Posted by LiveFor on October 13, 2008

/film have the news that original series director Richard Donner (via: the Los Angeles Times) has said that Gibson turned down the idea for Lethal Weapon 5 and the project is dead.

“Mel turned it down. I would like to think that Mel turned it down because I wasn’t involved. Knowing Mel, I would like to think that. Would that be the kind of thing he does? It sure would be,” Donner said. “It’s too bad, actually, because Channing Gibson, who wrote the fourth one, and Mike Riva, a designer on three of them, and myself and Derek [Hoffman, an associate at The Donner Company] had an incredibly strong story for the fifth movie. But we weren’t given the opportunity and I think maybe I could have convinced Mel to do it. But Warners chose to go with Joel Silver.”

Donner concluded “Yes, the project is pretty much dead in the water unless someone had the sense to come to me.”

So that appears to be the end of that. What do you think?

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Lethal Weapon 5 is a definite go? I’m too old for this Shit and I’m probably the umpteenth site to use that

Posted by LiveFor on October 7, 2008

I mentioned a while ago that Lethal Weapon 5 was being written by the great Shane Black (Kiss Kiss Bang Bang). It was very much a rumour but looks like things are moving ahead with it after all. IGN talked with actor Columbus Short who said that he was up for a role in the sequel and that the film is on the fast track at Warner Brothers. Short might play Murtaugh’s son and hints that indeed both Mel Gibson and Danny Glover will be back.

Is it good or bad news that they are making another Lethal Weapon movie? I really hope they don’t try and introduce a younger pair to take over the franchise at a later date.


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Blindness, 2008 – Movie Review

Posted by LiveFor on September 29, 2008

Director: Fernando Meirelles
Starring: Mark Ruffalo, Julianne Moore, Alive Braga, Danny Glover, Gael García Bernal, Don McKellar
Running Time: 120 minutes
Score: 5 / 10
This review by debblyst

Being an admirer of Saramago’s towering masterpiece and Fernando Meirelles’s talent, I went to see “Blindness” with a pure heart but toned-down expectations; we all know how movie adaptations of great literature can be disappointing. But I wasn’t prepared for the dismal formal and philosophical nada that is “Blindness” — it could very well be entitled “Blandness” instead.

The problems start from the opening credits: after the names of a dozen international production companies comes the hype tag “A Very Independent Production”. Following this tongue-in-cheek “manifesto”, the opening scene — of the first man turning blind inside his car — belies it all: it looks alarmingly like an ad for the new Fiat Punto (Fiat is one of the backers, of course). It’s a shameless piece of merchandising that immediately distracts you from what’s supposed to be a harrowing scene; you pay attention to the car, not the man (excruciatingly played by Yusuke Iseya, in the film’s worst performance).

The “very independent production” has more than a share of compromises, such as the terribly contrived Japanese couple, who seem to inhabit another film, with an undue prominence probably there to satisfy the Japanese producers and market. Or the timid, squeezed-in “action” flashes (cars crashing, planes exploding) to satisfy “action” lovers (definitely NOT the public for “Blindness”). Or the rather inexcusable decision to film in English an author (Saramago) who brought new heights to Portuguese-language prose, just to employ American stars and accommodate the international market.

The film never finds a tone — it falters between the novel’s apocalyptic allegory of society’s prejudices, cruelty, ridicule and flawed power systems, and an thriller-like thread that has nothing to do with the book’s style. Saramago took the idea and politico-philosophical implications from Camus’s “La Peste” and made it a haunting literary piece, NOT because of the plot but thanks to his exquisite prose.

It would be easy to blame the film’s failure solely on Don McKellar’s unimaginative, schematic adaptation that resembles a first draft, riddled with bad dialog and pedestrian ideas, plus a narrator (Danny Glover’s character) that confusingly comes in halfway into the film. But the problems are all around: César Charlone’s cinematography never transcends the obvious (the blurring “white blindness” finally drains the film of all life; it takes away the visual as well as the emotional edge); Marco Antonio Guimarães’s music is abysmally bland; Daniel Rezende (the superb editor of “City of God”) never finds a compelling rhythm, alternating hurried scenes with unnecessary longueurs (e.g.the embarrassing “cute dog” sequence). Art director Tulé Peak gets the claustrophobic squalor of the asylum quite right, but the chaotic garbage-filled streets often look suspiciously composed.

The actors seem lost, and that’s a shock considering Meirelles’s former films (remember how “City of God” had all-around brilliant performances?). Though they’re supposed to play stereotypes (doctor, wife, whore, etc), they lack the complex character development that is one of the high points of the novel; we end up caring for no one. Mark Ruffalo, of whining voice, emasculated demeanor and gutless face, looks like a boy who’s lost his mammy rather than a dedicated ophthalmologist who slowly sinks into depression by his impotence to help others or himself. Danny Glover plays a beaten one-eyed old man incongruously sporting a supermegawhite Hollywood dental job that renders him impossible to believe in. The Japanese couple are given particularly ludicrous scenes and dialog. Alice Braga has a strong face and sexy attitude, but her character’s complexities never surface, especially the nature of her relationships with the young boy and the doctor. Maury Chaykin’s repellent character (the man who was already blind before the plague and becomes the meanest s.o.b. of them all) is underwritten and under-explored, and he turns to overacting for attention. Don McKellar’s thief is an embarrassment and Sandra Oh’s cameo is a waste.

Julianne Moore spends the first half hour repeating her role of the depressed/misunderstood wife in “The Hours”. She’s never allowed to show bewilderment as to the “why” she’s the only one to keep her eyesight, but she’s good when she gets into action and has a great final shot, though she could take a break from her de rigueur slow-motion crying scene, with that weird thing she does curling her mouth upside down (my friend said “Oh, no, it’s coming!”). The best performance comes from Gael García Bernal playing the amoral, dumb, jackass opportunist: he makes an unbelievable character (how about his rise to power? And gun? And ammo?) come to life — in his scenes, we recognize Meirelles’s naughty, un-PC sense of humor.

Above all, it’s Meirelles (director, co-producer and responsible for the final cut) who disappoints, letting his customary highly assertive film-making flounder in hesitation here. Perhaps he felt the burden of having to be faithful to the masterpiece of a Nobel-winner who’s still alive. Perhaps he felt crushed by the brooding, gritty material; Meirelles seems rather on the cool nice guy side, and he’s best when he can let his irony and humor show (as his films “Domésticas” and “City of God” prove). His sex scenes are REALLY bashful, though, looking more repressed than discreet. The novel’s apocalyptic, sarcastic tone would need an aggressive, irrepressible director of wild imagination like Buñuel to do it full justice (the characters’ passiveness/impotence recall “Exterminating Angel”). In this our time, Béla Tarr could’ve made it gloriously bleak; Lars von Trier could’ve turned it into a shattering, sardonic horror (if he got back into the splendid form of his “The Kingdom”/”Zentropa” days).

“Blindness” is not bad at all; it’s just insipid and frustrating. Maybe Meirelles should do next a Portuguese-speaking Brazilian film again, to re-fuel his soul with his own culture, language and themes. Brazilian cinema needs him badly; abroad, he’s just one more talented, competent “foreign” director, and these multinational ventures often turn out muddled or impersonal (think Kassovitz, Susanne Bier, Hirschbiegel…). He can do much better, and we deserve much better from him.

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