Macgruber – The Ultimate Tool Poster

True Romance – Cool Art Print

If you are a long time reader of the site you will know I like a nice bit of film related art and here is a lovely piece by Derek Gabryszak.

‘You’re so cool!’ is the first of three postershe is doing for his True Romance series.

Here is some more info from Derek:

The prints are 14”x17” on Canson fine art paper. I (silk screen) printed the three colors of the design by hand. ‘You’re so cool!’ has an edition of 45, and is being sold on my site for $25. Because the screen printing process is so involved, I’m hoping for success with the first print before I print the two remaining designs.

Head on over quick as I don’t think they’ll be around for long.

Gun – 50 Cent with guns…What are the chances?!

“One gun. Many lives lost” yet he is holding two guns?!?! Oh Val Kilmer what happened to you.

Now I wonder what the film could be about?

MacGruber – Poster

Only one American hero has earned the rank of Green Beret, Navy SEAL and Army Ranger. Just one operative has been awarded 16 purple hearts, 3 Congressional Medals of Honor and 7 presidential medals of bravery. And only one guy is man enough to still sport a mullet. In 2010, Will Forte brings Saturday Night Live’s clueless soldier of fortune to the big screen in the action comedy MacGruber.

In the 10 years since his fiancée was killed, special op MacGruber has sworn off a life of fighting crime with his bare hands. But when he learns that his country needs him to find a nuclear warhead that’s been stolen by his sworn enemy, Dieter Von Cunth (Val Kilmer), MacGruber figures he’s the only one tough enough for the job.

Assembling an elite team of experts—Lt. Dixon Piper (Ryan Phillippe) and Vicki St. Elmo (Kristen Wiig)—MacGruber will navigate an army of assassins to hunt down Cunth and bring him to justice. His methods may be unorthodox. His crime scenes may get messy. But if you want the world saved right, you call in MacGruber.

Check out the trailer.

Directed by Jorma Taccone and starring Will Forte, Kristen Wiig, Ryan Phillippe, Powers Boothe, Maya Rudolph and Val Kilmer.

Due out on 21st May 2010.

Blu-Ray News – Tombstone and Darkman going blu

Tombstone

“I’ll be your Huckleberry” – The classic line from Val Kilmer’s Doc Holliday. Kurt Russell as Wyatt Earp. Stephen Lang as a cowardly Ike Clanton, Michael Biehn as Johnny Ringo and Powers Booth as Curly Bill and so much more plus Billy Zane. That’s all you need to know. Finally it gets on Blu-Ray and I can’t wait to watch it again.

Due out in April.
Tombstone [Blu-ray] – Amazon.com

Darkman

The cult classic directed by Sam Raimi and starring Liam Neeson and the bloke who played the janitor from LA Law.

The film stars Liam Neeson as Peyton Westlake, a scientist who is attacked and left for dead by a ruthless mobster, Durant (played by Larry Drake) after his girlfriend, an attorney (played by Frances McDormand) runs afoul of a corrupt developer (played by Colin Friels). Westlake survives, but is left with burns over most of his body. While hospitalized as a comatose John Doe, he is unwittingly subjected to a radical treatment that destroys the nerve endings connected to his skin, neutralizing his ability to sense physical pain but increasing his brain’s emotional output to compensate. Now half-crazed, Westlake escapes the hospital and decides to get revenge on the criminals who took his life away, but now as a masked vigilante, known as Darkman.

Due out on 15 June.
Darkman [Blu-ray] – Amazon.com

MacGruber – Red Band Trailer for the SNL feature

Only one American hero has earned the rank of Green Beret, Navy SEAL and Army Ranger. Just one operative has been awarded 16 purple hearts, 3 Congressional Medals of Honor and 7 presidential medals of bravery. And only one guy is man enough to still sport a mullet.

In 2010, Will Forte brings Saturday Night Live’s clueless soldier of fortune to the big screen in the action comedy MacGruber.

In the 10 years since his fiancée was killed, special op MacGruber has sworn off a life of fighting crime with his bare hands. But when he learns that his country needs him to find a nuclear warhead that’s been stolen by his sworn enemy, Dieter Von Cunth (Val Kilmer), MacGruber figures he’s the only one tough enough for the job. Assembling an elite team of experts-Lt. Dixon Piper (Ryan Phillippe) and Vicki St. Elmo (Kristen Wiig)-MacGruber will navigate an army of assassins to hunt down Cunth and bring him to justice. His methods may be unorthodox. His crime scenes may get messy. But if you want the world saved right, you call in MacGruber.

Vodpod videos no longer available.

more about “MaGruber:Red Band Trailer“, posted with vodpod

Due out on 23rd April 2010

Directed by Jorma Taccone and starring Will Forte, Kristen Wiig, Ryan Phillippe, Powers Boothe, Maya Rudolph and Val Kilmer

The Irishman – Poster for new gangster flick

An orphan from the tough streets of Cleveland, Irish Danny Greene (Ray Stevenson) rises from working longshoreman to union leader to mob ally. Forced out of the union by the feds, Danny starts anew as an enforcer for loan shark Shondor Bims (Christopher Walken), while still maintaining influence with mafia boss John Nardi (Vincent D’Onofrio).

With Detective Joe Manditski (Val Kilmer) in pursuit, Danny rapidly acquires his own power and places himself at odds with the Italians, who find him to be a very difficult man to kill. What follows is a bloody war that breaks out on the streets of Cleveland and gives it the name “Bomb City, U.S.A.”

Based on a true story, The Irishman is the saga of one man who embodied the Irish warrior mentality with a mixture of pride, brutality, ambition, and principle, as became a central figure in the 70s mob war that forever changed organized crime in America.

Directed by Jonathan Hensleigh (The Punisher, 2004)

Source: Collider

Werner Herzog talks about Bad Lieutenant: Port of Call New Orleans

DIRECTOR WERNER HERZOG’S STATEMENT:

ON THE FILM’S TITLE AND SHOOTING IN NEW ORLEANS:

It does not bespeak great wisdom to call the film The Bad Lieutenant, and I only agreed to make the film after William (Billy) Finkelstein, the screenwriter, who had seen a film of the same name from the early nineties, had given me a solemn oath that this was not a remake at all. But the film industry has its own rationale, which in this case was the speculation of starting some sort of a franchise. I have no problem with this. Nevertheless, the pedantic branch of academia, the so called “film-studies,” in its attempt to do damage to cinema, will be ecstatic to find a small reference to that earlier film here and there, though it will fail to do the same damage that academia — in the name of literary theory — has done to poetry, which it has pushed to the brink of extinction. Cinema, so far, is more robust. I call upon the theoreticians of cinema to go after this one. Go for it, losers.

What the producers accepted was my suggestion to make the title more specific—Port of Call: New Orleans, and now the film’s title combines both elements. Originally, the screenplay was written with New York as a backdrop, and again the rationale of the producers set in by moving it to New Orleans, since shooting there would mean a substantial tax benefit. It was a move I immediately welcomed. In New Orleans it was not only the levees that breeched, but it was civility itself: there was a highly visible breakdown of good citizenship and order. Looting was rampant, and quite a number of policemen did not report for duty; some of them took brand new Cadillacs from their abandoned dealerships and vanished onto dry ground in neighboring states. Less fancy cars disappeared only a few days later. This collapse of morality was matched by the neglect of the government in Washington, and it is hard to figure out whether this was just a form of stupidity or outright cynicism. I am deeply grateful that the police department in New Orleans had the magnanimity and calibre to support the shooting of the film without any reservation. They know — as we all do — that the overwhelming majority of their force performed in a way that deserves nothing but admiration.

ON FILM NOIR AND NICOLAS CAGE:

New Orleans. This was fertile ground to stage a film noir, or rather a new form of film noir where evil was not just the most natural occurrence. It was the bliss of evil which pervades everything in this film. Nicolas Cage followed me in this regard with blind faith. We had met only once at Francis Ford Coppola’s, his uncle’s, winery in Napa Valley almost three decades ago when Nicolas was an adolescent, and I was about to set out for the Peruvian jungle in order to move a ship over a mountain. Now, we wondered why and how we had eluded each other ever since, why we had never worked together, and it became instantly clear that we would do this film together, or neither one of us would do it. There was an urge in both of us to join forces.

Film noir always is a consequence of the Climate of Time; it needs a growing sense of insecurity, of depression. The literature of Raymond Chandler and Dashiell Hammett is a child of the Great Depression, with film noir as its sibling. I sensed something coming in the months leading up to the making of the film: a breakdown which was so obvious in New Orleans, and half a year before finances and the economy collapsed, the signs were written on the wall. Even films like Batman turned out to be much darker than anyone expected. What finally woke me up was a banality: when attempting to lease a car I was confronted by the dealership with the unpleasant news that my credit score was abysmal, and hence I had to pay a much higher monthly rate. Why is that, I asked — I had always paid my bills, I had never owed money to anyone. That was exactly my problem: I had never borrowed money, had hardly ever used a credit card, and my bank account was not in the red. But the system punished you for not owing money, and rewarded those who did. I realized that the entire system was sick, that this could not go well, and I instantly withdrew money I had invested in stock of Lehman Brothers while a bank manager, ecstatic, with shuddering urgency, was trying to persuade me to buy even more of it.

ON THE SCREENPLAY:

As to the screenplay: it is William Finkelstein’s text, but as usual during my work as a director it kept shifting, demanding its own life, and I invented new scenes such as a new beginning and a new end, the iguanas, the “dancing” soul (actually this is Finkelstein’s, who plays a very convincing gangster in the film), the childhood story of pirate’s treasure, and a spoon of sterling silver. I also deleted quite a number of scenes where the protagonist takes drugs, simply because I personally dislike the culture of drugs. Sometimes changes entered to everyone’s surprise. To give one example: Nicolas knew that sometimes after a scene was shot I would not shut down the camera if I sensed there was more to it, a gesture, an odd laughter, or an “afterthought” from a man left alone with all the weight of a rolling camera, the lights, the sound recording, the expectant eyes of a crew upon him. I simply would not call “cut” and leave him exposed and suspended under the pressure of the moment. He, the Bad Lieutenant, after restless deeds of evil, takes refuge in a cheap hotel room, and has an unexpected encounter with the former prisoner whom he had rescued from drowning in a flooded prison tract at the beginning of the film. The young man, now a waiter delivering room service, notices there is something wrong with the Lieutenant, and offers to get him out of there. I kept the camera rolling, but nothing more came from Nicolas. “What, for Heaven’s sake, could I have added,” he asked. And without thinking for a second I said, “Do fish have dreams?” We shot the scene once more with this line, and it looked good and strange and dark. But it required being anchored in yet an additional scene at the very end of the film, with both men, distant in dreams leaning against the glass of a huge aquarium where sharks and rays and large fish move slowly as if they indeed were caught in the dreams of a distant and incomprehensible world.

I love cinema for moments like this.

The films stars Nicolas Cage, Eva Mendes, Val Kilmer, Fairuza Balk, Jennifer Coolidge, Vondie Curtis Hall, Shawn Hatosy, Denzel Whitaker, Xzibit, Shea Wigham, Katie Chonacas and Brad Dourif.

Due out at the end of November.

Source: Film School Rejects

Emmanuelle Chriqui and Val Kilmer have Georgia on their mind

Entourage’s Emmanuelle Chriqui and Val Kilmer have signed on for starring roles in the Russian conflict drama Georgia, directed by Renny Harlin. That’s right. Renny Harlin of Cliffhanger, Deep Blue Sea, Exorcist: The Beginning, Driven, Cutthroat Island, The Long Kiss Goodnight and Die Hard 2.

According to The Hollywood Reporter, Kilmer will take the role of a journalist involved in covering last year’s military conflict between Russia and Georgia.

The drama involves an American journalist and his cameraman caught in the crossfire and a Georgia native (Chriqui) and doctoral student who becomes entangled with them.

I like a few of Harlin’s films, but his recent work has got steadily worse. Chriqui was in You Don’t Mess With the Zohan and in the forthcoming Women in Trouble, but Val Kilmer can often bring the goods (then again he can also pick some bad roles). His time in Kiss Kiss Bang Bang is true genius though. Check that film out if you haven’t already seen it.

Remember, W.W.V.K.I.R.G.D? That will help you in any situation

Source: Dan Meth