That's right: bouncing off the box office success of The Hobbit: An Unexpected Journey and no doubt in anticipation of the records that Peter Jackson's follow-ups will smash, Fox Searchlight Pictures are developing a J.R.R. Tolkein biopic simply titled, Tolkien.
Six years ago, it looked like Tom Cruise would leap aboard the superhero/comic book/graphic novel train in an adaptation of DC Comics' Sleeper. Warner Bros. were a part of the plan and they were eyeing Spider-Man director Sam Raimi to bring the series to life. It needs no saying, but this did not come to pass. Time went by and the better part of us got caught up in the hysteria that was Iron Man and eventually, Marvel's Cinematic Universe.
It's a question we've heard in a dozen variations before; how can you live if you haven't loved? (Alternatively, how can you love if you haven't lived yet? And so on, and so forth, into infinity.)
It boasts an impressive cast, Jim Jarmusch's signature gritty visuals, a slew of accolades already and now, Only Lovers Left Alive has released its newest trailer, this time for Japan. But while there's little difference between the two international spots that are already out, with the slew of photos and the Russian poster that is now now available online -- well, can you say exciting?
The last superhero ensemble seen on screen was The Avengers; think endless banter, but eventual alien-stomping teamwork. While Warner Bros.' upcoming feature, the tentatively titled Batman vs. Superman can't be said to boast an "ensemble" of superheroes, it will still showcase two super-powered juggernauts who will be at one another's throats. And to add to their differing moral codes and superhero identity ethos, there's a difference in age between the pair.
Sex sells. And longer, more explicit amounts of sex sells just as well. No one knows this more right now than controversial director Lars von Trier. But though his sex epic (forgive us, Indiewire, for stealing your accurate wording) Nymphomaniac is due to debut in Copenhagen on Christmas Day in all its hardcore glory, one and a half hours have been cut from von Trier's original piece.
Boobs. Boobs, purple garters and appropriately sultry music. That’s what this week’s episode of Almost Human opens with, though episode director Michael Offer laces these titillating elements and the forced pillow talk with a muted sense of paranoia which repeatedly surfaces in key synthetic-human interactions. It’s this commoditization and tenacious nature of relationships, be they offered, artificial, or the artificial offerings represented by the sex-bots that the show dives into in this week’s offering.
