SpoilerTV - TV Spoilers

The King’s Speech

Let me say one thing right off the bat: “The King’s Speech” is a fine movie. It really is. The script is well written, and the acting is impeccable. It’s just not the best picture of the year.

Underwhelming is a good word for how I feel about this movie. It has a lot of hype - it swept the all-important Guild Awards - the DGA, the PGA, and the SAG. Even after The Social Network continues to get raves and awards from Critics groups, the King’s Speech is the undisputed champion of the moviemaking professionals in Hollywood, moving quickly towards Oscar glory. With the most nominations (that being the best predictor of Best Picture winners) it is now the favorite. I am fully prepared to eat crow for the time I declared that The Social Network would win without a doubt. But after walking out of the movie, I couldn’t help but feel like something was missing - satisfaction.

Whenever I watch a great movie, I feel some sort of pull towards it, the kind of pull that makes me want to jump on the IMDb message boards. I felt it with previous winners like “Lord of the Rings: The Return of the King” and “Slumdog Millionaire”, or should-be winners, like “Inglourious Basterds” or “The Dark Knight”. Certainly this year “Inception” and “The Social Network” fit in that category. With “The King’s Speech”, I watched with interested apathy. I understood what was happening, the funny lines, the great acting. But it wasn’t enough. It was merely a good movie. At no point did it feel like a great movie.

The story itself, telling the tale of the reluctant stuttering Prince and later King of England as World War II is dawning, had several problems to address from a storytelling perspective. It is a fascinating story, a good fit for a nonfiction book, but a movie is a different angle. You need characters that are sympathetic and relatable to make a story of a person overcoming a disability. The story of King George VI has a handicap, though, in that the main character is royalty who spent his entire life in luxury. Humanizing a person for the sake of a civilian audience like that is a difficult proposition, and this film only half succeeds. Yes, you understand that King George VI was more than a figurehead but also a human being, but in the end you also still wonder how exactly he matters. As a result, though important as they may have been, what is portrayed in the film seems almost rather trivial.

This is the films biggest problem: In an attempt to make it more human, they took out all-important context. Although the film takes place in the 1930s with World War II on the horizon, the film decides to mainly gloss over that. His brother Edward’s abdication of the throne is similarly passed over quickly to get to the main point, and even his Nazi sympathies are mentioned in one line. Surprising for any film, conflict is removed - a big no no in Screenwriting 101. To keep focus on King George and his speech impediment, writer David Seidler removed crucial context. Without knowing how important the King is to the people, or how important his speeches are in a time of war, the climax of the film - his first wartime speech - seems less like an important cultural event it should have been portrayed as but instead as a small personal matter.

And thus when King George finally delivers his speech, we have no idea how important it is. We barely know the context in which he is speaking it. The looming presence of World War II is mentioned several times but we never get a sense of what that means. In modern times, public speeches themselves have become less about unifying people and more about political theatre. The film had to tell us in some way that what King George was saying was of some kind of importance, or else the speech was just him speaking a monologue in a small room. Because no real importance, beyond character importance, is placed upon the events in the story, it is hard to connect or realize that what was going on was indeed very important. Without the presence of real, overarching conflict, the movie becomes an entertaining but insignificant picture of about the wealthy worrying about how they appear in public.

That is not to say “The King’s Speech” is a bad film. It’s not. The acting, especially Colin Firth, is great. The direction is competent. But I came away wondering how this movie got nominated for Direction over “Inception”, and how it could win Best Picture over “The Social Network”. In a year with many great films, this was definitely not the greatest.

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Shaun of the Dead, the movie of a man and his friend encountering a London that becomes over-run with Zombies; the result is a masterpiece which I recently studied in a Screen-writing class for a perfect example of many tools of the trade. Hot Fuzz, the movie of a man and his friend tackling the mysterious 'accidents' in a rural country English village; the result is a magnificent, hilarious and wickedly clever take on many classic British movies and one of my favourites of all time.
And now there is Paul, the movie of a man and his friend travelling to America to visit Comic-Con and embark on a road trip with an alien who wants to return home. The result had a lot to live up to, Simon Pegg and Nick Frost's follow up to their fantastic double-act-double-movie mayhem that defined British cinema in the first decade of the century.

In the history of film, only one studio can be called a “dynasty.” In the 15 plus years since its first release, every single movie they have made has not only been a commercial blockbuster, but a critical darling as well. Their 11 films have averaged $602 million global box office, decimating the average for every other studio. Four of their films are in the 50 highest grossing movies of all time list. Since the Academy of Motion Picture Arts and Sciences instituted the Academy Award for Best Animated Feature in 2001, they have received 8 nominations and 5 wins, a nomination every year they had a film released.

The studio is Pixar, and their latest offering, Toy Story 3, upholds every trend set by the studio. In fact, as of this writing, the movie was the fifth highest grossing movie of all time with over $1 billion global box office. It is also only the third animated film to receive an Academy Award Best Picture nomination. For the very few who have never seen the previous Toy Story movies, please do yourself, and all of your loved ones, a favor and run to the nearest store and buy them. These are among the finest family films ever made, and the third, and presumably final, installment of the series is arguably the best of three.

Of course, we have Woody and Buzz and the gang returning to us, but the film, released 11 years after the second movie, takes place as the toys’ owner, Andy, prepares to leave for college. The crew of toys, who by now are as dear to the viewer as old friends, face an uncertain future. What would a young man in college want with a box of his old toys? Through a series of misunderstandings, the toys believe they are going to be donated to Sunnyside Daycare. Only Woody sees the full truth, and has to chase down his friends to try and convince them that they are indeed wanted.

At the daycare, we and the toys are introduced to a new cast of characters. Big Baby, a little girl’s baby doll, Ken, who Barbie immediately falls for, and Lots-O’-Huggin’ Bear, or Lotso. Lotso is the leader of the daycare. Pixar again demonstrates its extraordinary talent at voice casting. Ned Beatty voices the purple bear and somehow imbues him with equal parts grandfatherly affection and chilling menace. The astute observer will note immediately that with Lotso we have met our villain.

All is not as idyllic at Sunnyside as it first appears. Lotso has established a rigid class structure, and has consolidated power over all the other toys. That Pixar can turn a happy daycare by day into an Orwellian nightmare by night emphasizes the sheer artistry and imagination of the studio. Woody escapes to seek help, and is found by a young girl, Bonnie, whose mother works at the daycare. She takes him home to her room, a light and airy place filled with well-loved toys. Unable to turn his back on his friends, Woody returns to the daycare to rally the toys and engineer a daring escape.

Fans of the series will not be disappointed in the lengthy, superbly executed and written action centerpiece of the film. It successfully pulls in elements from the earlier films, buts forges them into a brand new creation. One thing that sets this climax apart is that for a moment, all of our friends and heroes abandon hope. These are toys, in a computer-animated film, but I dare anyone to not be moved. It is a moment of nobility and solidarity rare in all films these days, but exquisitely done here.

The final scene will remain unspoiled here, but again, Pixar construct every facet of the sequence with such loving devotion to detail and emotional depth that it wrenches the heart while simultaneously filling it with joy. It is a moment of cinematic perfection, wrapping up this trilogy and the stories of these beloved characters so deftly and with so much artistry I am pressed to think of another film series that ended as well.

For fans of Pixar, Toy Story 3 is another home-run. It’s a superb movie, and must-see viewing for pretty much anyone who ever had a beloved toy or a close friend. Pixar are master storytellers and understand that all the technology in the world can only take a movie so far. The story has to take it the rest. The men and women of this remarkable studio are also some of the most daring artists around. It is no secret that I loved this movie, but for me, it did not reach the same dizzying heights of perfection that Wall-E did. With any other studio, I could say with well-founded skepticism that I doubt they ever could match the glory of that film, but with Pixar, never say never.

Grade: A

***CONTAINS SPOILERS***

Firstly, let me start by confirming that I am very unfamiliar with the history of The Green Hornet... in fact, besides the fact that Bruce Lee played Kato at some point in his career, I have very little knowledge of it so this review is not biased in any way.

Now to the story side of things:

The movie starts with Britt Reid, played by Seth Rogan, as a carefree playboy type bachelor who has felt unloved by his father, James Reid (Tom Wilkinson). Then the father dies (from a bee sting) and Britt inherits the company business – The Daily Sentinel, a failing newspaper. Kato (Jay Chou) is introduced as the father’s Mechanic and Coffee maker. Britt and Kato have a drink, stop a crime, become friends, become crime fighting vigilantes, save the day and meet Lenore Case (Cameron Diaz) along the way... the usual then!

Obviously there’s more to the story than this but I want you to find that out for yourself.

Seth Rogan is really miscast in this role; he doesn’t have that A-List quality that a role such as this deserves... Vince Vaughn would have been a much better option for me. On the other end of the scale, I thought Jay Chou was brilliant as the ‘Human Swiss Army Knife’ that is Kato... There really isn’t anything that guy can’t do. Tom Wilkinson’s role was small and the dialogue was minimal so there isn’t much I can say about his character and Cameron Diaz was completely unbelievable as Lenore and I mean that literally. I honestly couldn’t grasp her as the person she was playing purely because the character felt forced and unnatural.

There are a lot of comedic moments between the cast, unfortunately, they were more Miss than Hit... although, when they worked, they were great!

The main villain, Chudnofsky (Christoph Waltz) was terrible. Played as a Major King Pin of the L A underground, he came across as more of a wannabe Big Bad than an actual threat. The (totally expected) unexpected villain of District Attorney Scanlon (David Harbour) was also a letdown. Considering that, besides a couple of seconds, no effort was really made to show Britt and the D.A. as potential friends, the “surprise” that he was a bad guy had little impact.

I think the biggest disappointment was the story. The climax wasn’t very engaging, mostly because Chudnofsky was so uncharismatic and boring that he couldn’t create any sense of impending doom (Imagine if Batman’s greatest foe was local Loan Shark... yeah, he’s THAT scary!).

Speaking of Batman, there are some obvious comparison’s to be made here... the gadgets, Hero & Sidekick, the tricked out car, etc but be warned, this is no Dark Knight (although the car, Black Beauty, is awesome).

Summary:

Although it’s not good enough for an Oscar, it’s not bad enough for a Razzie either. The effects are good and the fight scenes pack a decent punch so it’s ideal for a Friday night when there’s nothing else to watch and you want to chillax for a couple of hours but if you’re after mental stimulation and meaningful dialogue, see something else.

Score:

7 out of 10 (Should be a 6 but the awesomeness that is Kato deserves an extra point)

****As this is my first review, any feedback will be greatly appreciated... you can follow me on Twitter... @PortmanReview and/or @StephenPortman...***

In 1975, Steven Spielberg terrorized movie-goers with a giant man-eating shark haunting the waters off the coast of Amityville. Jaws became the first true blockbuster film, and set the stage for generations of high-action, adrenaline pumping fare that have dominated the box office from that day to this. An unexpected consequence of Spielberg’s fish tale success was the delineation of films into the blockbuster category and the “serious drama” category.

Serious drama, art house films, Oscar bait, whatever you choose to call them, remained relatively low budget as blockbuster production prices soared into astronomic territory. A cursory glance over the all-time top grossing films finds that blockbusters dominate, with a few “serious” films sprinkled here and there. What is largely missing is the “serious” action film. A few extraordinary attempts, such as the superb Children of Men, blended the two genres beautifully, but failed to capture audience numbers.

Then came Christopher Nolan. From his early films, like the marvelously mind-warping Memento, to his reboot of the Batman franchise in 2005, Nolan set himself apart as a daring auteur who loved to mix sharp, intelligent, thought-provoking drama with hair raising action. In 2008, he utterly rewrote the book with the box office sensation The Dark Knight. The Batman sequel smashed all preconceived notions of what a comic book film should look like, eschewing the over wrought production values that had gone before for gritty realism. Nolan’s script, and the unforgettable performance by Heath Ledger as The Joker, turned a cartoonish heavy into a frightening psychopath. To date, The Dark Knight stands as the seventh highest grossing movie of all time. Not only is it the most successful comic book inspired movie of all time, but also the most beloved by the critics.

The release of Inception cemented Nolan’s position as the most daring and creative action writer and director in Hollywood. In every capacity, Inception delivers. Drawing from the mind-bending structure of Memento, Nolan fearlessly introduces a complex, interwoven, and, in the final moment, inexplicable story.

The movie deals in the worlds of dreams. In an effort to not spoil the topsy-turvy narrative, I will keep the synopsis brief. Cobb (Leonardo DiCaprio) leads a team of highly skilled, if shady, characters that use the dreams of the unconscious against them. Arthur (Joseph Gordon-Levitt) is Cobb’s partner in crime. Eames (Tom Hardy) is the forger. Yusuf (Dileep Rao) is the chemist. Ariadne (Ellen Page) is the architect, and Robert Fischer (Cillian Murphy) is the mark.

Inception is a maze running on numerous levels at one time. From the off, the film leaves the viewer pondering “is this real?” A question that remains from beginning to end. The brilliance of the movie is that regardless of how you answer that core question, the plot still works beautifully. All of the performances are superb, and DiCaprio is compelling as the haunted, driven Cobb. After 125 years of motion pictures, it isn’t often that we see something utterly original. The central show piece of this film is a conflict playing out in (at minimum) four different realities. Simultaneously.

In the hands of a lesser writer or director, this entire film would have been an indecipherable mess. Yet, even as I watched, waiting for the first misstep that would lead to the disintegration of the whole thing, it never came. Instead, every frame amps up the tension and the action. The special effects are among the finest put on film and used solely to advance the story. The heavy, unsettling score by Hans Zimmer, despite the occasional basso blast, blends so seamlessly and perfectly into the visuals, it almost becomes another member of the cast.

This is a beautiful film. Many directors would focus solely on trying to effectively convey the byzantine plot to devote much time to the aesthetics of each frame. Nolan and his production team lavish on gorgeous sets, lighting, and tiny details that are surely missed in the first viewing. And make no mistake. You will want to see this many times.

Now that the film has received eight Academy Award nominations and a recent Blu-Ray DVD release, this jewel of the summer is back in the spotlight, and deservedly so. Unfortunately, The Social Network and The King’s Speech are the heavy favorites for best picture. However, The Dark Knight and now Inception have been nominated for eight Academy Awards each in their respective years. For action blockbusters, and their writer/director, those are no small achievements.

Grade: A

I'm steadily becoming less interested in Russell Crowe. He seems to be bringing less to the acting table every time I watch him. He started off very well, appropriately playing the Australian tough-man Hando in Romper Stomper, earned a place within my Favourite Actors with his role of 'Budd' White in L.A. Confidential, and was on top of the acting world when he won the Best Actor Oscar for his role of Maximus in Gladiator, which he fully deserved.

However, nowadays, with his partnership with Ridley Scott bordering on Burton/Depp, his roles seem to be becoming blander and blander, with a possible exception being his role in American Gangster. They even decided to re-release Gladiator under the title "Robin Hood" to remind us of how well he could act. Unfortunately the role was undercut with a dreadful accent, resulting in me and other people not being able to take him seriously.

His latest role in The Next Three Days has him playing husband to a wrongly-imprisoned wife, father to a motherless son, and he will break her out of prison. In the next three days, or the next after that!

Sorry, I couldn't resist.

Crowe plays John Brennan, a high-school teacher who's wife (Elizabeth Mitchell) is imprisoned for the murder of her boss, although she implores her innocence. She gets sentenced to life imprisonment so the level-headed teacher decides the only logical reaction is to break her out of prison in a very intricate and difficult method.

Along the way, he gathers help from a three-minute cameo of Liam Neeson, Olivia Wilde in a fine twin example of pointless casting and misused talent, as well as his father (Brian Dehenny). The fact that the most screen-time any of these fantastic actors gets is about five minutes lets you know this film is incredibly Crowe-heavy. Unfortunately it's these moments of interaction where the most interesting dynamics appear, and then Crowe retreats into his 'single-father/genius-escapologist/loner' mode to bore us once more. Again, this might just be my personal feelings towards Crowe, but I would have much rather seen Neeson in the title role, as I felt he could have brought some of the personal revenge performance that made Taken such a underrated thrill.

The entire film is built up to the titular “Next Three Days”, however they aren't given enough screen-time and don't deliver much pay-off. More attention is given to “The Last Three Years” and then “The Last Three Months” to focus on how Crowe's character carefully plans his scheme. When discussing this film with a friend, they brought up the similarities the film has with another 'broken-man-turned-intricate-genius' film; Law-Abiding Citizen.

Citizen features another determined father using three years to his advantage to plot an incredibly over-the-top revenge scheme, with fantastic and entertaining results. Whilst the plot-lines don't exactly follow suit, there is a feeling throughout The Next Three Days that we are watching the bits that Citizen felt were too boring. Whilst it is interesting to see how Crowe discovered some of the methods he tried and failed with, we were shown a poster of Crowe and Mitchell running, with the promise of it being a 'thriller'. Crowe breaks out Mitchell in the last quarter of the film, run a bit, then it's over. Hardly as thrilling as Gerald “It's gonna be biblical” Butler's shenanigans.

In short: looking for a thriller where a father gets revenge on a travesty of justice, and the results are heart-pounding and impressive, if a little unrealistic? Watch Law Abiding Citizen.

Looking for a drama where a father plots an escape for a long three years for it to unravel in quick three minutes? All for a woman who may be guilty and deserving? Watch The Next Three Days.

Rating – 4/10

I've been a fan of Darren Aronofsky since his debut in 1998 with π (Pi), a psychological thriller in which a number theorist obsesses and dedicates most of his adult life and fragile psyche to numbers. Despite π's modest budget, Aronofsky managed to create a complicated yet intriguing film with its basis being in quite a boring subject.

After π, Aronofsky created the more commerically-successful Requiem for a Dream (a film that will put anyone off drugs), the unsuccessful romantic-drama The Fountain, and the critically acclaimed The Wrestler. Aronofsky still had to create a film I disliked. So that's why I was quite confident when I saw the trailer for his newest psychological thriller Black Swan. Anyone who hasn't yet seen the trailer on YouTube etc, please watch it now. I'll wait.

.................

Creepy right? I was incredibly excited by Black Swan's marketing strategy also. Five different styles of posters, all classically made and aesthetically pleasing, and all of the depicting a woman turning into the titular black swan. Despite the trailer showing more of a physical transformation, the film effectively treads the line between surreal and cerebral.

Black Swan tells the story of Nina Sayers, stunningly played by Natalie Portman in a career-high performance. Nina is a member of a prestigious New York ballet school who is picked to be the lead role in their new production of 'Swan Lake'. As the lead, Nina has to embody the dual roles of The White Swan (eloquent and timid) and The Black Swan (passionate and sensual), a task that director Thomas Leroy (Vincent Cassell) doubts Nina can do. Through Leroy's advances and encouragement from fellow ballet dancer Lily (Mila Kunis), Nina begins to tap into her sensual side, resulting in her protected and repressed life becoming more at risk.

Can I just say? Annette Benning, Nicole Kidman, Jennifer Lawrence and Michelle Williams; don't practice your acceptance speeches this year. Natalie Portman is walking away with the Best Actress Oscar this year, hands down. Your work in your respective films may be very impressive, but no actress has performed with as much passion and enthusiasm as Portman does in Black Swan. Her transformation from a timid supporting-ballerina to a driven no-nonsense, obsessed performer is as mesmerising as it is disturbing. Her character arc is the most prominent I have seen in a while, and I was captivated by this one woman's change in personality and appearance.

Her co-stars are also brilliant for Nina to interact with. Mila Kunis plays Nina's enigmatic and spontaneous friend/rival Lily with lots of vigour and believability; Vincent Cassell confidently acts as the head of production Thomas, with his high expectations for Nina and guiding (and wandering) hands forming the mold; and Barbara Herschey chillingly plays Nina's mother Erica Sayers, a failed dancer turned amateur artist who tries to control much of Nina's life. All the cast add another layer to the film and to the breakdown of Nina's psyche, especially Herschey, who's performance more than deserves recognition from the Oscar committee, however like a certain Mr. Nolan, Herschey will have to go waiting.

Although it's not all about the actors. Everything in Black Swan feels as carefully choreographed as the ballet it portrays. The music by Clint Mansell is as beautifully constructed as any of his previous work, and he utilises the Swan Lake score masterfully. Aronofsky's direction has rightfully earned him an Oscar nomination, as his film tentatively plays with the surreal hallucination scenes, hoping the audience will stick with the film during these confusing moments. The ballet scenes also are poetically staged and arranged, as well as breathtakingly performed by Portman and Kunis. Their dedication can clearly be seen, and Portman's final performance as The Black Swan truly had me captivated.

Seriously, don't let the films surreal moments put you off watching this absolute masterpiece of a film. The performances from the cast, especially Natalie Portman, are worth the ticket price alone. Those combined with the amazing soundtrack, breathtaking choreography and truly twisted storyline all create a film that will definitely stay with you after the curtain is drawn.

Rating - 9/10

UPDATED: With Links to all Super Bowl XLV Ads

UPDATED Feb 6th 10:50AM: Links to Cowboys & Aliens Official TV Spot and Super 8 Short TV Spot

UPDATED Feb 4th 5:45PM PST: Link to Limitless and Drive Angry 3D TV Spots added

UPDATED Feb 4th 8:50 PST: Link Rango TV Spot added

UPDATED FEB 2nd 6PM PST: Link to Pirates of the Caribbean: On Stranger Tides teaser trailer added below

UPDATED FEB 1st 6:50PST: The list has been added with links to the first two Superbowl ads for Kung Fu Panda 2 and Transformers 3.

Also there is a new tag "Superbowl Ads" that you can bookmark and will allow you to have easy access to all the Superbowl Ads we post.

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ORIGINAL POST:

So every year around this time before we even know who will be playing in the Superbowl we start to hear what companies and studios will be forking out big bucks to advertise during the game. This year is no different and it will cost $3 Million for a 30 second TV spot.

Every year there are several big movies that release new or first trailers during the game, but this year expect SEVERAL new trailers.

Here is an updated list that we have put together and will try to keep updated as we find out more:

Paramount:
Super 8: Super Bowl TV Spot | FULL TV Spot | Screencaps of EEs
Transformers: Dark of the Moon: Chevy Ad with Bumblebee | FULL TV Spot
Captain America: The First Avenger
Thor
Rango: TV Spot 1
Kung Fu Panda 2: TV Spot 1

Sony:
Just Go With It
Battle: Los Angeles
Priest

Disney:
Pirates of the Caribbean: On Stranger Tides: 10 Sec Teaser Trailer | FULL Extended TV Spot

DreamWorks:
Cowboys & Aliens: Super Bowl Trailer

Relativity:
Limitless (starring Robert De Niro and Bradley Cooper): TV Spot 1

Millennium:
Drive Angry 3D: TV Spot 1

Universal:
FastFive

Others:
The Adjustment Bureau
Rio

NOTE: Currently WB and FOX do not have any trailers scheduled

So earlier this week when we posted the shortlist of candidates to play the female lead as Lois Lane in Superman: The Man of Steel, some were questioning why so many of the candidates were blond.

Well today we might have gotten an answer via Variety.

According to Variety, the list is down to Alice Eve (Sex and the City 2), Diane Kruger (Inglorious Basterds) and Rosamund Pike (Surrogates) to play the female lead but will NOT play Lois Lane??

I am not sure what this means but how can Lois Lane not be a lead in a Superman movie? Maybe if it was an origin story like Smallville you might expect to see Lana, but this is not an origins story and Lana is a brunette as well.

Any thoughts about the candidates and Lois not being a lead?

Thanks to Marvel for the new poster.

Here is the first official promotional poster for the new sequel in the Fast and the Furious series called Fast Five.

This time Vin Diesel and Paul Walker are joined by Dwayne Johnson aka The Rock.

Thanks to IGN

This movie totally reminds me of Liam Nesson's role in Taken.

Enjoy!

HitFix.com has the image from the latest issue of Empire Magazine. It shows Chris Evans in the final version of the famous Captain America suit. Does it live up to your expectations?

Samuel Jackson appeared on Jimmy Fallon last night and confirmed he will be doing one day shoots for both Thor and Captain America.

Here is what he said and the video:

In the next month or so, I have to do one day on Thor, and I gotta do another day on Captain America, and in April we start The Avengers — the big deal with everybody. Thor and Captain America are pretty much done, but I haven’t done my part in them yet. I’m just connective tissue for them to join The Avengers.

Our good friends at SlashFilm where one of the lucky few that had a chance to visit the set of the new Pirates sequel back in October but they finally where able to post their initial thoughts now.

Here are a few new promo pics and makse sure you head to SlashFilm's full BTS set report.

UPDATED: Kristen Stewart's reps have released a statement that she in no way has been contacted to play Lois Lane. So maybe we can cross her off the list.

Not that this was too surprising, with the announcement of Henry Cavill playing Superman, the internet has been buzzing all week about who might play Lois Lane.

Of course, there is no confirmation for any one and I do not even know if any of the actresses below are even in talks with Nolan or Snyder, so take this list with a big bag of salt.

Here are some names we are seeing that have been thrown around the internet:

Kristen Stewart
Rachel McAdams
Jessica Biel
Dianna Agron
Malin Akerman
Kristen Bell
Olivia Wilde

I like Rachel McAdams and Olivia Wilde as a potential Lois Lane. What do you all think? Do you have any suggestions?

Shu Todoroki is a Le Motor Prototype racer representing Japan and bearing #7 in the World Grand Prix. Shu was raised at the base of the active Mount Asama volcano in Japan, and soon became a champion on the Suzuka Circuit. His sleek design sports a fiery red Ka-Riu dragon, which Shu borrowed from Japanese legend because he relates to the small, yet fierce nature of the dragon. His team legacy is filled with victories – his coach, a Mazda, was the only Japanese car to ever win at Le Mans – and Shu hopes to prove his champion-level racing on the international stage of the World Grand Prix.



Source: SlashFilm

For my first review for Spoiler TV I decided to write about what I thought was one of the most underrated comedies of 2010. I'm referring to Due Date, Todd Phillips' first film since the highly successful comedy the Hangover.

The initial draw to this film is obvious. Throw breakout actor Zach Galifianakis together with the highly popular Robert Downey Jr. and the audience can expect comedic gold.

Downey is often known for playing sarcastic and witty lead roles—just think of him in Iron Man. However, his part in Due Date is a bit different. In this film he plays the straight man to Galifianakis' buffoon. Sure he has his funny moments, but it is clear from the writing that his character is intended to help Galifianakis shine.

Here's the movie in a nutshell: a business man clearly in need of anger management (Downey) is in a rush to get home to be with his wife before the birth of their first child. Due to an unfortunate mishap on an airplane, he is stranded with no means to get home. He is forced to take a cross-country road trip with aspiring actor Ethan Tremblay (Galifianakis).

The general plot may sound familiar. And it should, Due Date has clearly drawn inspiration from the 1980's John Hughes film Planes, Trains, and Automobiles. The general idea is the same. Throw a short fused, short tempered workaholic together with a naive, socially awkward guy and just see what happens.

I don't want to spoil too much, but suffice it to say this odd couple comedy is full of ridiculous moments to keep the audience laughing.

That's not to say that the film doesn't have its weaknesses. It does tend to go over the top with some of its situations (Downey getting into a fight with a paraplegic Iraq War veteran). The character development can also seem rushed at times. This is more of a result of the writing than it is of the acting. Downey changes from a heartless businessman into an understanding friend in what seems like a matter of minutes.

The strength of the film is in its casting. Both Downey and Galifianakis do a great job of selling their characters. Which isn't a surprise because they always seem to play the same character.

All in all if you are looking for a raunchy comedy that will keep you laughing, then Due Date is definitely worth your time.

8/10

Yup, for those that did not know, Howard Stark as in Tony Stark aka Iron Man's father will be a part of Captain America.

Actor Dominic Cooper who plays the young Howard Stark spoke with Vulture and informed them of the following tidbits of what to expect from Howard Stark in Captain America:

- We learn the whole idea of where Stark Industries comes from, which is out of pure curiosity and creative juices and excitement towards thinking of the future and developing things for good. He’s a Howard Hughes. He’s a guy that loves inventing, that’s extremely intelligent, and that loves his lifestyle as well.

- He’s important because he’s part of the machinery that helps Captain America manipulate his body.

Deadline is reporting what many sites have already suspected or posted rumors about, that Joseph-Gordon Levitt would team up with Christopher Nolan for the third part of his Batman story.

There is NO confirmation towards what potential role he would play but many have speculated from day one that he could play The Riddler or maybe even replace Heath Ledger as The Joker. I am pretty sure based on comments from Nolan about preserving Heath's performance, I doubt we would see Levitt try to play Joker.

Of course, with early speculation he could play a villain, some are also questioning how could Nolan fit in a third villain with both Bane and Selina Kyle (Catwoman) already confirmed. Honestly, why can't he fit a third villain in?

What do you all think?

Here is one of the Transformers 3: Dark of the Moon Chevy teaser trailer ads featuring Bumblebee.

Nothing much in the clip but you get nice look at Bumblebee transform.

Enjoy!

Source: FirstShowing

Cast: Carla Gugino, Timothy Olyphant, Adrianne Palicki, Emmanuelle Chriqui, Malin Akerman, Joseph Gordon-Levitt

Release Date: March 11th, 2011

Synopsis: Recently retired from the adult film industry, superstar Elektra Luxx (Carla Gugino) is pregnant with the child of late rock star Nick Chapel. She is trying to make ends meet by teaching a community college sex education class aimed at housewives when a figure from her past, flight attendant Cora (Marley Shelton), approaches her with a proposition. In exchange for the (stolen) lyrics to Nick Chapel’s last record, all of which is about Elektra, Cora needs Elektra to seduce her fiancee. Elektra reluctantly agrees to do this favor, setting in motion a series of hilarious events which will see her come face to face with detectives, sex bloggers, emotionally unstable neighbors and the Virgin Mary herself as she wrestles with the prospect of motherhood and tries to become a person of substance.

Here is a little clip with Christopher Nolan talking about Superman and the casting of Henry Cavill.