Red flags should fly with the relaunch of anything as notable—and bankable—as a Disney brand, but the anomaly of Maleficent seems to lie in its spot-on casting, as Angelina Jolie, beyond being one of our few bona fide female headliners, looks wickedly appropriate as Sleeping Beauty's horned villainess. Aside from the usual handful of leaked set photos, the world got its first peek at Jolie in character last June, and attendees of Disney's D23 Expo caught a glimpse of the film, and Jolie in person, this past August. Yesterday, an official poster was finally released, showing Jolie in full, dark-magic regalia, and proving once again that, when it comes to modernized costumes, you can't go wrong with black leather. The ad also features Jolie rocking green peepers, enhanced cheekbones a la Lady Gaga's “Born This Way” phase, and “lips red as the rose,” to quote the Mistress of All Evil herself. Jolie's aesthetic impact alone boded well for this pseudo-prequel even before its teaser trailer premiered this morning.
Oz The Great And Powerful (#1–10 of 5)
Neill Blomkamp's Elysium topped the box office this past weekend, though its lead over the competition ended up being less than anticipated. However, if one were following The Hollywood Reporter's coverage on Friday, that margin was said to be even less, as writer Pamela McClintock claimed that “strong matinee business” suggested Planes was headed for a $30 million weekend, which was set to match that of the Matt Damon actioner. The actual for Planes ended up in third place with $22.2 million, over 25% less than initially reported. More troubling than the inaccurate figures, which are understandable given the unpredictability of internal weekend multipliers and whatnot, is the article's headline, which claims that Planes's performance is “breaking [the] animation curse,” allegedly created from underwhelming box-office openings by Turbo and The Smurfs 2. An animation curse? It's hard to argue for any curse, given the almost $640 million made worldwide by Monsters University and the $745 million made worldwide by Despicable Me 2, the latter of which is second to only Iron Man 3 as the highest-grossing domestic release of 2013.
- 2 guns
- alena mihulova
- despicable me 2
- fast & furious 6
- Iron Man 3
- Lee Daniels' The Butler
- man of steel
- monsters university
- nikki finke
- oz the great and powerful
- percy jackson: sea of monsters
- richard roeper
- star trek into darkness
- the conjuring
- the hollywood reporter
- the smurfs 2
- we're the millers
By the turn of the century, Kylie Minogue had effectively transformed herself from disposable pop tart to respected art-pop chameleon, outdoing even Madonna in her willingness to risk her place at the top of the superstar-diva pantheon by experimenting with her sound, most notably on 1997's Impossible Princess and in collaborations with Nick Cave & the Bad Seeds, DJ Towa Tei, and Australian rockers Gerling. There have been shades of that experimental spirit scattered throughout her last few albums, especially Body Language and X, but in recent years Kylie has more or less hewed closely to her successful dance-pop template.
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A swirling storm is the proper framing device for Oz: The Great and Powerful's first poster, which heralds its film by tossing trademark elements into a kind of artful rinse cycle. Set for a 2013 release, this Sam-Raimi-helmed Wizard of Oz prequel appears devoid of Dorothy, yet packed with evidence of L. Frank Baum's brand.
Seeming both introductory and contradictory to its immortal predecessor, the movie tells of its titular wizard's rise as a magician and a man, promising an arc of self-discovery that doesn't quite jell with the arc of Frank Morgan's fraud behind the curtain. But, don't fret, kids: there'll still be a poppy field's worth of faithful stuff to keep you comfy, and it's presented here in a yin-yang approach that matches dark drama with glittering fantasy. The Yellow Brick Road, the Emerald City, a swarm of tornadoes, and one integral hot air balloon fill this well-executed design, teasing a new adventure with unmistakable imagery. In another poster, the title almost certainly would have been made more centrally visible, but in this case, it's hardly necessary. If the main man's mode of transportation doesn't wrangle fans, the gleam of all that Oz-ian architecture will, suggesting classic whimsy amid a tumultuous scene that also features some Avatar-esque landforms. The image invites viewers to return to a place they know while still being strangers in a strange land.