The Walt Disney Company announced today that “Soul,” the all-new original feature from Pixar Animation Studios, will debut exclusively on Disney+ on December 25, 2020. In international markets where Disney+ isn’t currently or soon to be available, “Soul” will be released theatrically, with dates to be announced.
“We are thrilled to share Pixar’s spectacular and moving ‘Soul’ with audiences direct to Disney+ in December,” said Bob Chapek, Chief Executive Officer, The Walt Disney Company.
“A new original Pixar film is always a special occasion, and this truly heartwarming and humorous story about human connection and finding one’s place in the world will be a treat for families to enjoy together this holiday season.”
“Soul” comes from visionary filmmaker Pete Docter, the Academy Award®-winning director behind “Inside Out” and “Up,” and co-director/writer Kemp Powers, playwright and screenwriter of “One Night in Miami.”
It stars the voice talents of Jamie Foxx, Tina Fey, Phylicia Rashad, Ahmir Questlove Thompson, Angela Bassett and Daveed Diggs and features original jazz music by globally renowned musician Jon Batiste and a score composed by Oscar® winners Trent Reznor and Atticus Ross (“The Social Network”).
“The world can be an exhausting and frustrating place – but it’s also full of unexpected joys, even in seemingly mundane things,” said Docter, director of “Soul” and Chief Creative Officer of Pixar Animation Studios. “ ‘Soul’ investigates what’s really important in our lives, a question we’re all asking these days. I hope it will bring some humour and fun to people at a time when everyone can surely use that.”
Over the last six months, marketplace conditions created by the ongoing pandemic, while difficult in so many ways, have also provided an opportunity for innovation in approaches to content distribution. With over 60 million subscribers within the first year of launch, the Disney+ platform is an ideal destination for families and fans to enjoy a marquee Pixar film in their own homes like never before.
A cavalcade of stars, including superstars Ben Affleck, Jamie Foxx, Marlee Matlin, Gary Sinise, Jane Seymour, William H.Macy and Geena Davis, feature in CinemAbility : The Art of Inclusion, releasing October 5 on digital from Leomark Studios.
From Director Jenni Gold, the 1st wheelchair using female in the Director’s Guild, and released to coincide with October’s National Disability Employment Awareness Month,CinemAbility reveals a compelling and often amusing look at the history of disability portrayals in entertainment. From the early days of silent films to present-day Hollywood blockbusters, this historic film takes a detailed look at the evolution of “disability” in entertainment over the last 120 years by going behind the scenes to interview celebrities, filmmakers, and studio executives.
With heart and humor, CinemAbility: The Art of Inclusion utilizes clips from Hollywood’s most beloved motion pictures and television programs to shine a light on how the media impacts society and the monumental effect these portrayals have on inclusion.
Featuring Ben Affleck, Jamie Foxx, Marlee Matlin, Gary Sinise, Jane Seymour, Adam Arkin, William H.Macy, Helen Hunt, Kyle MacLachlan, Daryl Mitchell, Beau Bridges, Richard Donner, Peter Farrelly, Randal Kleiser and many more!
CinemAbility : The Art of Inclusion, written by Jenni Gold and Samuel W. Reed, releases on VOD October 5 from Leomark Studios.
DIRECTOR’S STATEMENT
CinemAbility is in part a love letter to Hollywood, an industry that has consumed my life, and partly a wake-up call. Growing up as a wheelchair user I found many of the representations of people with disabilities on screen to be confusing. I remember every year my family would watch Affair to Remember when it aired on TV and I always found it odd that after Deborah Kerr became a wheelchair user she could no longer pursue the man she loved. I remember hating the sappy Movie of the Week style representations in the 70’s and 80’s. The person in the wheelchair was always syrupy sweet or angry and bitter. It wasn’t until Friday the 13th part 2 came out that I saw a wheelchair user the way I wanted to be seen. He was a cool teenager hanging out in the cabin in the woods just like everyone else, he had a girlfriend just like everyone else, and right before he was about to have the night of his life, he got killed by Jason, just like everyone else. His disability was not the topic and was not a factor in his story line.
As a filmmaker who loves the rich history of Hollywood, I realized that a historical overview of disability portrayals had never been done, and that’s certainly one of the aspects of the project that drew me in. It was fresh and exciting, but as we continued to research and interview more people about their recollections of disability portrayals in film it became clear that this was not the whole story. There was more behind these characters and depictions than the stereotypes that emerged, which in some instances are still adhered to. In fact, what we found was much richer, in that there is a strong correlation between these depictions and how people with disabilities are treated, and as portrayals have become more well-rounded and realistic, actual people with disabilities have become more accepted socially, and more integrated into society.
Being a director with a disability and the only DGA wheelchair using director member, the last thing I wanted to do was make another cookie-cutter documentary about disability. But soon I realized that a film like CinemAbility must be made, and if not by me then who? I knew this story first hand and I knew how to tell it. So, slowly I started to pitch it and soon I was interviewing A-List Academy Award Winners, Academy of Motion Picture and Guild Presidents, Producers, Studio Executives and the Showrunners of some of the hottest shows on TV. Hollywood heavyweights came to the forefront because these are caring people who are interested in good causes, and they realize inclusion is important. They all had something viable and important to say and even had some personal realizations that I caught on camera.
By connecting the dots between how people with disabilities are portrayed and how they are perceived in public, we were able to broaden the story beyond disability, to any minority group that has at one time or other been underrepresented or misrepresented in our media. We show how Sydney Poitier films impacted an entire Civil Rights Movement and how Will & Grace opened the door for homosexual civil rights. But where did that leave people with disabilities.
I found out very quickly that the changing of portrayals of disabilities in the 80’s lead us toward a major victory in 1990 with the signing of the Americans with Disabilities Act, but after a backslide in these depictions, we might be able to get into the building, but what was the perception of people like me once we were in it? Would there be job opportunities if perceptions were still based on the understanding one gets from what we see in the media?
It suddenly became clear to me that this film was much more important than just recapping the history of a few interesting characters in the history of film, but about documenting the shaping of perceptions of minority groups through the media. And in doing so, I created a platform to do some reshaping of my own. This film has the ability to break down these stereotypes in a way that had never been done before. And most importantly it is done in a fun and entertaining way! People normally hear about a disability-themed documentary and they run for the hills, but those brave enough to take a peek are shocked to find they have a good time and laugh while also being challenged intellectually. As a storyteller, that is my entire goal.
When we started this project over a decade ago, disability was not included in most diversity initiatives, but that is now changing due to new crop of talented, passionate & determined actors with disabilities who have stormed into Hollywood and aren’t taking “no” for an answer. Enlightened Showrunners and Producers are also starting to take chances on stories, characters, and actors that are “different,” and yet it still remains that hardly anyone with a disability is working behind the scenes in Hollywood. It seems to be the perfect time for CinemAbility to open people’s eyes to something new.
DIRECTOR’S BIOGRAPHY
Emmy Winner Jenni Gold is considered a triple threat in the world of entertainment. Her editing and screenwriting skills serve as a foundation for her directorial efforts which have received multiple awards and have placed her among the best in her field. As the only female wheelchair using Director Member of the Directors Guild of America, Jenni is the co-founder of Gold Pictures, Inc, a development and production company which was established in 2001.
In addition to directing the award-winning film CinemAbility, Jenni has become an expert on the power the media has in shaping perceptions, and is an advocate for total inclusion. She serves on the advisory board of the Geena Davis Institute on Gender in Media and has produced a number of films and corporate web series, servicing such well-known clients as The Christopher & Dana Reeve Foundation.
Jenni recently co-produced the soon-to-be-released film Tiger starring Mickey Rourke and Janel Parrish, and she is in post on a horror/comedy film which she directed titled, Aaah Roach, starring Casper Van Dien, Grace Van Dien, Barry Bostwick, and Jason Mewes. Jenni has also co-written and is developing a number of narrative feature films including the suspense thriller Adrenaline and a family film, Lucky. Jenni was also interviewed along with many other high-powered female directors in the newly released documentary This Changes Everything about discrimination in Hollywood.
Summary: After being coerced into working for a crime boss, a young getaway driver finds himself taking part in a heist doomed to fail.
Year: 2017
Australian Cinema Release Date: 28th June 2017
Australian DVD Release Date: 1st November 2017
Country: United Kingdom, United States
Director: Edgar Wright
Screenwriter: Edgar Wright
Cast: Jon Bernthal (Griff), Jeff Chase (Jeffrey), Morse Diggs (himself), Ansel Elgort (Baby), Flea (Eddie), Jamie Foxx (Bats), Eliza Gonzalez (Darling), Brogan Hall (Samm), Jon Hamm (Buddy), Lily James (Debora), CJ Jones (Joseph), Lanny Joon (JD), Kevin Spacey (Doc), R. Marcos Taylor (Armie), Paul Williams (The Butcher)
Runtime: 113 mins
Classification: MA15+
OUR BABY DRIVER REVIEWS & RATINGS:
Kyle McGrath’s Baby Driver Review:
I’ve considered myself a huge fan of Edgar Wright’s films for some time. Since the release of Shaun of the Dead and with the continuation of his “Cornetto Trilogy” with Hot Fuzz & The World’s End Wright he has created what I would consider to be almost perfect films. In only a short amount of time Wright has created several instant cult classic films with their stylish presentation, music selection to characterisation and emotional moments having a kick to them even though the film itself may have an absurdist comedy twist to them. This isn’t to say I have impossibly high expectations for his movies simply that I know what Edgar Wright as a filmmaker is capable of.
Baby Driver is the story of “Baby” (Ansel Elgort) a young extremely talented getaway driver with a passion for music and a constant soundtrack to his own life playing on his iPod. Forced for years to serve as a wheelman to payback a debt to crime boss “Doc” (Kevin Spacey) Baby appears to be finally free to start building a life for himself after meeting a beautiful waitress named Deborah (Lily James). However much to Baby’s horror he is forced to take part in yet another “final job” with a team of psychopaths. Trying not to get in too deep Baby strive to stay ahead of the criminals and the cops and escape this life of crime once and for all before it’s too late.
By far the star of the film is not the actors but the music and how it is incorporated into the film. Wright has clearly put an extensive amount of effort into choreographing almost the entire film so that it synchs up with the accompanying soundtrack. Gunshots, camera edits, punches, car chases, car crashes everything is timed perfectly to match the rhythm and the beat of the song playing in the background. This has got to be the most musical-like non musical I’ve ever seen.
It’s definitely an impressive achievement and Wright shows off the slick visual style he has become known for. While definitely cool it can feel a little out of place at some points like the opening credits which serves as a single long take of Baby going to get coffee for the crew after a job well done. The scene plays out with specific lyrics from the song playing inexplicably spray graffitied around right as they come into view and right as that line in the accompanying song plays. Now this is probably the most extreme example and while being inconsequential it shows how at some points what’s happening in Baby Driver is more about creating a music video than the music enhancing the story.
That’s the main issue I personally had with the film and it’s just one of taste really, so much time and effort has gone towards these musical scenes though the actual story and characters feel underwritten.
Storylines and relationships feel completely rushed, the characters are really given room to grow or give us reasons to care for them other than on a superficial level. The romance between Baby and Deborah especially felt forced and certain characters actions contradict how they were portrayed up to that point that the audience themselves are left to fill in the gaps more often than I felt was necessary.
Like for example in Mad Max Fury Road I’m perfectly fine with some backstory left up to interpretation as it wasn’t particularly necessary. But as simple as the plot was for that film if the villain had a sudden change of heart out of the blue at the end and called off the whole chase or something I would expect more than a passing line of dialogue as an explanation.
Baby Driver I felt was all style and little substance. It’s not a bad film really it is just somewhat forgettable despite its stylish presentation. The plot and characters feel like they are just there as an excuse to create some cool car chases and music videos which is totally fine. However at the same time the film is brought down a little by that.
Not that I want to say I’m rating this film on a curve, I would have felt the same way about it if had I not known the director’s name or previous work at all. But the soul of this film doesn’t quite live up to Wright’s previous work. Rather than feeling for these characters I felt indifferent to them and what was happening. Actors like Jamie Foxx or Kevin Spacey who I know are capable of comedy and drama seemed wasted on what felt like no more than rehashes of their roles in Horrible Bosses.
I enjoyed Baby Driver as a funny and entertaining rev head popcorn heist flick. Clearly I do think Edgar Wright was capable of crafting something better overall but for a crowd pleaser he’s most assuredly delivered with his latest film.
Average Subculture Rating:
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Other Subculture Entertainment Baby Driver Reviews: N/A
Summary: In the remake of the classic musical Annie (Quvenzhane Wallis) is a young orphan who lives with Hannigan (Cameron Diaz), a washed-up, alcoholic pop star who now lives off the money she earns for looking after a number of foster children… none of which she particularly likes.
Annie spends most of her time trying to keep out of Hannigan’s way and trying to piece together what happened to her parents who abandoned her at a restaurant years earlier. Things change for her however when a chance encounter occurs between her and wannabe-Mayor, mobile phone tycoon Will Stacks (Jamie Foxx), his assistant Grace (Rose Byrne) and campaign manager Guy (Bobby Cannavale).
Year: 2014
Australian Cinema Release Date: 19th December, 2014
Australian DVD Release Date: TBA
Country: USA
Director: Will Gluck
Screenwriter: Will Gluck, Aline Brosh McKenna, Thomas Meehan (play), Harold Gray (comic)
Cast: Adewale Akinnuoye-Agbaje (Nash), Scarlett Benchley (Fish Goddess), Mike Birbiglia (Social Services Inspector), Brad Bong (Pickle Stevens), Rose Byrne (Grace), Bobby Cannavale (Guy), Zoe Margaret Colletti (Tessie), Cameron Diaz (Hannigan), Eden Duncan-Smith (Isabella), Andrew Fleming (Cleve Sweetzer), Michael J. Fox (himself), Jamie Foxx (Will Stacks), Ray Iannicelli (Waiter at Domani), Mila Kunis (Andrea Alvin), Stephanie Kurtzuba (Mrs. Kovacevic), Ashton Kutcher (Simon Goodspeed), Dorian Missick (Annie’s “Dad”), Jill Nicolini (Ms. Giannetti), Nicolette Pierini (Mia), Taylor Richardson (Red Haired Annie), Rihanna (Moon Goddess), Jessica Sherr (Mary Gillen), Pauline Simkin (Maria), Raushanah Simmons (YaYa L’Occitane), Temple University Diamond Marching Band (themselves), Tracie Thoms (Annie’s “Mom”), Amanda Troya (Pepper), Peter Van Wagner (Harold Gray), Quvenzhane Wallis (Annie), David Zayas (Lou)
The critics seemed to by baying for blood for Annie before the film had even been released. Many were tipping that it was the kind of film that was perfect for a Worst Films Of 2014 list and many even seemed to rejoice in the fact that the cast seemed to be ever revolving door as producer Will Smith tried to put the film together.
Then of course there was disaster for the film’s distributors Sony when Annie turned out to be one of the films that the hackers managed to steal from them and release online weeks before it was due to the cinemas. Yes it really did seem like it was going to be a hard-luck life for Annie, but luckily this has turned out to be a film that comes with a few surprises.
By the time Annie did reach the cinemas early there should have been more than enough warning signs to indicate that Annie might have a few things in its corner. First of all its director Will Gluck has good pedigree being the man responsible for the fairly well received comedies Easy A and Friends With Benefits. Add that to the fact that the cast contained the likes of Jamie Foxx, Rose Byrne and Cameron Diaz and maybe it was time to start re-evaluating things.
Having said all that though Annie is the kind of film though that will divide audiences. Some will instantly dismiss it will others will be able to spot a certain quirkiness that makes Annie it an enjoyable, dumb-but-fun film.
Gluck it seems is the perfect man to be at the helm of Annie as he makes sure the film never takes itself too seriously, something that he sets-up from the get-go with an opening shot of a red haired Annie, showing he is only too aware of the original film. He then manages to keep the fun and games going while at the same time pointing out some very relevant facts such as how many black American students slip through the cracks when it comes to things like reading and writing. Gluck makes sure that the film is just the right amount of over-the-top, he allows Cameron Diaz to really go all out and also allows to Jamie Foxx to center himself in the middle ground between comedy and drama.
Even the early concerns that this was just going to be a rap/hip-hip version of Annie are put to rest with most of the original songs getting just the right amount of R&B flavour to make them new and interesting but not getting to the point where they are unrecognisable from the original. Bringing on board Sia to oversee a lot of the musical side of things was also a fair touch of genius from the people behind the scenes.
The one thing that will hit most people about Annie is how many actors use this film to showcase their many other talents. Rose Byrne has already shown the world she can do more than just drama with her comedic performances in films such as Bridesmaids and Bad Neighbors, here she shows she has another string on her bow by adding singing and dancing to her resume. Likewise Jamie Foxx capitalises on the fact that he already has a successful singing career behind him and manages to make himself a triple threat with music, comedy and drama.
Perhaps the biggest acting surprise in Annie though comes from pint-sized Quvenzhane Wallis who has already wowed audiences with her dramatic performances in Beasts Of The Southern Wild (which she scored an Academy Award nomination for) and 12 Years A Slave. Here Wallis also shows she is a worthy little singer and dancer and she quickly wins you over as she plays the sassy and intelligent Annie.
Annie isn’t exactly going to be the film that you are going to be raving about for years to come but it is fun enough that you won’t exactly be leaving the cinemas complaining about it either. It’s cute and funny, but never gets annoying, while it’s reworking of the story is just modern enough to make it work and create its own identity.
The real plus though are the acting performances. Everyone seems to be having fun and it shows on the screen, especially with Cameron Diaz who seems to love the fact that she is playing a role that completely allows her to lose control. Meanwhile the film even finds time to take a swipe at social issues such as modern politics and how the rich treat the poor making sure the film does have some substance as well. Also watch out for some smart cameos from Michael J. Fox, Sia, Rihanna, Ashton Kutcher and Mila Kunis.
Young actors everywhere have the right to be jealous of British hard-man Jason Statham. Film lovers know Statham as one of modern cinema’s leading action heroes, a man who can kick and punch his way through any number of bad guys. He is very much the modern day Bruce Willis or Van Damme.
Statham, however, wasn’t one of those actors who worked away in small roles and built his way up. In his early days, Statham was part of the British National Diving Team (he finished 12th in the World Championship in 1992). He was also a black market salesman before beginning a career as a fashion model.
It was Statham’s modelling career that first made award winning director Guy Ritchie sit up and take notice of him. Ritchie was so impressed with Statham’s work on a French Connection modelling project the he offered him the role of Bacon in his gangster film “Lock, Stock & Two Smoking Barrels.” The film was a commercial and critical success and Statham received plenty of praise. So much, in fact, that Ritchie then cast him in his next film “Snatch” alongside Brad Pitt.
From there, Statham appeared in films like “Turn It Up,” “Ghost Of Mars,” “The One” and the remake of “Mean Machine” before earning the role that made him famous – that of action hero Frank Martin in “Transporter” – a role he also followed up in the successful “Transporter 2.” In between the two films he also got to star in other notable films including “The Italian Job,” (as part of a star studded cast) “Collateral” (with Tom Cruise and Jamie Foxx) and the underrated “Cellular.” During that time he also voiced characters in the popular video games “Red Fraction” and “Call Of Duty.”
After roles in the under-performing “London,” “Revolver” and “Chaos,” Statham appeared in an uncredited role in “The Pink Panther” before the surprising success of “Crank,” a film that also warranted a sequel in 2009 with “Crank: High Voltage.”
After roles in the less than impressive films like “In The Name Of The King: A Dungeon Siege Tale” and “War,” Statham again found critical success with a role in the crime thriller “The Bank Job.” This was quickly followed by him doing what he does best and playing the action star in the remake of “Death Race” before once again playing Frank Martin for a third time in “Transporter 3.”
It was at this time that the world was left without a doubt that Jason Statham was now considered to be one of the world’s leading action heroes when Sylvester Stallone selected him to be one of the cast members of “The Expendables” – a film that saw all the greatest action heroes of now and the past pushed congregate together. Statham’s character of Lee Christmas also made the cut for “The Expendables 2” and it is strongly rumoured that he will also be in “The Expendables 3,” which is due in cinemas in 2014.
Along with roles in smaller films like “The Mechanic,” “Blitz,” “Killer Elite,” “Safe,” “Parker,” “Redemption” and “Homefront” Statham also found time to voice the character of Tybalt in the family film “Gnomeo & Juliet,” as well as join the cast of one of the hottest franchises going around when he appeared in “Fast & Furious 6.”
With another “Expendables” film and his main role in the forthcoming “Fast & Furious 7,” it seems that Jason Statham is here to stay.
Summary: As a cowardly farmer begins to fall for the mysterious new woman in town, he must put his new-found courage to the test when her husband, a notorious gun-slinger, announces his arrival.
Cast: John Aylward (Pastor Wilson), Preston Bailey (Young Albert), Johnny Bautista (Carl), Alex Borstein (Millie), Amick Byram (Marcus Thornton), Ardy Brent Carlson (Cowboy Ardy), Jean Effron (Elsie Stark), Jamie Foxx (Django), Ralph Garman (Dan), Gilbert Gottfried (Abraham Lincoln), Christopher Hagen (George Stark), Neil Patrick Harris (Foy), Evan Jones (Lewis), Rex Linn (Sheriff/Narrator), Christopher Lloyd (Doc Brown), Seth MacFarlane (Albert), Ewan McGregor (Cowboy At Fair), Aaron McPherson (Ben), Liam Neeson (Clinch), Jay Patterson (Doctor Harper), Ryan Reynolds (Man Killed By Clinch In Bar), Giovanni Ribisi (Edward), Brett Rickaby (Charlie Blanche), Mike A. Salazar (6-Year-Old-Albert), Amanda Seyfried (Louise), Sarah Silverman (Ruth), Patrick Stewart (Dream Voice), Wes Studi (Cochise), Charlize Theron (Anna), Debbie Waters (Mother Of James Addison)
Runtime: 116 mins
Classification: MA15+
OUR A MILLION WAYS TO DIE IN THE WEST REVIEWS & RATINGS:
Greg King: You can check out Greg’s A Million Ways To Die In The West review on www.filmreviews.net.au
David Griffiths:
Television fans worldwide had always known that Seth MacFarlane was a comedy genius. His show-pony, the hilarious Family Guy had revealed a dark sense of humor that wasn’t always politically correct but was always worth a laugh or two. Then came Ted, a film that centered around a foul-mouthed, alcoholic, drug abusing bear, a film that also proved that Mr MacFarlane’s comedic talents could also transfer to the big screen.
Now comes MacFarlane’s real test, that difficult second film… very often the film that will make or break a filmmaker. Just to raise the bar even higher MacFarlane has decided the tough task of making a comedy western, a genre that works well in the shape of Blazing Saddles but has also delivered some severe duds along the way. Besides that he has also decided to star, direct, write and produce the whole shebang. The good news for his fans though is he delivers the goods.
MacFarlane (Movie 43, Ted) plays Albert, a kind-hearted sheep farmer who is a bit of a loser when it comes to life. He spends most of his time concerned at the million or so ways that the old west can kill you while also seemingly fail at being a sheep farmer considering his sheep are normally found wondering all around the town he calls home.
To add to his loser status he suddenly finds himself dumped by his girlfriend, Louise (Amanda Seyfried – Epic, The Big Wedding) who decides that she is better suited the much more successful and moustached Foy (Neil Patrick Harris – Cloudy With A Chance Of Meatballs 2, The Smurfs 2). Worse still is the fact that Foy has challenged Albert to a gun duel and despite his surroundings he has never fired a gun before in his life.
Enter Anna (Charlize Theron – Prometheus, Snow White And The Huntsman) the attractive gun-slinger who rides into town and takes an interest liking to Albert. She is more than happy to train him for the gun fight and along the way they learn that they also share the same interests… and sense of the humor. The one thing that she fails to tell him though is that she is married to, Clinch (Liam Neeson – The Lego Movie, Non-Stop), a tough, violent outlaw who is not impressed when he finds about Anna and Albert.
While A Million Ways To Die In The West does ultimately work it is on occasions hit and miss… although the hits do outweigh the misses. The typical MacFarlane humour is there that his fans have come to know and love, the cheap shots at everyday life and the occasional black humour moment that makes you laugh despite the fact that you feel it is not a topic that you should be laughing at. To his credit this type of humour works throughout the film but at times it also feels that MacFarlane works too hard to get his comedic point across. For example do we really need to see Foy kick over a hat full of diarrhoea to get the joke, or do we need a close-up of a sheep penis to find the fact the sheep relieves itself on Albert hilarious?
Then there are the parts of the film that work amazingly well. Albert is set up as a character that you are going to like and while some of the characters, such as Clinch, could be described as clichés there are interesting peripheral characters such as Edward (Giovanni Ribisi – Gangster Squad, Ted) and Ruth (Sarah Silverman – Gravy, TV’S Louie), a Christian couple that don’t have sex before marriage despite the fact that she works as a prostitute. It’s these kinds of side stories that certainly keeps the audience focussed on the film and laughing throughout.
When it comes to the acting side of A Million Ways To Die In The West a few of the cast get really smooth runs. Liam Neeson plays Clinch well but it feels like he is in cruise control while at times it almost feels like Charlize Theron is playing herself. Sarah Silverman, Giovanni Ribisi and Neil Patrick Harris all nail their comedic timing, while MacFarlane has shown that he is a good actor when he steps in front of the camera. Hopefully we see him do more of that in the future and not just concentrate on voice work.
A Million Ways To Die In The West is not the kind of comedy that will appeal to everybody, some of the jokes may go into some people’s ‘too crass’ pile, but for others this is going to be the kind of film that you will get laughs at throughout. Maybe not as good as Blazing Saddles but still a worthwhile comedy with a good romantic subplot.
Average Subculture Rating (out of 5):
IMDB Rating:
Other Subculture Media Reviews of ‘A Million Ways To Die In The West′: For our full A Million Ways To Die In The West review please check The Good The Bad The Ugly Film Show Ep #81
This week on The Good The Bad The Ugly Film Show Adam, Dave, Nick and Greg take a look at new release films ‘The Amazing Spider-Man 2: The Rise Of Electro’, ‘The Invisible Woman’, ‘Only Lovers Left Alive’, ‘Chinese Puzzle,’ ‘The Other Woman,’ ‘The Crossing,’ ‘Like Father Like Son’ and ‘Canopy’. This episode also features interviews with Cameron Diaz, Leslie Mann, Emma Stone, Andrew Garfield and Jamie Foxx.
Also make sure you listen for your chance to win a double pass to see The Crossing thanks to Umbrella Entertainment.
To listen to the show you can download it for free from our Podcast Channel – Listen/Download here
TONIGHT ALIVE have today released their electrifying new single “The Edge,” written exclusively for the Australian release of the new movie The Amazing Spider-Man 2: The Rise Of Electro, opening in Australia on April 17th. The highly anticipated official music video for “The Edge” has just premiered on VEVO – check it out below.
Since teasing the track online since the single announcement on March 21st, Tonight Alive fans have been anxiously awaiting the release of the single and accompanying video in its entirety, with the band’s social media accounts exploding and the teaser itself receiving in excess of 160K streams. The hype has been garnering the band attention not just domestically but around the world, helped along by their sold out tour across the UK with All Time Low, and throughout the US with Taking Back Sunday and The Used.
With “The Edge” being written by Tonight Alive exclusively for the movie, the song will be featured on The Amazing Spider-Man 2: The Rise Of Electro Original Motion Picture Soundtrack in Australia, New Zealand, the U.K. and Ireland.
“The Edge” sits amongst top level global talent on the soundtrack, alongside “It’s On Again” by Alicia Keys featuring Kendrick Lamar, written exclusively for the film by Pharrell Williams, Alicia Keys, Hans Zimmer and Kendrick Lamar, and produced by Pharrell Williams.
The Amazing Spider-Man 2: The Rise Of Electro Original Motion Picture Soundtrack is released in Australia on Friday, April 18th on Columbia Records and Madison Gate Records, through Sony Music Entertainment Australia.
With the track now available to purchase globally, Tonight Alive explain their excitement as they prepare to be launched further into the international spotlight. ““The Edge” is a song we’re really proud of and as a band we are very flattered to be a part of such a huge legacy that is The Amazing Spider-Man 2: The Rise Of Electro. It is our hope that not only Tonight Alive fans, but all fans of the comic and movies will enjoy the track too!”
About The Amazing Spider-Man 2: Rise Of Electro
We’ve always known that Spider-Man’s most important conflict has been within himself: the struggle between the ordinary obligations of Peter Parker and the extraordinary responsibilities of Spider-Man. But in The Amazing Spider-Man 2: The Rise Of Electro, Peter Parker finds that his greatest battle is about to begin.
It’s great to be Spider-Man (Andrew Garfield). For Peter Parker, there’s no feeling quite like swinging between skyscrapers, embracing being the hero, and spending time with Gwen (Emma Stone). But being Spider-Man comes at a price: only Spider-Man can protect his fellow New Yorkers from the formidable villains that threaten the city. With the emergence of Electro (Jamie Foxx), Peter must confront a foe far more powerful than he. And as his old friend, Harry Osborn (Dane DeHaan) returns, Peter comes to realize that all of his enemies have one thing in common: Oscorp.
Starring Andrew Garfield, Emma Stone, Jamie Foxx, Dane DeHaan, Paul Giamatti and Sally Field. Directed by Marc Webb. Produced by Avi Arad and Matt Tolmach. Screenplay by Alex Kurtzman & Roberto Orci & Jeff Pinkner. Screen Story by Alex Kurtzman & Roberto Orci & Jeff Pinkner and James Vanderbilt. Based on the Marvel Comic Book by Stan Lee and Steve Ditko.
The Amazing Spider-Man 2: The Rise Of Electro is in Australian cinemas from April 17th #SpiderMan
www.theamazingspiderman2.com.au.
The Amazing Spider-Man 2: The Rise Of Electro Original Motion Picture Soundtrack is available to purchase in
Australia from April 18th.
