Warner Bros News

Review: The Edge of Tomorrow (And The Middle of Tom Cruise)

10:33 PM 6/4/2014 by Sara Vizcarrondo
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Edge of Tomorrow uses Tom Cruise to cleverly riff on the 'universal soldier,' resulting in a movie that’s more exciting than Oblivion but not as funny as Groundhog’s Day. Based on the Hiroshi Sakurazaka novel “All You Need is Kill,” the film takes place after an alien invasion has begun expediently dispatching the earth’s population.

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Warner Bros Lands Mitch Albom Novel ‘The First Phone Call From Heaven’

deadline.com – EXCLUSIVE: Warner Bros has acquired The First Phone Call From Heaven, the bestselling novel by Mitch Albom that was published last November by Harper. Denise DiNovi will produce. The book opens on a morning in the small town of Coldwater, MI, when the phones start ringing and the voices say they calling from heaven. 8 years 28 weeks ago via jetli

Alfonso Cuarón Credits Everyone Else: The Director of Gravity on Influences and Coconspirators

4:39 PM 11/7/2013 by Sara Vizcarrondo
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“Chivo is spectacular! He’s so technically prolific he’s transcended everything; now he’s just looking for truthfulness.” This is what director Alfonso Cuarón says about his cinematographer, Emmanuel Lubezki, a director of photography he’s worked with since his first short in 1983 (Vengeance Is Mine), but whose name came to the fore only after working on Terrence Malick’s swirling epic The New World.

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Warners, Chernin Developing Film Set Around Gumball 3000 Race

variety.com – Warner Bros. and Chernin Entertainment are revving up for the starting line as the two are coming together to develop a film that revolves around the famous British Gumball 3000 race. Chernin Entertainment recently acquired the rights and will produce the film with Warners distributing. The Gumball 3000 is an annual British race that covers... 9 years 1 week ago via brucelee

We’re the Millers: A Midnight Movie at 4pm

2:36 PM 8/7/2013 by Sara Vizcarrondo
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Jason Sudeikis is a bumbling Denver pot dealer whose boss (Ed Helms) demands he smuggle two tons of weed across the Mexican border to repay a debt. If you buy Sudeikis as a black-marketeer (he’s an Ivy League stripper at best) maybe you’ll buy Helms as a killer whale collecting king pin.

Review: Hangover III (Ready for Rehab)

10:25 AM 5/23/2013 by Sara Vizcarrondo
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Todd Phillips and the Wolfpack (Ed Helms, Bradley Cooper and Zach Galifianakis) are officially done getting hung over. Since they began, their exploits have gone from dangerous to defeated and at this point they’re ready to be done.

Review: The "Great" Gatsby

9:30 AM 5/10/2013 by Sara Vizcarrondo
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Baz Lurmann’s Great Gatsby is garish and bright, chocked with the bling you hoped he’d throw around like it’s cheap—and it is. His high-budget/low-brow spectacles are perfect for reproducing the moral vacuum of F. Scott Fitzgerald’s book, and for all its anachronisms, Lurmann’s reproduction couldn’t be more loyal to the text:

Some Feelings on Luhrman and Gatsby

1:45 PM 4/21/2013 by Sara Vizcarrondo
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May 3rd the director who “decoded” gaslight melodrama and Shakespeare with uber-modern over-the-top-ness, will perplex and delight with his revisionist play on Fitzgerald. I can’t wait. Ironically, it’s not a subject I love. I don’t have special affections for the book or for director Baz Luhrmann (Moulin Rouge, Romeo + Juliet), it’s just a perfect storm of form and function, old and new, and every body likes a perfect storm.

Review: The Incredible Burt Wonderstone (All Stage Name, No Delivery)

11:12 AM 3/15/2013 by Sara Vizcarrondo
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In the beginning (of the movie) Burt Wonderstone (Steve Carrel) and Anton Marvelton (Steve Buscemi) are comfortably perched at the top of the illusionist-food chain. They have a “Magical Friendship” (that’s what they call their show), but when their attendance drops their boss drops them, leaving their spot on the Las Vegas strip open for any vulture to take.

Review: Jack the Giant Slayer (Jack is This Year’s John Carter)

5:10 PM 2/28/2013 by Sara Vizcarrondo
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X-Men provided director Bryan Singer a career expansion that’s finally imploded on him. The savvy he lent The Usual Suspects seems a distant memory in the face of his newest film, a remake of 1962’s cult-y Jack the Giant Killer. He preserves that film's awkwardness but not much else.
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