Zack Snyder’s Man of Steel also stars Henry Cavill, Amy Adams, Kevin Costner and Diane Lane.

Source: Latino Review

Jor-El was famously played twice (or three times if you count the cameo in Superman Returns by digital recreation) by Marlon Brando. Shooting is to start soon.

Wu Tang! Wu Tang! Russell Crowe! Russell Crowe!

It’s an incredibly interesting bit of casting. With Quentin Tarantino and Eli Roth producing, faith has been restored in what is rapper/composer RZA’s directorial debut. Maybe filming in China will summon the spirits of the Shaw Brothers? Thoughts?

“If you want a Master and Commander sequel I suggest you e-mail Tom Rothman at Fox and let him know your thoughts.”

If you have a solid home theater system, I recommend re-watching Master and Commander on DVD or Blu-ray in the DTS audio. Wow. I’d dig another naval battle, in which at the end of that 2003 film, left it has an open ending. Thoughts?

Source: 24 Frames

The Film:

The Blu-ray features the theatrical cut (running at 140 minutes) and a new unrated Director’s Cut (running at 156 minutes). I’ve seperated my review for both.

(The Theatrical Cut): It shouldn’t be any surprise to anyone that the character of Robin Hood would get a fresh reboot to kick start a new movie based on the oft-told character. And I do mean oft-told. The timeless tale of an archer who steals from the rich, only to give to the poor, has seen its fair share of films. Maybe not as extensive as Dracula or Sherlock Holmes, but still the legend of Robin Hood has peaked its head up countless times since the birth of cinema. What’s new to say this time around? This Robin Hood tries to demystify the legend, and ground it into reality, providing the origins to infamous outlaw, amidst politics, religion, and history. Funny, considering the film builds itself on he tiniest shreds of facts. Despite that, it holds itself up well on those pebbles of information, only to fall to one knee with its thematic like-mindedness of Gladiator.

Ridley Scott is a fine director through and through, yet this film is curiously an amalgamation of the Robin Hood myth, and his two previous historical epics, the aforementioned Gladiator and Kingdom of Heaven. This tale doesn’t soar like the first Scott/Crowe collaboration in Gladiator, but it tries, and for the first hour, most of this new revisionist look at Robin Hood works. At first, we’re caught up in this world of 12th Century England, with Robin Longstride (Russell Crowe) battling in the trenches in the Third Crusade. Arrows flies, happily, and even the political maneuvering of France’s position into the throne of England is intriguing. The look of the film serves this well, as only a Scott film provides.

But in the second half of the film, plenty of questions and issues arise. The film crumbles somewhat, much like his Kingdom of Heaven did with too much on its plate. Robin Longstride returns home to Nottingham and picks up the Maid Marian, his Merry Men pop up from time to time, and the errors of the new King’s taxation rules come to light. Whereas in Kingdom of Heaven crashes under that film’s weight of politics and religion, as Scott tried to draw parallels to our times, DVD Producer Charles de Lauzirika resurrected that film in a better, longer cut. I’m not sure if that will work for Robin Hood, although I’m game for his attempt. What hurts Robin Hood isn’t deleted material (but more on this later,) but half-done plot lines that conclude for a possible sequel. The second half of the film must build the romance between Robin and Marian, begins his outlaw status as we all know and love, and show his disconnect from the King’s wishes. Plus, don’t forget about the politics and the epic battles.

So, when does he shoot his arrows?

It’s too much and by the end, we are left somewhat dissatisfied by the commonality between this film’s structure and Gladiator. Also, Robin Hood as the myth and character is great, but this revisionist look misses the fun of the character for most of the film. We get it in bits and pieces. It’s not enough that the film sets up and teases the frolicking fun of the soon-to-be adventures of Robin Hood, because its dead set seriousness could have used a page or two from Michael Curtiz and Errol Flynn.

(The Unrated Director’s Cut): While this new cut doesn’t radically change one’s perception of the film like the longer Kingdom of Heaven did, however, it features new scenes that do help Scott’s take on the legend. Deeper and richer interactions between Robin and Marion, some increased in violence, and a little clairty in the overall story with some scenes here and there, that allows the film – with everything Scott wanted – to breathe and not feel so stiff. A subplot is included in this cut of the ‘Runaways of Sherwood’ that adds more to the film than you’d expect. While not a radicial inclusion, this Unrated Director’s Cut is the preferred version to see and makes for a little less aggrivating time with Scott’s version of the legend.

The Blu-ray:

Audio/Video: Universal offers up another great HD presentation. Deep level of details, fine clarity in facial features, a great looking balance of the colors, however muddy and muted in the intended vision, makes for a great looking HD picture. The DTS audio is booming as well and as expected. The surround speakers are in full swing, from the action and the ambience, all makes for an engulfing experience.

Director’s Notebook: This is a pop-up feature that comes along periodically in the Theatrical Cut from Ridley Scott, as in concept designs, stills, production featurettes, and it’s rather EPK, if not a tad cool, since it’s Scott.

Rise and Rise Again: Running a bit over an hour, this is a far more personal and in-depth look at this production with great interviews and on-set footage. Best of all, there isn’t a shred of promotional element to it, as it’s rather honest from the earliest incarnation of the idea to the final film.

Deleted Scenes: Even more scenes left out, interestingly, as I found a few to be pretty good. Optional commentary from the editor, Pietro Scalia, is offered. The Art of Nottingham is an extensive stills galery and a few TV Spots and Trailers round out the extras.

Conclusion: A devisive, yet interesting take of the legend that works best in the Unrated Director’s Cut than it did originally, all on a superb Blu-ray from Universal.

The Film: Rating: 3 out of 5 stars

The Blu-ray: Rating: 4 out of 5 stars

Russell Crowe has signed on to co-star with Wu-Tang founder, the RZA, is The Man With the Iron Fist.  RZA will play a weapons-making village blacksmith in feudal China—and as for Crowe, RZA doesn’t want to say too much. “I won’t spoil it for you, but Russell’s gonna be the baddest man alive,” he told reporters yesterday at the VMAs.

Although RZA has acted in films like  American Gangster this will be his directorial and writing debut.  He had help developing this project by Quentin Tarantino and Eli Roth, with Eli Roth now a co-writer and co-producer.

In an interview from 2008, Eli Roth stated, ” The martial arts movie will be heavily influenced by the work of Quentin Tarantino, and feature lots and lots of blood. RZA’s script is amazing. He has been studying directing with Tarantino for years, and he’s really ready to get behind the camera. His impact on rap music and hip hop culture cannot be measured, and he’s ready to add his own unique style and vision to the world of film.”

This adds onto the ever-growing trend of grabbing eighties television shows/films, spinning them around and making some fast cash in the form of said new feature. Already attached to produce the feature is Alex Siskin, Mace Neufeld and the production company Escape Artists. The hunt is still on for a writer and director on this film.

Crowe will appear once more this year on the big screen in the Paul Haggis film The Next Three Days. The upcoming thriller, centered on a married couple who’s life is turned upside down when the wife is accused of murder, comes out in theaters on November 19th.

We now divert our attention to the chick flicks of the weekend, but of course it’s no real surprise that Letters to Juliet landed gracefully in third place with Just Wright close behind. The Summit Entertainment distributed film pulled off a heavy but sweet marketing campaign, that made a few aware of Letters to Juliet for a longer time compared to Just Wright. Despite all of that marketing hoo-ha, Letters to Juliet made $13.7 Million while Just Wright wrangled in $8.5 Million. Continue reading on to check out the rest of the totals below from Box Office Mojo.:

Weekend Box Office (May 14-16)

1. Iron Man 2  ($53 M)
2. Robin Hood  ($37.1 M)
3. Letters to Juliet  ($13.7 M)
4. Just Wright  ($8.5 M)
5. How to Train Your Dragon  ($5.1 M)
6. A Nightmare on Elm Street  ($4.7 M)
7. Date Night  ($4 M)
8. The Back-Up Plan  ($2.4 M)
9. Furry Vengeance  ($2.3 M)
10. Clash of the Titans  ($1.2 M)

It’s time to bring in more action for the next weekend as the SNL skit-turned-feature film MacGruber comes out this Friday. DreamWorks Animation pulls out the big guns with the IMAX 3D and regular theater release of Shrek The Final Chapter. Following those two, are the limited releases of 180 South: Conquerors of the Useless and Racing Dreams.

“You’ve got dead ears, mate. You’ve seriously got dead ears if you think that’s an Irish accent,” snapped Crowe. After a short pause, Crowe would continue to talk about the film and the character, only to snapped back at Lawson. “B******s,” exclaimed Crowe after Lawson said there were hints of Irish in the accent. Storming off of the show’s set, Crowe added: “I’m a little dumbfounded you could possibly find any Irish in that character – that’s kind of ridiculous, but it’s your show.”

Below, is the audio clip from the show. Be forewarned that this is unedited.

Another summer film, another meltdown (remember Christian Bale’s infamous rant on set of Terminator Salvation?). I think the question was just, but perhaps ill-advised. Crowe maybe should have just laughed it off. What do you all think?

Source: Daily Mail

Ridley Scott is a fine director through and through, yet this film is curiously an amalgamation of the Robin Hood myth, and his two previous historical epics, the aforementioned Gladiator and Kingdom of Heaven. This tale doesn’t soar like the first Scott/Crowe collaboration in Gladiator, but it tries, and for the first hour, most of this new revisionist look at Robin Hood works. At first, we’re caught up in this world of 12th Century England, with Robin Longstride (Russell Crowe) battling in the trenches in the Third Crusade. Arrows flies, happily, and even the political maneuvering of France’s position into the throne of England is intriguing. The look of the film serves this well, as only a Scott film provides.

But in the second half of the film, plenty of questions and issues arise. The film crumbles somewhat, much like his Kingdom of Heaven did with too much on its plate. Robin Longstride returns home to Nottingham and picks up the Maid Marian, his Merry Men pop up from time to time, and the errors of the new King’s taxation rules come to light. Whereas in Kingdom of Heaven crashes under that film’s weight of politics and religion, as Scott tried to draw parallels to our times, DVD Producer Charles de Lauzirika resurrected that film in a better, longer cut. I’m not sure if that will work for Robin Hood, although I’m game for his attempt. What hurts Robin Hood isn’t deleted material, but half-done plot lines that conclude for a possible sequel. The second half of the film must build the romance between Robin and Marian, begins his outlaw status as we all know and love, and show his disconnect from the King’s wishes. Plus, don’t forget about the politics and the epic battles.

So, when does he shoot his arrows?

It’s too much and by the end, we are left somewhat dissatisfied by the commonality between this film’s structure and Gladiator. Also, Robin Hood as the myth and character is great, but this revisionist look misses the fun of the character for most of the film. We get it in bits and pieces. It’s not enough that the film sets up and teases the frolicking fun of the soon-to-be adventures of Robin Hood, because its dead set seriousness could have used a page or two from Michael Curtiz and Errol Flynn.

Rating: 2.5 out of 5 stars

Robin Hood chronicles the life of an expert archer, previously interested only in self—preservation, from his service in King Richard’s army against the French. Upon Richard’s death, Robin travels to Nottingham, a town suffering from the corruption of a despotic sheriff and crippling taxation, where he falls for the spirited widow Lady Marion (Oscar winner Cate Blanchett), a woman skeptical of the identity and motivations of this crusader from the forest. Hoping to earn the hand of Maid Marion and salvage the village, Robin assembles a gang whose lethal mercenary skills are matched only by its appetite for life. Together, they begin preying on the indulgent upper class to correct injustices under the sheriff.

Robin Hood charges into theaters on May 14th. Go on, check out the new trailer below.:

The story, penned by Brian Helgeland, is about an archer in the army of Richard Coeur de Lion who fights against the Norman invaders and becomes the legendary hero known as Robin Hood. Those in the cast include Russell Crowe, Cate Blanchett, Danny Huston, William Hurt, Mark Strong and Matthew Macfadyen.

Robin Hood charges into theaters on May 14th.

Official webstie for Ridley Scott’s Robin Hood

The story, penned by Brian Helgeland, is centered on an archer in the army of Richard Coeur de Lion who fights against the Norman invaders and becomes the legendary hero known as Robin Hood. Also in the cast are the talents of Cate Blanchett, Danny Huston, Kevin Durand, William Hurt, Mark Strong and Oscar Isaac.

Check out the new footage from this featurette below, coming out in theaters soon from Universal Pictures.: