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Minggu, 14 Juni 2015
09.10
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The numbers are in, and to little surprise, the much-anticipated release of cult favorite "Jurassic World" has blown away the box office this weekend, grossing a staggering $82.3 million, according to reports.
But as critics buzz over the film's potential bank as the biggest movie box office opening of all time, some dinosaur fans are conferring about the credibility of the science in the movie – and the possible confusion over blending fact and fiction.
"I feel like paleontologists fear they may get a lot of dumb questions because of the dinosaurs in this film," fossil enthusiast Brian Switek told the New York Times.
"Part of the reason the director Colin Trevorrow's dinosaurs have such potential to confuse is because not everything about them is scientifically far-fetched," the report continued.
For years, "Jurassic Park" creators have trumpeted the amount of careful research that has poured into creating some of their dinosaurs' features. In its latest film, for instance, the interior "palatal" teeth of a mosasaur impressed many experts. "That really shows an attention to detail," a paleontologist told National Geographic.
So what mistakes were made in "Jurassic World?"
Why then, do paleontologists continue to express their fondness for the Jurassic Park movie series in the face of such striking inaccuracies? "If you're a young paleontologist, and you have a job, the movies have some part in that, frankly," Smithsonian paleontologist Matthew Carrano told the Washington Post.
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03.20
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Meet Vasudha, young mom of little boy, making a hard living in the hospitality business; Hari, her husband, burdened with a dark past; and Arav, handsome tycoon, thirsting for romance. You are promised a touching love story; you get zilch.
When the trio of Vidya Balan, Rajkummar Rao and Emraan Hashmi — competent actors all, Rao even better — comes together, you expect something. At the very least, a tug at the heartstrings. Because a 'prem kahani' is nothing if it doesn't touch you deep inside, and make you yearn.
What 'Hamari Adhuri Kahani' does is the exact opposite. It purports to be an unusual triangle, and perhaps on paper, it may have come off as one. But this is a shockingly empty film, with the entire cast desperately 'acting away', and not one sentiment that feels real.
And that can be put down to the terrible writing. Jerky, stagey sequences are piled upon each other. Characters are arrayed against static backdrops, and made to spout the kind of dialogue which remind you of creaky yesteryear movies best forgotten.
This is the kind of part–a woman ricocheting between a brutish husband, a noble lover, and a son –that Vidya Balan could have aced. She tries hard, her eyes swimming frequently, but drowns in such lines as these: 'main kisi aur ki miliqiyat hoon.' 'Miliqiyat'? Seriously? In 2015?
Rajkummar Rao could have made something of his unfortunate trying to grapple with a situation not of his making, but he is given the worst strand, which takes him to Maoist-insurgency laden jungles, and incarcerates him in cells. Maoist? Don't ask. No wonder the poor man is left mumbling and stumbling, breaking off occasionally to threaten Vidya Balan with this priceless line: 'pati hoon main tera'. Just in case she's forgotten this crucial fact.
And Emraan Hashmi, whom I find underrated because he can do more, is saddled with sharp suits and first class flights and faithful assistants, and not much more. But he also gets many dialogues which he blurts out dutifully, for our delectation. He tears out of his about-to-leave flight, skidding to a halt in a flower shop, saying: 'yeh phool mujshe kuch keh rahe hain', or words to that effect. We are as bewildered as his friend-and-Man-Friday, who has the most revealing line of the film – I don't get you, man, he says. We don't either.
Given his early track-record of creating engaging drama, Mohit Suri should have made a full meal of the film, but his material defeats him: it is not only half done, it's also not well begun.
If this was 'adhuri', I shudder to think what would have happened if it …continued »
This article forwarded via FORWARD RSS - http://forward.fullcontentrss.com If you no longer wish to receive email from Forward RSS, click here to unsubscribe: http://forward.fullcontentrss.com/unsubscribe.phpSabtu, 13 Juni 2015
09.10
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When George Lucas wanted to realize his dream of Star Wars 40 years ago he created Industrial Light and Magic to match his vision. Today, ILM has become a giant in special effects for the film industry and continues to push the limits of movie magic. Collin Brennan, Marco Della Cava, ILM, USA Today
Lucasfilm vice president of new media Rob Bredow operates a virtual camera on the ILMxLAB immersive stage. The viewer experiences the scene as through it were a real, three dimensional environment.(Photo: Greg Grusby)
SAN FRANCISCO — Industrial Light & Magic is taking the notion of DVD-extras to a whole other galaxy.
The special-effects company, which was founded 40 years ago this summer by George Lucas to create the illusions for Star Wars, will announce Friday a new team dedicated to bringing virtual- and augmented-reality experiences to the movies.
ILM's Experience Lab, or ILMxLab, will combine the technical assets of ILM, Skywalker Sound and Lucasfilm to create immersive experiences that allow fans to participate in their favorite movie worlds.
Although video games pegged to movies have promised a similar experience, this new tech will be different: non-competitive and using photo-realism rather than animation.
The division's debut products will be Star Wars-based and debut later this year. The company is also working with other filmmakers to bring their projects into the virtual space. Disney, which bought Lucasfilm in 2013 for $3 billion, may use the resulting assets for everything from marketing to theme park attractions.
"ILMxLab is all about us leveraging our skills across all platforms," says Lucasfilm President Kathleen Kennedy. "It's the Wild West out there with new frontiers, and we're all figuring out these new tools. Today, technology is in search of content. But we can bring an emotional experience to that technology."
ILMxLab's next-gen entertainment mission comes at a time when the U.S. special effects scene – which pioneering ILM once dominated to the tune of 16 Oscars – faces increasing challenges from rival companies in Europe and Asia that benefit from tax incentives.
ILMxLAB creative director John Gaeta demonstrates a prototype xLAB tablet experience to Lucasfilm's Hanna Gillis. (Photo: Greg Grusby)
"The period of American technological superiority in the movie business is gone," Lucas told USA TODAY in an interview. "You can get the same technology and people anywhere in the world now."
Enter ILMxLab, which is testing a variety of iPad- and Oculus Rift-based technology that allows movie aficionados to enter specific scenes of a movie and navigate through them at will.
ILMxLab executives say the tech is most likely to make its debut in association with J.J. Abrams' Star Wars: The Force Awakens in December.
"What we're aiming for is to open the two-dimensional world of the movies and allow fans to walk into those worlds with the same visual fidelity," says John Gaeta, ILMxLab's creative director. "All that George begat caused a reassessment of innovation from movies to video games. The next 40 years of ILM is about exploding that universe with tech once again. xLab is as attuned to Silicon Valley as it is to Hollywood."
In an exclusive demo for USA TODAY, Gaeta fired up a Star Wars-inspired scene where R2D2 and C-3PO are hiding from Storm Troopers in a dusty village. Instead of just watching the scene on a screen, a visitor holding an iPad can turn 360-degrees and see all around the main characters' world.
ILMxLAB's creative director John Gaeta tests a prototype immersive experience. The experience combines live performance capture with sound and interactive real-time 3D rendering, immersing the viewer in the scene. (Photo: Greg Grusby)
One room over, the same scene is played on a monitor while a visitor pops on a pair of Oculus Rift virtual-reality goggles. This time, the point of view is from on board an X-Wing fighter jet, which not only flies around the village but also responds to banking commands with head tilts.
The difference between a video game and ILMxLab's world are immediately apparent. Rather than the goal being beating a rival, the end game is to put the viewer inside the movie in order to explore story lines perhaps not pursued by the director in the feature film itself.
Says Kennedy: "With image-quality rivaling film, you'll be able to literally step into an alternate reality."
The speed and realism of the ILMxLab demo wasn't possible just a few years ago, but the combination of equipment such as tablets and VR goggles and the ability to store and stream massive data files in the cloud have changed the equation.
"Apple, Google, Intel, they all have moonshot projects around AR and VR, but they're still just figuring it out," Gaeta says. "Our standards for world-building are very high, and we intend to use our technology to give people experiences that they haven't yet dreamed of."
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03.20
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SINCE the dawn of time there were Minions.
At least, that's how the new animated film from the creators of Despicable Me have chosen to tell the back story of their yellow, bean-shaped creations.
The impulsive yet charming creatures became a viral meme sensation thanks to their unique brand of gibberish and their many scene-stealing moments in Despicable Me and Despicable Me 2.
The new film Minions traces the evolution of the cute characters from single-celled organisms to the goggle-wearing henchmen who live to serve, but inadvertently thwart, a series of evil masters.
After accidentally destroying all of their masters, including a T Rex, Genghis Khan, Napoleon and Dracula, they decide to isolate themselves from the world and start a new life in Antarctica. But by 1968, the lack of a master drives them into depression.
Kevin, with Stuart and Bob in tow, sets off to find a new evil boss for his brethren to follow.
At Villain Con they meet Scarlet Overkill (voiced by Sandra Bullock), the world's first super-villainess, and compete to become her loyal servants.
In this Q&A, teddy bear-toting Minion Bob talks about travelling with Kevin and working for some of the world's most notorious super-villains.
Q: How did it feel to leave home?
A: I was scared, but I had to be brave for Kevin and Stuart and Tim, my emotional support bear. He's so brave. He helps other people be brave. Can you imagine?
Q: What was the most memorable part of the journey?
A: All. The. Bouncy. Beds.
Q: What was the scariest thing about Villain Con?
A: I got separated from Kevin and Stuart for a little (while). I looked up and realised I was holding a Viking's hand. He was really nice though. He helped me find them again. He's one of my best friends now. He actually gave me a spiked club that he told me he used to wipe out all the battle boars in Scandinavia. Whatever that means…
Q: Who is the worst super-villain you've served?
A: It was Dracula, who never wanted a hug.
Q: What is it like travelling with Kevin as your leader?
A: He's just the best. And he's nice. And he's smart. And he always knows what time it is. And he's tall, so Stuart can hide behind him, and I can hide behind Stuart.
Q: What's your favourite bedtime story?
A: I like Goodnight Banana. It goes "goodnight banana, goodnight banana, goodnight old banana whispering hush". Or The Tortoise and the Banana. It's about how the tortoise was really slow but the banana is slower because he doesn't have arms or legs so he can't move.
Q: Do you take your teddy bear everywhere?
A: No, no. teddy bear takes me.
Minions opens nationally on Thursday.
Minions
Stars: Sandra Bullock, Jon Hamm, Allison Janney, Michael Keaton, Steve Coogan.
Directors: Kyle Balda, Pierre Coffin
Rating: PG
Reviewer's last word: Despite talking gibberish, the yellow sidekicks from the Despicable Me movies have won a place in the hearts of audiences worldwide. Kevin, Stuart, Bob and their fellow minions now have their own film tracing their lives before Gru.
Star profile: Sandra Bullock
Quirky fact: Is the only actress to be nominated for and win both an Oscar for Best Actress and the Razzie for Worst Actress in the same year (for The Blind Side and All About Steve).
Best known for: The Blind Side, Gravity, Speed.
If you like this movie you'll like these: Despicable Me, Megamind, Inside Out.
Quote: "I've learned that success comes in a very prickly package. It's what you choose to do with it, the people you choose to surround yourself with. Always choose people that are better than you. Always choose people that challenge you and are smarter than you. Always be the student. Once you find yourself to be the teacher, you've lost it."
This article forwarded via FORWARD RSS - http://forward.fullcontentrss.com If you no longer wish to receive email from Forward RSS, click here to unsubscribe: http://forward.fullcontentrss.com/unsubscribe.phpJumat, 12 Juni 2015
09.10
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Zootopia is a seemingly unconventional Disney animated feature released during the would-be off season. That's what makes it interesting and potentially exciting.
Walt Disney dropped a trailer for Zootopia yesterday. It was a barebones teaser, with just the premise being laid out via Jason Bateman narration with just a bit of character introductions offered on a white screen. With no hint of plot or conflict, this was an announcement teaser for a film that wasn't really on many peoples' radars. It takes place in a world without humans, whereby animals of all kinds are now fully anthropomorphized. It's odd that they had to explain that as (for example) the 1970′s Robin Hood needed no explanation. But maybe Disney was tired of having to answer all of the horrifyingly disturbing questions concerning the Cars/Planes universe (note: Planes: Fire and Rescue is the best Planet of the Apes sequel ever made). What is interesting is that the film isn't a grand adventure saga or sweeping fairy tale epic. It is basically a crime comedy, a "reluctant partners" story about a fox (Jason Bateman) who is framed for a crime and the bunny (Ginnifer Goodwin) who must bring him in and presumably discovers the truth and helps clear his name. If that doesn't sound like a typical Walt Disney animated feature in this day-and-age, that's because Zootopia is a rare in-house Walt Disney Studios animated "B-movie."
Zootopia comes out on March 4th, 2016, and it is not remotely the would-be main event for Walt Disney next year. They've got Finding Dory coming June 17th, 2016 and then they have the (presumably) sweeping Polynesian-set period piece adventure Moana for November 23rd, 2016. Of those three, you can probably guess which one is least likely to get a Best Animated Feature Academy Award nomination come early 2017. It's been awhile since Walt Disney put out what you could consider (by their standards) a B-movie cartoon. Just in terms of recent history, this goes back to around 1995, where they had the glorified DTV offering A Goofy Movie in the spring before the big summer release (Pocahontas) and the Pixar spectacular Toy Story over Thanksgiving.
But that doesn't mean that every would-be B-movie is a glorified TV adaptation akin to Return to Neverland or The Tigger Movie. Back in 2000, the big event was Dinosaur while Disney unleashed the offbeat and unconventional (and famously troubled) The Emperor's New Groove in mid-December. That brings up another important point: The would-be second priority feature in the box office food chain sometimes becomes the top dog in terms of quality. Quick, do you prefer Dinosaur or The Emperor's New Groove? That's what I thought. And while I may be in the minority opinion, I'm the freak who loves Ratatouille but loves Meet the Robinsons even more. Now to be fair, over the last twenty years, the majority of so-called B-movies (which for the record is my own simplistic labeling) were theatrical pictures that barely went to theaters or came from other production houses. They were films like Gnomeo and Juliet, Planes, and Mars Needs Moms. Obviously the Robert Zeme ckis-produced or directed motion-capture films were not cheap, but few will argue that A Christmas Carol was more of a priority for Walt Disney in 2009 than Up.
Having said that, the positioning of A Christmas Carol in early November did (I have long argued) real damage to Walt Disney's The Princess and the Frog which was prevented from opening wide on Thanksgiving weekend like it darn well should have. But generally the various animated projects don't clash with each other. It's not like The Wild caused any problems for Cars back in 2006. What's interesting about Zootopia is that it is indeed a pure Walt Disney production released outside of the prime season (early March, just as The Wild was in mid-April), which is rather unusual for the so-called off-season release. Disney hasn't released a big-scale in-house animated production in the off-season since Meet the Robinsons back in March of 2007. Truth be told, Disney spent much of the last 10-15 years (post-Lilo & Stitch, pre-Princess and the Frog) in a place where the Walt Disney animated feature itself was a glorified B-movie companion to the year's Pix ar release, with the likes of Chicken Little and Bolt being presented as "the one that gets Disney its luster back." Yes, Chicken Little was a big release and a solid hit ($314m worldwide on a $150m budget) in November, 2005, an attempt to score big with CGI animation and establish a new mascot character outside of Pixar and the princess line-up.
It says something that Disney is strong enough in the aftermath of Frozen and Big Hero 6 to again strong enough to offer an A-level Disney, an A-level Pixar, and a B-level Disney animated feature in the same calendar year. And the reason that this "matters" beyond my own curiosity is that the so-called B-movie allows that much more variety in terms of the kinds of animated stories and kinds of animated characters Disney can create. The likes of Zootopia doesn't necessarily have to be a grand and sweeping adventure in the classic Disney tradition or what-have-you. It can be a crazy word-play based comedy like The Emperor's New Groove, a dazzlingly creative and heartbreaking time travel adventure like Meet the Robinsons, or it can be a delightful throwback like Winnie the Pooh. Zootopia may not be the best or grandest Disney animated feature in 2016. But by virtue of its lower profile status and its existence as one of three, it has the freedom to be a little off beat, a little quirky, a little out of the conventional Disney wheelhouse, as for that matter do the other two films by virtue of the same volume. Maybe Zootopia will magically end up being better than Finding Dory and Moana. All due respect, when is the last time you quoted Dinosaur?
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03.40
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03.20
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A calling card film if ever there was one, Alfonso Gomez-Rejon's Me And Earl And The Dying Girl applies the off-beat camerawork and meta-movie high jinks of his not-quite-remake of The Town That Dreaded Sundown to a geek coming-of-age story. Its values are pure film school: abrupt, artificial camera movements; unbroken takes that draw attention to their length; references that feel less like homage than compulsive listing. The exam-like "this is what I know, this what I can do" mentality produces plenty of zany aesthetic choices, but at the expense of qualities like character; this is one of those cases where the means largely obfuscate the ends, which aren't that interesting to begin with. Which would be fine, if Gomez-Rejon—an American Horror Story veteran who spent time as an assistant to Alejandro González I� �árritu and Martin Scorsese—was more of a full-fledged stylist. A feature-length tribute to great directors with no direction of its own, his second feature is the kind of self-consciously quirky, slapdash movie that still leaves a viewer eager to find out what its director will do next.
Adapted by Jesse Andrews from his own novel, Me And Earl is set over the course of a school year in Pittsburgh, as senior Greg (Thomas Mann) befriends Rachel (Olivia Cooke), a girl with leukemia, and hangs out with his lifelong best friend, Earl (R.J. Cyler). Greg is an amalgam of blank-slate white male coming-of-age protagonist tendencies and college-cool tastes; Rachel and Earl are single-trait characters—terminally ill and black, respectively—that only function as reflections of Greg's maturity, or lack thereof. The characterizations are broad across the board, though the grown-ups are generally more interesting: Nick Offerman doing a kind of mirror-universe Ron Swanson as Greg's dad, a sarong-wearing, cat-loving professor with a thing for exotic cuisine; Molly Shannon as Rachel's mom, never seen without a wine glass; Jon Bernthal as Greg and Earl's heavily tattooed history teacher. It's a cartoonish teen movie about aesthetic values, though not artistic ones, qui ck to point out its own breaks with convention (e.g., it isn't a love story, which qualifies it as fresh in today's YA adaptation landscape) and chock-full of the kind of moves that get teenagers interested in filmmaking: straight dollies, whip pans, jokey title cards, self-aware voice-over narration.
Though it's refreshing to see a new American indie that puts this much stock into form, thinking outside the handheld-shot-reverse-shot box is only the first step toward a personal vision. No amount of arty compositions (courtesy of Stoker and Oldboy's Chung Chung-hoon) can bring the relationship between Greg and Rachel to life, and one eventually begins to think of the plot—which finds amateur filmmakers Greg and Earl trying to make a movie for their new friend—as the thing that's getting in the way of the quotes and name-checks that are the movie's real raison d'être. There are send-ups of Andy Warhol's Screen Tests, Powell and Pressburger's Archers production company logo, and Errol Morris' Interrotron interview system; hand-made parodies of A Clockwork Orange, The Conversation, and Breathless; semi-ironic quotations of the scores to Vertigo and Th e 400 Blows; and so many references to Werner Herzog that he could qualify for fourth billing. Though fitfully funny, these can't mask the movie's fundamental emptiness. The climax, set to Brian Eno's "The Big Ship," pulls out the ultimate young film-buff move by using a sublime piece of music to prop up a scene—basically a series of wordless reaction shots—that doesn't work emotionally. For better or worse, it feels like the movie its protagonist would make, with plenty of movie-hip gestures toward nothing in particular.
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09.10
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A Blackhawks playoff series apparently doesn't begin until they're down two-games-to-one. No one knows why. It just does.
Now stop asking questions and watch the rest of the comeback after the Hawks's 2-1 win in Game 4 of the Stanley Cup Final:
1. This is what the Blackhawks do. It might not be the way they'd choose to win a Stanley Cup, but it has become their way to fall behind after the first three games of a series before taking over.
Five times in the last three years, the Hawks lost two of the first three games of a series, but came back to win four of them.
They did it again in this Stanley Cup Final, and have begun their customary comeback. The Hawks might not start games on time, as Joel Quenneville describes their lousy opening minutes, but they're certainly on Hawks Standard Time when it comes to taking a series.
The Hawks are 41-14 in Games 4-7 under Quenneville, 23-6 since the start of the 2013 postseason. Going forward, they are 27-8 in Games 5-7 since the start of the 2009 playoffs, 13-3 in the last three years.
This is the back nine Sunday at Augusta. This is when these masters make smarter adjustments and outplay opponents. This is what the Hawks do.
But this series against this opponent is not necessarily the way they do it, which remains a troubling thing.
The Hawks have lost more periods than they've won, which is not completely unexpected with the way these guys go about their playoff business. The Hawks are seeing a team like themselves, except this one has played the speed game better.
The Lightning have done a terrific job of pressuring the Hawks on the forecheck, forcing them to pass earlier than they want and checking through the middle of the ice to cut the puck-moving options in half.
When's the last time you saw the Hawks work their beloved transition game with that quick turn inside their blue line followed by that diagonal breakout pass at the Lightning line?
I'll hang up and listen for Quenneville to change line combinations again.
The Lightning are playing the boards with discipline and confidence because the Hawks repeatedly and sometimes stubbornly continue to use the walls for outlet options that simply haven't been there.
The Hawks shouldn't be surprised at this point. Hawks forwards should be coming back harder and quicker to give their defensemen other breakout options.
"Everybody talks about how offensive they are,'' Hawks center Brad Richards said, "but they're way better than anybody imagined at checking and trying to frustrate you. They're the tightest-checking team we've played all year.
"Hopefully we've figured out that we have to be just as patient.''
It's expected that at this point the Hawks have figured out the Lightning and will go about beating them. Again, it's what they do.
But they haven't faced the prospect of doing it in a final against an opponent that wants to skate instead of punish the way the Bruins did in 2013 and the Flyers did in 2010.
The Lightning have outskated and outplayed the Hawks for much of this series. They're winning most of the 50/50 pucks because they're outworking the Hawks, who turned over the puck a thousand times in the third period of Game 4 alone, many by Jonathan Toews.
The Hawks look tired. Perhaps the physical abuse administered by the Ducks in seven games last series has caught up them.
Or perhaps the Hawks are feeling the effects of the enormous number of games they've played the last three years, particularly high-stress games that included half the roster playing half a world away in the Olympics.
I think the Hawks know they're lucky to be tied now. They sound like they know it because they repeatedly say they haven't played their best game yet. They've said that after every game, even their two wins.
And that's the thing. They have two wins, same as the team that has looked better than they have. Being lucky, then, actually is a positive.
The Hawks haven't played anything close to a dominating game, but these remarkably resourceful players are two wins away from their third Cup in six years. It's what they do.
2. The Corey Crawford scrapbook from the last 120 hellacious seconds of Game 4:
-Crawford came out of his crease to blocker away Victor Hedman's slap shot;
-Crawford covered his left post as Hedman fired a wrister from below the circle;
-Crawford robbed Steven Stamkos point-blank in the final minute, getting his left pad on a shot he knew the Lightning sniper couldn't lift.
-With about 20 seconds to go, Crawford stopped Anton Stralman's slap shot from the right point through several screens.
-As Tyler Johnson, the leading goal-scorer in the playoffs, pounced on Stralman's rebound in the last handful of asphyxiating seconds, Crawford snapped his pads together to smother a shot destined for five-hole heartbreak.
Crawford had some help out front in those last two minutes, most notably from Brent Seabrook, who got a piece of a Stamkos' shot that would sail wide of Crawford's right post. Stamkos fired another shot wide in the final minute, as did Alex Killorn and Nikita Kucherov. Brandon Saad and Duncan Keith each blocked a shot by Stralman.
Consider that the aforementioned assault followed a 25-minute stretch in which Crawford faced just four shots.
In all, Crawford stopped 24 shots, 11 of them considered high-danger chances. Crawford rebounded from criticism and a soft goal or two, depending what you think of deflected shots, to assert himself in aggressive ways.
Quenneville called it a "goalie win. You could make that case in the last two minutes alone. It certainly wasn't a coaching win. See the next item for details.
3. Quenneville decided to get cute.
The Hawks coach instructed his players to skate with their regular linemates during pregame rushes, but they all knew this was a ruse.
When the game began, they would skate in wildly different combinations.
They started Andrew Shaw between Patrick Kane and Brandon Saad, a line that line racked up four goals and 19 points in the last three games against the Kings in last year's Western Conference finals.
But Shaw is not a center and can't play one on TV despite last year's blip. He has proven it regularly and as recently as the last series when Quenneville started the whole cute thing by scratching Antoine Vermette and Teuvo Teravainen against the Ducks.
He got even cuter Wednesday night when he changed every line. Every single line. He even messed with the bottom two lines that had done the majority of the Hawks scoring this series.
Jonathan Toews was skating with Marian Hossa and Patrick Sharp. Vermette centered Teravainen and Andrew Desjardins. Then Vermette centered Brad Richards and Kris Versteeg. Then Marcus Kruger centered I don't know who because I'm not sure because I lost track.
One thing I could keep track of, however, were Hawks shots on goal.
Zero.
For the first seven-plus minutes, the Hawks managed zero shots against a 20-year-old backup goalie who was making his first career start in Game 4 of the Stanley Cup Final on the road.
Cute, cute, cute.
Lightning starter Ben Bishop not only didn't start, but didn't even dress because of what appears to be a groin injury. Andrei Vasilevskiy took the net in his place, and the Hawks made it as easy on him in Game 4 as they did in the third period of Game 2.
That's what happens when there's no continuity in any line that has played together in the final.
The Hawks couldn't complete one pass, so forget about moving the puck through the neutral zone for a clean and controlled entry into the Lightning's zone.
Nobody knew where anybody was going to be or supposed to be. Guys were running into each other's paths, if not actually into each other.
Quenneville said he changed all his lines to get some balance in the offense.
Congratulations. It worked. They were all an equal amount of lousy.
The Hawks managed just two shots in the first period, and this includes parts of two power plays.
"Joel like to mix and match,'' Sharp said. "As a series goes on, he looks for tendencies. Over the season, everybody has played with everybody. There's no excuses.''
If there are no excuses, then this was a bad coaching move followed by a worse response from players.
Quenneville eventually settled on some sane line combinations that stayed together, moving Richards back to center between Kane and Saad. See the next item for details.
4. Saad got the game-winner 6:22 into the third period, Kane got the assist, and Richards made two spectacular plays that went uncredited on the scoresheet but nothing happens without them.
In taking an offensive zone faceoff, Richards muscled Valtteri Filppula to the ice away from the puck as Kane and Saad changed sides of the circle. Kane jabbed the puck to Saad, who spun in the circle and cut to the net.
The reason Saad had a lane to get there was because Richards hooked Stralman's stick.
"I don't think I invented that play,'' Richards said, "but it worked.''
Vasilevskiy poke-checked the puck, but Saad was able to drag it across the slot and backhand the wobbling disk through Vasilevskiy's five-hole.
Saad, known as "mini-Hossa,'' now has a goal in each of the last two games. They've come with different linemates, but always in the tough areas. One goal completed the Hawks' most artistic play of the series, the other looked like he was back playing with a ball of tape on the driveway. Big plays in big games will get the restricted free agent paid this summer.
Sure hope he at least tips Richards.
5. Johnny Oduya played more than 25 minutes of Game 4, which is not unusual for one of the Hawks' "Fab Four'' defensemen.
But what's impressive is he did it with one good arm.
When he rimmed the puck around the boards with only his right hand on the stick in the first period, Oduya was showing everyone how badly injured his left arm is.
It appears Oduya suffered the injury in while breaking a fall in Game 3 after Kucherov kicked the back of his legs in a move cheap enough to make the Lightning winger an honorary Canuck.
Oduya was a question the day before the game, but living up to the warrior mentality that pervades the core of the Hawks defense corps, he still took three shots and finished a plus-1.
We saw why a defenseman with only three useful limbs is better than the supposed depth Stan Bowman has provided.
The Hawks have tried just about everyone as fifth and sixth defensemen, including AARP first-teamer Kimmo Timonen and rookie Trevor van Riemsdyk.
On the Lightning's only goal of the game, the kid showed why the Hawks go with four defensemen. Van Riemsdyk lost a puck battle in the corner, then lost Alex Killorn in front as he beat Crawford off a smart pass from Filppula.
Van Riemsdyk is Kyle Cumiskey is David Rundblad is . . .
a. The team that finished with the most shots has lost each game. That makes as much sense as Quenneville's first period.
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03.20
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Watch the trailer for Jurassic World, the latest instalment in the dinosaur franchise which began with 1993's Jurassic Park
First it was a Park, now it is a World. And soon, of course, there'll come a time when that too is not enough. The dino-attraction meltdown franchise – invented by novelist Michael Crichton and given an incomparable gloss by director Steven Spielberg – has been renewed and upgraded for a fourth movie. Once again, the prehistoric creatures have bust their pen and they're running riot.
Jurassic World doesn't have an equivalent of Samuel L Jackson's chain-smoking employee Arnold from the first film, or indeed anything like its all-but-subliminal reference to J Robert Oppenheimer. But this is still a terrifically enjoyable and exciting summer spectacular: savvy, funny, ridiculous in just the right way, with some smart imaginative twists on the idea of how dinosaurs could be repositioned in a consumer marketplace where they are almost commonplace, and how the military might take a sinister interest in weaponising these scary beasts. There's an almost Gaia-ist conception of how dinosaurs might solve their own crises and in a (partial) nod to contemporary views, we get a heroine who can take out dinosaurs with a stun gun and also run very fast away from them in heels. All these dinosaurs are female, which incidentally puts Jurassic World in the clear as far as the Bechdel test is concerned.
Chris Pratt and Bryce Dallas Howard in Jurassic World It was written by husband-and-wife team Rick Jaffa and Amanda Silver and directed by Colin Trevorrow, whose last feature outing was the indie comedy Safety Not Guaranteed. But, most importantly, it is executive-produced by Spielberg himself, whose influence is in every base pair of the film's DNA. As the crowds scream in panic while pterodactyls peck their heads, there's a ghost of the chaotic beach in Jaws; the moaning, injured brontosauruses, blinking and grimacing so huggably, are like homesick ETs.
The idea is that this theme park is nowadays quite normal and established; whatever the chequered safety history of Jurassic Park – and the second and third films are effectively passed over in silence – things are now fine. Perhaps the name change helped, like converting Windscale to Sellafield. Anyway, people go to the flourishing Jurassic World in Costa Rica all the time to see tame dinosaurs. Maybe too tame. Something new and different is going to be needed to provide that unnatural and transgressive lurch that sets the narrative in motion.
Related: Chris Pratt: 'I have great respect for the animals that I kill'
Jurassic World is managed by Claire (Bryce Dallas Howard), a successful uptight career woman who is a little bit controlling and unhappy: she is nervous about looking after her two nephews who have come for a visit to the World, owned by flamboyant entrepreneur Masrani (Irrfan Khan). She is also a bit nervous about the creepy new GM mega-dinosaur they have secretly created to boost visitor numbers: the terrifying Indominus Rex, created by lab supremo Dr Henry Wu (BD Wong) and watched over by the sinister military consultant Hoskins (Vincent D'Onofrio).
Do these people quite realise how intelligent and aggressive their new dinosaur is, do you suppose, and how very unlikely it is to remain within its paddock? To add to her personal non-dinosaur issues, Claire just happens to have some chemistry with fellow JW employee Owen (Chris Pratt), a rough-and-ready Indiana Jones-ish raptor wrangler and dinosaur whisperer who has actually trained a performing group of prehistoric carnivores to do his bidding for the tourists: he also rides a motorbike, wears a leather waistcoat and appears to live in a lakeside caravan. Needless to say, rescuing the two boys from the upcoming dino catastrophe is going to bring Owen and Claire together and generally end their emotional ice age.
Related: Is Jurassic World sexis t? Assessing the film's key females of the species
Owen is an old-fashioned guy, a rough outdoorsy sort, a man's man, maybe kind of a … well, what's the figure of speech for an extinct old-fashioned type? Certainly not "dinosaur": they were vigorous and capable survivors who might yet turn out to have been on earth longer than humans. Chris Pratt gives a tremendously likeable performance as Owen: easy-going, relaxed, somewhere on a continuum between Harrison Ford and Tom Hanks. Bryce Dallas Howard (who I always remember in Lars Von Trier's Manderlay and M Night Shyamalan's preposterous The Village) is also very good: coiffured and groomed and composed as Claire, this actor bring s her kind of intense presence to the part. In fact, it is she who has the faintly raptorish presence, especially when her retroussé nose is seen in profile. Owen, Claire and the horrible Indominus Rex make quite a team. It's a world of fear and fun.
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09.10
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Summer is around the corner and with it come the costly blockbusters studios rely on to balance their budgets. In this season, stars are born—and burned.
Perhaps the actor with the most to gain is Chris Pratt. The Parks and Recreation funnyman has shed several pounds and the small screen. After a surprisingly wonderful turn in last summer's hit Guardians of the Galaxy, Pratt is back playing the lead in Jurassic World, the fourth installment in Jurassic Park series which hits screens June 12th. Though his upfront fee is currently in the low seven figures, if his action-packed dinosaur flick performs well Pratt could become Hollywood's go-to leading man and see his fee rise to $10 million a movie.
Channing Tatum can already command that much, but this summer could turn him into an even bigger star. Best known for light teen flicks and action movies (Step Up, Coach Carter, the Jump Street series), Tatum is now proving his mettle as a producer. Tatum's 2012 Magic Mike was a massive hit, grossing $167 million on a $7 million budget. He is producing and starring in Magic Mike XXL, the hotly anticipated stripper sequel, and stands to see his $10M leading man fee rise if it does well.
As out-of-school students flock to the multiplexes and summer Fridays take full effect, the viewership of some films could build the career of many young actors. Perhaps the most notable: Nat Wolff and Cara Delevingne, who are starring in Young Adult author John Green's newest adaptation, Paper Towns.
Wolff played one of the main parts in last summer's Fault in our Stars, and is now set to play the lead opposite model and It-Girl Delevingne. "I love Paper Towns the most of all John's books but I feel you get the same experience reading the book as watching the movie," 20-year-old Wolff recently proselytized at Manhattan's BookCon.
If the movie is a hit, which it looks set to be, he is on course to be the next Robert Pattinson, or Andrew Garfield – he is rumored to be in the running to play the next Spider-Man.
Delevingne, who last year joined Forbes' ranking of highest-paid models, is already the face of Burberry, Chanel, and Topshop. After a brief part in 2012′s Anna Karenina, Paper Towns is the first in a spate of forthcoming films from Delevingne, who is pivoting from the page to the multiplex. The 22-year-old is set to appear in London Fields with Johnny Depp, Pan with Hugh Jackman and Amanda Seyfried, and Suicide Squad, with Will Smith and Jared Leto.
Perhaps the most timely summer release is comedian Amy Schumer's. The latest season of Schumer's TV show, Inside Amy Schumer, has been celebrated for its comedy, which has tackled conventional notions of female beauty and society's treatment of sexual assault. Trainwreck, which is out July 17th, is the first movie she is writing and starring in alone as the lead. If all goes well, she could prove her mettle as a movie star and soon be one of the few women on our C elebrity 100 list, which ranks the highest earning entertainers.
Additional reporting by Madeline Berg
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03.20
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"Fifty Shades of Grey" garnered $500 million worldwide and millions saw the erotic flick — even though its screenwriter, Kelly Marcel, didn't.
Marcel opened up about her thoughts on the film's sexual content and her role in the film's production on Bret Easton Ellis' podcast, PodcastOne, this week, revealing the fact that she still hasn't seen the movie that she wrote. Marcel said she has conflicting thoughts on the film's events.
"A lot of what happened on 'Fifty Shades' really broke my heart," Marcel said.
While talking about novelist E.L. James, who wrote the book, Marcel said the two went back and forth on what to keep and what to nix.
"She would always let me fight for things that I felt passionate about," Marcel said. "And in the end, we ended up with a draft that was a halfway compromise. But she had still been very brave about what she had let go."
Several earlier reports, however, said director Sam Taylor-Johnson, who is not returning to direct the sequel, "Fifty Shades Darker," is moving on from the franchise in part because of constant arguments with James over the direction of the film during its production.
Niall Leonard, James' husband, has been tapped to pen the screenplay for "Fifty Shades Darker."
"Darker" will have a Valentine's weekend release Feb. 10, 2017.
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09.10
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2007's The Simpsons Movie was generally well-received and made a lot of money, but don't expect a sequel to happen soon. Speaking with Variety, executive producer Al Jean talked about the strain producing the movie put on the show and why you shouldn't hold your breath for another film.
"The movie was such a time-intensive operation; it pulled a lot away from the show," Jean said. "I would rather end the show whenever that happens before doing another movie. It's unlikely there'll be another Simpsons feature while the show is being produced."
Jean's comments follow those from another Simpsons executive producer, James L. Brooks, who said last year in an interview with The Hollywood Reporter that Fox was interested in making a sequel. However, he explained that producing The Simpsons Movie was a "murderous" process and not one that he was interested to jump back into right away.
Variety's interview with Jean also touches on which celebrity he would like to see guest star on the show, as so many others have.
"Sadly, we would have wanted Neil Armstrong and J.D. Salinger but they both passed away. I keep saying Sandy Koufax but I've never gotten a call," he said.
Be sure to read Variety's full interview for lots more interesting insight about The Simpsons.
The enduring animated TV show was recently renewed for two more seasons, though Mr. Burns may not be a part of the show's future.
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