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Reviews

Cutting Edge Practical Effects Featured In New Sci Fi Fantasy SPACEMAN

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J.K. Simmons and Mena Massoud star in Dan Abramovici’s New Sci-Fi Fantasy

SPACEMAN

New sci fi fantasy by Canadian Film Center alumni is a coming of age film breaks barriers via a deeply human handcrafted story made by fusing old Hollywood techniques with state-of-the art cinematic mastery.

TORONTO (July, 2024) – Press Play Films announces their newest film, SPACEMAN. Written and directed by emerging visionary filmmaker Dan Abramovici, the film stars Academy Award-winner J.K. Simmons (Whiplash, Being the Ricardos, Red One), Mena Massoud (Aladdin, The Royal Treatment) and Trevor Copp (Bulfinch’s Mythology). SPACEMAN is not only a fresh and innovative take on some of the most beloved and renowned cinematic genres, it’s something brand-new: A mix of sci fi, fantasy, and coming of age, combining elements of classic Hollywood, a la Chaplin and Keaton, with cutting edge practical effects, in a film that brings to mind classic works by Michel Gondry and Baz Luhrman. 

SPACEMAN is produced by Ali Mashayekhi (The Last King, Evolving Vegan), Mena Massoud, and Dan Abramovici.

SPACEMAN uses mime, stop motion, classic animation, and theatrical elements, to explore one artist’s loss of creative passion and his journey to get it back. Allied with his passion (Mena Massoud), Spaceman (Trevor Copp) has to travel through the looking glass, and battle his imposter syndrome (J.K. Simmons), in order to truly see himself once more.

The film is an exploration of identity, artistic passion, and the fragile nature of human connection. It weaves themes of self-discovery, mental health, and the pursuit of dreams. 

“My hope is to blur the lines between the tangible and the ephemeral. By delving into Spaceman’s subconscious we are able to explore  the cathartic nature of artistic creation and the ways in which it can offer a sense of purpose, as well as the danger and risk to one’s sense of self.” Said Abramovici. 

“Spaceman is a unique film in many ways, including it being highly commercially viable while staying true to its artistic integrity. It’s a movie that audiences all over the world will relate to on so many levels.” Said Mashayekhi. 

After immigrating to Canada, Abramovici used filmmaking to explore his many questions about identity, often using a surrealist approach to broach complex human moments. He began his career  as an actor, most recently on projects such as Sofia Coppolla’s Priscilla, HBO’s  Jane, FX’s What We Do In The Shadows, and CBS’s Star Trek Discovery.

Abramovici is an alumni of the CFC/ Canadian Film Center.

Abramovici sold his first feature film, the comedy BEN’S AT HOME to Netflix and then jumped behind the camera, writing and directing a series of short films, including the Academy-Qualifying PLAY IT AGAIN (Austin FF Best Short Winner 2021), LIMINAL (Raindance, HollyShorts), STUCK (Dances With Films LA), and SPACEMAN.

He is also a Top 10 screenwriting award winner at Cinequest, where Laurence Kasdan (Star Wars, Indiana Jones) and Dennis Lehane (The Wire, The Drop) served as writing mentors.

Abramovici’s upcoming feature, SEARCHING FOR MARCEAU, builds upon this previous work. It has ranked in the top 1% of projects on Coverfly, is a Shore Scripts Finalist, Top 50 at the LaunchPad competition, and a CineStory recipient.Ali Mashayekhi has produced over 85 films around the world since 2003 including; Japan, Indonesia, USA, Netherlands and France, screening at over a 100 festivals and winning several high profile awards including Best Short Film for “Play it Again”, directed by Dan Abramovici, at the Austin Film Festival in 2021. 

Ali is also the Executive Director of the Ethnically Diverse Artists (EDA) Foundation, a non-profit and charitable organization founded by Mena Massoud (Aladdin), which aims to inspire inclusivity and diversity in the arts. Additionally, Ali is the “Lead Creative Ambassador” for the International Network of Aid and Relief Association (INARA) founded by Ex-CNN senior international correspondent Arwa Damon, bringing creative film related initiatives to philanthropic work. 

Recently Ali premiered at Raindance Film Festival 2024 a Stephen King short story adaptation based on Sherlock Holmes, The Last King, entirely in the Persian language.

This fall, Ali is producing a gritty crime-thriller with Fortin Films, a Canadian production company from Toronto. Currently Ali is the Executive Producer on the travel vegan food show Evolving Vegan, with producing partner and Host Mena Massoud under their Press Play Productions company. 

J.K. Simmons has appeared in a diverse range of projects spanning from motion pictures, television and the stage on and off-Broadway.  He won the 2015 Academy Award for Best Supporting Actor for his portrayal of merciless jazz instructor, ‘Fletcher’ in Sony Pictures Classics’ “Whiplash.” His performance in the film also garnered him a Screen Actors Guild Award, Golden Globe, Independent Spirit Award and BAFTA Award, as well as many critics’ group awards around the world.  “Whiplash” premiered at the 2014 Sundance Film Festival and won the Dramatic Audience Award and Grand Jury Prize for Best Film.  The film also garnered five Academy Award nominations including Best Picture.  Simmons will next be seen in “The Union,” “Red One,” “SNL 1975,” and “Juror #2.”

In 2021, Simmons was seen starring alongside Nicole Kidman and Javier Bardem in Amazon’s biographical drama about Lucile Ball, “Being the Ricardos” in which he received an Academy Award nomination.

Simmons was also seen starring in STX’s, “National Champions’ and starring alongside Chris Pratt in Amazon’s sci-fi thriller “The Tomorrow War.” 

In 2020, Simmons starred in Hulu’s “Palm Springs”, alongside Andy Samberg and Cristin Milioti. He also appeared in the Apple TV+ miniseries, “Defending Jacob,” based on the 2012 novel of the same name.

In 2019, Simmons starred in the second season of the critically acclaimed Starz series “Counterpart” which began its run in 2017. Created by Justin Marks, Simmons portrays both primary characters as two vastly differing versions of themselves.  

In 2018, Simmons starred in Director Brian Kirk’s action thriller “21 Bridges,” alongside Sienna Miller, Taylor Kitsch and Chadwick Boseman. The film follows a disgraced NYPD detective (Boseman) who is thrust into a citywide manhunt for a cop killer. Simmons was also seen in Jason Reitman’s “The Front Runner” with Hugh Jackman and Vera Farmiga. He was recently seen in Universal’s thriller “The Snowman” with Michael Fassbender and Rebecca Ferguson and the Warner Bros. comedy “Father Figures” with Owen Wilson and Ed Helms.  In 2017, he was seen in the highly anticipated “Justice League” where he portrayed the iconic ‘Commissioner Gordon.’  

In 2016, Simmons voiced the character of Kai in Dreamworks’ highly anticipated “Kung Fu Panda 3” that released in January and voiced the character of ‘Mayor Leodore Lionheart’ in Disney’s “Zootopia” which released in March. Also in 2016, Simmons was seen in Sony Pictures Classics “The Meddler” with Susan Sarandon and Rose Byrne and Gavin O’Connor’s “The Accountant” with Ben Affleck and Anna Kendrick. Simmons also portrayed the real-life hero Jeff Pugliese in the 2016 Boston marathon film “Patriot’s Day” directed by Peter Berg. That same year Simmons completed production on an independent film entitled “I’m Not Here” which was directed by his wife Michelle Schumacher.  

He is known for playing the character J. Jonah Jameson in Sam Raimi’s “Spider Man” trilogy and memorably, his portrayal of the off-beat but not deadbeat father, Mac McGuff, in the hit comedy “Juno.” 

Past projects include “Terminator: Genisys,” “Jobs,” “Labor Day,” “The Words,” “The Music Never Stopped,” “Jennifer’s Body,” “Extract,” “The Vicious Kind,” “I Love You Man,” “Beginner’s Guide to Endings,” “Contraband,” “Hidalgo,” “The Ladykillers,” “The Mexican,” “Off the Map,” “For Love of the Game,” “The Gift,” “Thank You for Smoking,” “Rendition,” “Burn After Reading” and the Academy Award-nominated “Up in the Air.” 

On the small screen, Simmons played LAPD Assistant Chief Will Pope in TNT’s hit series “The Closer.” He also played Vern Schillinger on HBO’s acclaimed drama “Oz,” and had a recurring role as Dr. Emil Skoda on NBC’s “Law & Order.” He has had guest starring roles on NBC’s “Parks and Recreation,” and a recurring role on TBS’ hit comedy “Men at Work.” Simmons has appeared on the Broadway stage in performances of “Guys and Dolls,” “Laughter on the 23rd Floor,” “A Change in the Heir,” “Peter Pan” and “A Few Good Men.”  J.K. Simmons is repped by Gersh. 

Mena was born in Cairo, Egypt and raised in Markham, Ontario, Canada. He attended the University of Toronto for Neuroscience before transferring to Ryerson University’s notable theater program and graduating with a BFA in acting. He got his first big break starring in ABC Spark & Teen Nick’s mystery-drama television series “Open Heart” as “Jared Malik.”

After several years of acting in high-profile television and film projects, Massoud went on to star as “Tarek Kassar” in the highly-anticipated series “Tom Clancy’s Jack Ryan”.

In 2018 it was announced that, after an extensive worldwide search and multiple auditions, he had landed the coveted role of “Aladdin” in the Disney live-action remake of “Aladdin,” directed by Guy Ritchie. After leading “Aladdin” to the highly coveted $1 Billion Dollar mark at the box office, Massoud went on to star in Netflix’s “The Royal Treatment” which became its #1 film worldwide for several weeks in a row in 2022.

Mena’s banner Press Play Productions was set up to address a growing need for diverse stories and content, particularly from the MENA region, which comprises fast-growing entertainment industries. The international expansion of streaming services such as Netflix into MENA has provided more commissioning opportunities for companies like Press Play. Mena Massoud is repped by LINK Entertainment, Gersh and Hensen, Jacobson, Teller & Hoberman.

For the Silo, Lon Haber.

Art

Screenings In 70MM Film Hit Differently

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This past Saturday, it was back to the Aero at Santa Monica, California for more Ultra Cinematheque 70 Fest.

So far, every one of these screenings have been preceded by a short film titled “Six Tons of 70MM”, in which we follow Matt Burris, an employee of the American Cinematheque, driving around L.A., picking up the prints that will be played throughout the festival. He talks about the work and costs involved in booking, transporting, and projecting these big, heavy-ass prints — this year’s festival totals 40 films — and explains how the higher resolution format makes for a more theatrical experience, quoting Martin Scorsese with “Seventy-millimeter hits different”.

Because this short plays before every one of these 70mm screenings, I was ready to call Burris the Nicole Kidman of the American Cinematheque — if the son-of-a-bitch hadn’t already beat me to the punch during his intro to Saturday afternoon’s screening of 1996’s HAMLET, Kenneth Branagh’s *unabridged* adaptation of the Bard’s play, which was shot in Super Panavision 70. During Burris’ intro, we were told about how the length of the film — over four hours — meant that the *two* projectionists on hand for this screening would be dealing with 20 reels, each weighing about 30 lbs each, totaling about 600 pounds of movie.

I’ve only seen the play performed once, and I’ve never seen any of the film adaptations, neither the Olivier, Gibson, not even the Ethan Hawke one — but I have seen STRANGE BREW, if that counts.

So I can’t compare flicks, but really liked this pumped-up version of the play, which isn’t surprising considering Branagh’s tendency as a director to just Fuckin’ Go For It on some over-the-top shit. That approach might be off-putting to some, but I didn’t have an issue with it, just as I didn’t have an issue with it during his HENRY V. (I still want to see his FRANKENSTEIN movie, for morbid curiosity’s sake, if nothing else.) It didn’t feel like four hours, more like two-and-a-half, if I’m being honest.

I knew of this film during its original release, but totally forgot about the cast, which includes welcome-but-not-surprising appearances by Kate Winslet, Derek Jacobi, Julie Christie, Brian “Gordon’s alive!” Blessed, John Gielgud, Rufus Sewell (giving me Purple Rain-era Prince visual vibes here), and many other of the usual respected suspects for this kind of film.

But then every once in a while, someone like Jack Lemmon or Robin Williams or Charlton Heston or fuckin’ Billy Crystal will pop up and it kind of took me a bit to get acclimated to the sudden Yank-ifcation of the atmosphere; of these Special Guest Stars, I felt Crystal (no, really) and especially Heston gave the best performances.

The print looked good, some lines here and there, but there was an odd inconsistency in the rear surrounds with echoing voices in the interior scenes, some parts had it, others didn’t.

But the main thing is that it was a great looking film, shot on 70mm, shown in 70mm, and unlike say, certain foot-fetishizing filmmakers, Branagh and cinematographer Alex Thomson took full advantage of the format, filming in big, wide spaces, both interior and exterior. They do a lot of talking here, but make no mistake, this is a goddamn Movie.

There was a ten-minute intermission a little after two hours, which allowed some of us in the audience to use the restroom, get snacks, or in my case, run four blocks down to feed the meter (which by that point, had expired about ten minutes earlier) because this was a 2PM afternoon show and those Montana Ave. parking enforcers don’t get off the clock until 6pm.

Later that evening, I was back inside the Aero for STREETS OF FIRE, directed by one of my Mount Rushmore directors, Walter Hill. I had actually seen this 70MM print before at the Aero in ’17 — it starts with a British Board of Film Classification at the beginning — and both viewings were equally loud and pristine, both viewings rocked my world.

It’s not even so much a Style Over Substance deal here, it’s more like Style *Is* Substance — the music, the clothes, the attitudes, the neon-lights, the wet streets, the cars (oh my god, the cars), the bikes, the guns, and badasses of both genders.

(And Diane Lane too. I mean, wow.)

Diane Lane in Streets of Fire

Let me mention the music yet again, because both the mix of rock & roll, doo-wop, Ry Cooder score, and Jim Steinman’s breathlessly passionate rants and screeds and laments set to melody, well, they shouldn’t blend so well, and yet they do, kinda like how the film’s world of 1950s meets 1980s shouldn’t blend so well, and yet it does.

During this viewing, I focused more on the dynamic between Michael Paré’s Cody and Amy Madigan’s McCoy. I love how they don’t flex or flaunt, they’re just casually ultra-competent, it’s just what they do when called upon to do it, and I wish I lived in the timeline where we got to see them do more of it together in follow-up films. I’d have followed them anywhere.

One of the things I love about Hill is just how meat & potatoes and no-frills his stories are, they’re real cut-to-the-quick tales that don’t overstay their welcome, populated by characters that are old-school types rather than fleshed-out collections of hopes, dreams, anxieties, etc. (Hell, he didn’t even give the characters of THE DRIVER names, just designations.) He gives you the good guys and the bad guys and that’s it, that’s the Walter Hill way, and his way is an increasingly fresh — and dying — breath of air in today’s chatty and jokey “he just like me fr fr”/“so that just happened” world of action cinema. (Not that I’m against that kind of movie — I enjoyed THE FALL GUY — I just don’t want to see *only* that kind of movie.)

Give me men and women of few words and more actions, is what I mean, or to quote McCoy, “Are we gonna do it, or are we gonna talk about it?”

Hell yeah, McCoy — you can watch my six and sleep on my couch any time.

Great crowd for this showing, a packed house full of both fans and first-timers alike who clapped and laughed at all the right moments. I overheard a lot of excited reactions after the film by people who had no idea what they were in store for, but were very happy they got to experience it. Which in turn made me even happier.

On the walk back to my parking spot, I passed by a car blasting the soundtrack — this also happened when I saw this in ’17, as well as after a 35MM screening at the New Beverly Cinema in ’10. I just thought you should know that. For the Silo, E.F. Contentment. All photos by the author.

Culture

Most & Least Successful Movie Remakes

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Most Successful Movie Remakes

Movie remakes have been a staple of Hollywood for decades. They can reintroduce classic stories to new generations and update them with the latest technology, much like how online casino and online slots platforms reimagine traditional casino games for the digital age.

On the other hand, more cynical viewers might view movie remakes as easy “cash grab” attempts. Whatever your view on movie remakes, they come in all shapes and sizes, spanning genres, eras, and styles. While many fail to live up to the originals they’re based on, they occasionally match or even exceed them.

Charleton Heston scoping out mutants with an infra-red scope rifle in The Omega Man. More on this film below.

So, which are the most (and least) successful movie remakes of all time? To find out, our friends at Spin Genie ranked some of the biggest movie remakes based on their critical reviews, box office revenue, and Google searches. We’ve then done the same (sorry some of the figures shown on the charts below are in US dollars but with today’s exchange rate you can multiple by 1.37 for CAD) for the original movies they were based on and worked out the difference in scores.

The most successful movie remakes

Top 3 most successful movie remakes

1. I Am Legend

Original movie score: 3.34

Remake movie score: 7.78

Score difference: 4.44

The 2007 adaptation of I Am Legend, starring Will Smith, stands out as a significant improvement over the 1971 version, The Omega Man that starred Charleton Heston. The remake received good reviews (particularly for Smith’s performance) and, at the time, was the highest-grossing non-Christmas film to ever release in December. On the other hand, The Omega Man received a much more mixed reception and grossed just $7.7 million USD (adjusted for inflation). A sequel to the remake is currently in the works, with Michael B. Jordan set to appear alongside Will Smith.

2. Ocean’s Eleven

Original movie score: 3.55

Remake movie score: 7.92

Score difference: 4.37

The 2001 remake of Ocean’s Eleven transformed the original 1960 Rat Pack classic into a modern heist film with an all-star cast including George Clooney, Brad Pitt, and Julia Roberts. It improved on the original in each factor, being praised for its stylish direction, witty script, and ensemble cast. The remake’s success led to two sequels and a spin-off with an all-female lead cast. It also influenced the wider movie industry, with numerous heist films produced in the following years.

3. Dune: Part One

Original movie score: 4.81

Remake movie score: 8.81

Score difference: 4.00

Canadian director Denis Villeneuve’s 2021 adaptation of Dune brought Frank Herbert’s epic science fiction novel to life with stunning visuals, a stellar cast, and a faithful yet innovative approach. The remake vastly improved (debatable to those that grew up loving the original version) upon David Lynch’s 1984 version, which had been criticized for its convoluted plot and lacklustre special effects. (Also debatable to original fans, especially when a new much longer cut of the film exists to tackle these complaints.)

The sequel, Dune: Part Two, came out earlier this year and improved even further on Part One in its critical reception and box office revenue.

1st to 5th most successful movie remakes
6th to 10th most successful movie remakes

The least successful movie remakes

least successful movie remakes

1. Peter Pan

Original movie score: 8.37

Remake movie score: 5.04

Score difference: -3.33

The 2003 adaptation of Peter Pan failed to capture the magic of the original 1953 Disney classic, scoring significantly worse for reviews and revenue. The remake received ok reviews, but they were nowhere near the animated original, which is beloved for its timeless charm and classic story. Financially, the remake was a failure, grossing $207.9 million USD, which resulted in a financial loss compared to the film’s budget. 

2. Carrie

Original movie score: 7.26

Remake movie score: 4.08

Score difference: -3.18

The 2013 remake of Carrie failed to live up to the 1976 original, which is considered a horror classic. The remake’s attempts to modernize Stephen King’s tale didn’t impress critics or audiences, with an average review score of 55.5 and inflation-adjusted revenue of $114.1 million USD. The original film, known for its intense atmosphere and Sissy Spacek’s iconic performance, set a high bar that the remake could not reach.

3. House of Wax

Original movie score: 4.59

Remake movie score: 1.78

Score difference: -2.81

While the original House of Wax didn’t score very highly, with 4.59, that’s still an improvement of 2.81 on the 2005 remake, putting it in third place. Despite its modern special effects and star-studded cast, the remake couldn’t match the original’s eerie atmosphere and Vincent Price’s memorable performance. The original has an average critic score of 69, and its reputation has improved over the years, unlike the remake.

Much maligned- The Remake of Planet of The Apes by Tim Burton. Not as bad as you remember.

1st to 5th least successful movie remakes

Which remake has the best reviews?

Best Reviews - A Star is Born

A Star is Born – 82 out of 100

The movie remake that resonated with movie critics the most is the 2018 version of A Star is Born, with an average score of 82 out of 100. The musical romantic drama was Bradley Cooper’s directorial debut and is the third remake of the 1937 original. It was one of the biggest films of 2018, and critics raved about the performances of Cooper, Lady Gaga, Sam Elliott, and the soundtrack. It also won numerous awards, getting eight nominations at the 91st Academy Awards.

Which remake made the most money?

Made the most money - Beauty and the Beast

Beauty and the Beast – $1.6 billion USD / $2.2 billion CAD (inflation-adjusted)

Financially, Disney’s 2017 Beauty and the Beast is the most successful movie remake, with an inflation-adjusted box office total of $1.6 billion USD. It opened to a record-breaking debut, becoming the second-highest-grossing film of 2017 and the tenth-highest of all time. The enduring popularity of the original and the nostalgia of adults who grew up with no doubt helped the film’s incredible box office success.

Which remake is the most searched?

Dune: Part One – 52.3 million annual searches

The remake with the most online popularity is Dune, with over 52 million searches. This is undoubtedly helped by the fact that the series is currently extremely popular due to the release of Part Two earlier this year, but it shows just how successful the remakes have been. The series has been considered a tough one to adapt due to the intricate nature of the novel, but the films have proven hugely successful.

Dune Part 1 remake was released on 3D Blu-Ray for even more dramatic effects.

Methodology

We compiled a list of movie remakes and their originals using IMDb, looking at the most-reviewed remakes. We included the original version of each movie and compared it to the most recent adaptation. For movies remade multiple times with multiple popular remakes, we included each popular remake. We did not include spinoffs, prequels, or sequels. We did not include TV films, streaming releases, or rental earnings. We removed all movies for which the relevant data was unavailable.

We calculated each movie’s average review score using IMDb and Metacritic review scores on 03/06/24.

We sourced the box office earnings of each movie using Box Office Mojo. Where unavailable, we used Wikipedia, The-Numbers, IMDb, Variety, Den of Geek, Or of Involving Motion Pictures, and AFI Catalog. We included earnings from the original release of each movie, looking at worldwide earnings wherever possible. All figures were sourced in USD and adjusted for inflation as of 2024 using the US Inflation Calculator. Figures were converted to CAD using Google Finance on 07/06/24.

We sourced the number of Google searches for each movie using Google Ads Keyword Planner, looking at global Google searches from 1/05/23 to 30/04/24.

We gave each original movie and each movie remake a normalized score out of 10 for each factor before calculating the average score out of 10 for each movie. We compared the score out of 10 for each original film and its remake to reveal the most and least successful remakes. For the Silo, Charlotte Green.

Earth

Canada’s Changing Climate: What Key Cities Could Look Like With ‘Dune-Ification’

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How Climate Change Could Transform Cities into a Dune-Like Landscape

Dune’s cinematic and literary success reflects our fascination with desert landscapes. But the vast deserts of Arrakis, the movie’s fictional planet, hold a deeper meaning. They serve as a cautionary tale for our own planet threatened by desertification.

A new study by our friends at Top10Casinos.ca reveals how Canadian and other global cities threatened by climate change would look in the Dune Universe as TikTok searches around Dune: Part Two and climate change spike 7,700% in just 30 days.

Dune: Part Two, is already reaching massive box office milestones surpassing $150 million usd/ $204 million cad, and TikTok searches for the ‘new dune movie’ have soared 4,606% in just 30 days. In the past month, searches around the movie’s desert-like filming locations have increased 141%, while queries related to ‘climate crisis 2024’ have spiked 3,100% in the social media platform.

Known for its amazing cinematography and striking desert visuals, Dune’s landscape is something that makes it instantly recognisable. But the movie’s vast deserts are more than just a stunning backdrop. They serve as a stark warning of a potential future for our own world impacted by climate change.

Do Canada’s iconic outdoor skating rinks face a frosty future? While bundling up for harsh winters is a national pastime, a worrying trend is emerging. Since 1950, winter temperatures have soared by over 3°C, outpacing global warming by a factor of three.

Toronto, Ontario

Toronto, once known for its predictable seasons, is grappling with the impacts of climate change. The city is experiencing a rise in average temperatures, leading to more frequent and intense heat waves that strain infrastructure and threaten public health. Winters are becoming shorter and less severe, with unpredictable precipitation patterns bringing both heavier downpours that overwhelm storm drains and periods of drought that stress green spaces and water resources.toronto desertified

Vancouver. British Columbia

Like many coastal, seaport cities, Vancouver is feeling the brunt of climate change. Rising temperatures are a key concern, with projections for hotter, drier summers and wetter winters. Sea levels are also on the rise, threatening coastal areas with flooding. The City of Vancouver itself is planning for up to a 1.4 meter rise by 2100, which would inundate parts of the city during major storms.vancouver desertified

Montreal, Quebec

Montreal’s climate is expected to experience significant changes due to climate change. Average temperatures are projected to rise by 1.5-2.3°C by mid-century, leading to more frequent and intense heat waves. This can strain infrastructure, harm public health, and disrupt outdoor activities. The city is also likely to see increased precipitation extremes, with heavier rainfall events and the potential for more flooding.montreal desertifiedmontreal desertified

Niagara Falls, Ontario

Studies suggest Lakes Erie and Ontario, feeding the Niagara River, could see water levels drop a meter by 2050 due to increased evaporation and less snowfall. This decline could impact the Falls’ power and beauty. Additionally, more extreme weather events like flooding could damage surrounding areas. While milder winters might extend tourism, climate change poses significant ecological and aesthetic challenges.niagara desertified

Methodology

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Culture

Bullet Train Arrives On 4K Ultra HD October 18

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In Bullet Train, Brad Pitt stars as Ladybug, an unlucky assassin determined to do his job peacefully after one too many gigs gone off the rails. Fate, however, may have other plans, as Ladybug’s latest mission puts him on a collision course with lethal adversaries from around the globe—all with connected, yet conflicting, objectives—on the world’s fastest train.

The end of the line is just the beginning in this non-stop thrill-ride through modern-day Japan from David Leitch, the director of Deadpool 2. Available on Digital 09/27 and on 4k Ultra HD, Blu-Ray, and DVD 10/18.


The “heart-pounding wild ride” comes home

– Kristy Puchko, MASHABLE

4K ULTRA HD™, BLU-RAY™ AND DIGITAL

  • Outtakes & Bloopers
  • Catch What You Missed: Easter Eggs
  • All Aboard the Pain Train: Stunts
  • Mission Accomplished: Making of Bullet Train
  • Trained Professionals: The Cast
  • Select Stunt Previs
  • Audio Commentary with David Leitch, Kelly McCormick & Zak Olkewicz

DVD

  • Mission Accomplished: Making of Bullet Train
  • Trained Professionals: The Cast

CAST AND CREW

Directed By: David Leitch

Produced By: Kelly McCormick, David Leitch, Antoine Fuqua

Executive Producers: Brent O’Connor, Ryosuke Saegusa, Yuma Terada, Kat Samick

Cast: Brad Pitt, Joey King, Aaron Taylor-Johnson, Brian Tyree Henry, Andrew Koji, Hiroyuki Sanada, Michael Shannon, Benito A Martínez Ocasio, and Sandra Bullock

Based on the Book By: Kotaro Isaka

Screenplay By: Zak Olkewicz

SPECS

Run Time: Approx. 126 Mins.

Rating: R: Strong and bloody violence, pervasive language, and brief sexuality

4K UHD: 2160p Ultra High Definition / 2.39:1 • Audio: English Dolby Atmos (Dolby TrueHD 7.1 compatible), French (Doublé au Québec), Spanish 5.1 DTS-HD MA, English – Audio Description Track 5.1 Dolby Digital • Subtitles: English, English SDH, French, Spanish • Color

Blu-ray™: 1080p High Definition / 2.39:1 • Audio: English, French (Doublé au Québec) 5.1 DTS-HD MA, Spanish, English – Audio Description Track 5.1 Dolby Digital • Subtitles: English, English SDH, French, Spanish • Mastered in High Definition • Color

DVD: 2.39:1 Anamorphic Widescreen • Audio: English, French (Doublé au Québec), Spanish 5.1 Dolby Digital, English – Audio Description Track Dolby Surround • Subtitles: English, English SDH, French, Spanish • Color

ABOUT SONY PICTURES ENTERTAINMENT

Sony Pictures Entertainment (SPE) is a subsidiary of Tokyo-based Sony Group Corporation. SPE’s global operations encompass motion picture production, acquisition, and distribution; television production, acquisition, and distribution; television networks; digital content creation and distribution; operation of studio facilities; and development of new entertainment products, services and technologies. Sony Pictures Television operates dozens of wholly-owned or joint-venture production companies around the world. SPE’s Motion Picture Group production organizations include Columbia Pictures, Screen Gems, TriStar Pictures, 3000 Pictures, Sony Pictures Animation, Stage 6 Films, AFFIRM Films, Sony Pictures International Productions, and Sony Pictures Classics. For additional information, visit http://www.sonypictures.com/corp/divisions.html 

Reviews

ODDBALL CINEMA: CONVOY

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Errrr breaker one. This here’s the Rubber Duck.

CONVOY (1978): Maybe because I knew that director Sam Peckinpah was pretty much reaching new depths of being an irresponsible drug-addled drunk during production, that I figured maybe it would show in this movie, and maybe that’s why I’ve avoided it for so long.


I mean, it’s one thing to have that kind of thing seep into your films about violent assholes defeated-by/defiant-at life, but it seems like something that would fuck up what should otherwise be a fun movie about truckers outrunning the law — based on a fuckin’ hit novelty song, of all things.


And yet, that’s not really the case here. It is a fun movie about truckers outrunning the law, with just the right amount of Peckinpah’s cynical boozy edge to make this stand-out from other similar joints playing at the drive-in around this time. Occasionally, I’d be surprised as I felt the edge poke me, and it was pretty sharp too, with its attitudes towards The Law and the dangers of being Black in America.

But they were welcome surprises.


Of the truckers, Franklyn Ajaye’s “Spider Mike” gets the worst of it from Johnny Pig, on account of his dark skin; Ajaye, by the way, is known mostly as a comedian, and he’s one of those dudes who I’m sure is living well, but I feel should be/should’ve been much bigger. I’m guessing he’s one of those “comedian’s comedian” types, in that he’s super-respected in his field, if not necessarily recognized by the general public.


I’m sure once he’s dead, he’ll become The Most Popular Comedian In The World on social media and everybody and their mother is going to go on about how great he was, the way everybody and their mother suddenly made Mr. Paul Mooney the most popular comedian in the world on social media after he died.


Kris Kristofferson’s “Rubber Duck” is very much a Peckinpah kind of protagonist, with his own code of conduct that might not make sense to others, but allows him to enter his house justified. He also goes shirtless for what seems like half the running time, which made me imagine if Matthew McConaughey ever considered starring in a remake somewhere along the way.


I don’t believe in heroes, but I suppose if I had to pick one, Mr. Kristofferson wouldn’t be a bad one to emulate: Rhodes Scholar, boxer, Army Ranger. He flew helicopters, swept floors, worked on an oil rig, and wrote some of the greatest goddamn songs in the history of music. He was also “Whistler” in the BLADE movies.


Ernest Borgnine plays such a bastard in this one, “Dirty Lyle” is his name, and he’s an oinker of the worst kind: A corrupt cop who shakes down the truckers unlucky enough to drive down his highway.


In real life, Borgnine revealed in an interview that his secret to long life was that he masturbated a lot; later, he said in another interview that he said that because the interviewer wouldn’t let up with that question, and he figured that answer would shut the dude up. In reality, he said, his long life was probably the result of becoming a vegetarian 35 years prior. Now that’s just disgusting and uncalled for, Ernie, you dirty old man.

Anyway, this was good times, man. I think this movie, SMOKEY AND THE BANDIT, and a six-pack of Coors will cure whatever ails ya.


It’s just so 70s in the best of ways, that old-school vibe with dudes talking to each other on the CB, taking showers together in their underwear. Maybe that’s why Ali MacGraw had short hair in this, to mix in easier with the rest of the dudes. #backyardmovienight For the Silo, E.F. Contentment.

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The Social Network Movie Blows My Mind

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Movie expectations are a dangerous bag. We savor anticipation, but envisioning a positive experience before you’ve actually had the experience can warp perception and lead to anti-climax: the proverbial let down.

Hype is another form of expectation, one that is projected from external sources. And how many times have we heard the phrase: “It just doesn’t live up to the hype.” We get suckered by marketing and take solace in acerbic criticism. We love to hate the let down.

I went to my local video store a couple of weeks ago on a mission. It was time, I decided, to watch The Social Network, the much acclaimed film by director David Fincher (Seven, Fight Club) about the founding of Facebook.

Rarely do my trips to Super-A Video feel like such an event. First of all, Columbia Pictures has gone all out on a gorgeous, deluxe box for this film. I felt like I was in a record store again, holding in my hands, for the first time, a new album I had been waiting for. Some of you will remember what that was like…

On the cover, a host of superlatives from the likes of The New York Times, New Yorker, and Rolling Stone Magazine. “Stupendous!” “Exhilarating!” “Absolutely emblematic of its time and place!” The list of ecstatic declamations was exhilarating in itself. But it also made me nervous. Will it live up to the hype[rbole]?

So this was my Friday night. I dimmed the lights and sank into my couch, prepared for what was, in the educated opinion of many, a defining cinematic event. This is my substitute for romance, I guess. And in this case: no anticlimax.

The film starts at a blistering pace with a scene of two people sitting relatively still. The momentum is in the dialogue, in the intellectual animation of two brains on fire. I watched the movie again on Saturday, this time with a friend, and he was literally on the edge of his seat, concentrating to following the rapid-fire repartee which is the opening salvo of Fincher’s film. And then he said, “Wow. What a way to start a movie.” Certainly makes you pay attention.

Screenwriter Aaron Sorkin (A Few Good Men, TV’s The West Wing), who is known for his dense, tightly scripted approach to writing, has already won the Golden Globe for this piece of work and the Oscar seems likely. But don’t let my description of the opening scene scare you off. The Social Network is not an exhausting experience. It chronicles a moment of great creative outpouring in the lives of brilliant people who think very quickly, and it finds a way to carry you along, and in, to the tale of their accomplishments and relationships.

The DVD extras illuminate what can happen when a great director, writer and actors work collaboratively on a project like this, providing a rare glimpse into the artistic process of an incredible team. Fincher (Golden Globe, Best Director), comes off as an affable perfectionist, admired in spite of the fact that he will do 99 takes of a scene—ie: that electric opening. And the newly feted Jesse Eisenberg, with a host of Best Actor nominations for his role as principle Facebook architect Mark Zuckerberg, seems almost as smart as the genius he portrays.

The other star of this film is Trent Reznor and Atticus Ross’ original soundtrack. At times haunting, at times propulsive, these long-time musical partners (Nine Inch Nails) have created a techno film score that will make your home theatre sing. Never obtrusive, always complimentary, it adds tone and depth, feeling and movement to this film. And it is cool. This is important. Zuckerberg knew that, with Facebook, he was on to something cool. He also knew that there is no more precious commodity—aside from sex—when it comes to marketing to young adults.

The Social Network, too, is that rare constellation of co-factors: it is a document, and example, of pop-culture that is blisteringly smart, sophisticated, exciting, funny, sexy, and cool. It is also a work of art, and for all of these reasons it is, truly, an emblem and anthem of our time.  For the Silo, Chris Dowber.