It’s rare that a truly original film comes through the system and actually make us take note. The upcoming animated film from Dreamworks, Rise of the Guardians (formerly Guardians of Childhood) is just that.
With an all-star cast an a premise we haven’t liked this much since Nightmare Before Christmas, this flick could be our new favorite from Dreamworks. Here’s the premise:
 
More than a collection of the well-known childhood legends, Rise of the Guardians tells the story of a group of heroes — each with extraordinary abilities. When an evil spirit known as Pitch lays down the gauntlet to take over the world, the immortal Guardians must join forces for the first time to protect the hopes, beliefs and imagination of children all over the world. This epic 3D adventure stars Chris Pine as Jack Frost, Alec Baldwin as North (Santa Claus), Hugh Jackman as Bunnymund (Easter Bunny), Isla Fisher as Tooth (Tooth Fairy) and Jude Law as Pitch (The Boogeyman).
 
With a scheduled release of November 21, 2012, you can expect this one to be the big hit of the 2012 holiday season (provided The Hobbit doesn’t steal our hearts). Take a look at Santa looking bad ass after the jump.

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Often times a filmmaker and a composer find a shared voice, a common approach that allows both to make the project they share truly remarkable. One of the highest profile partnerships is that of Steven Spielberg and John Williams, arguably the two greatest artist in their chosen fields. This winter brings us not one, but two brand new collaborations between these two heavyweights, and today we are going to dig into the first of the two, War Horse.

I was extremely excited when I began listening to this music, every time Williams composes music for a Spielberg film there is a good chance he is crafting something remarkable. The first 25 seconds of the War Horse score immediately let me know this music would be no exception. The score is classic Williams, with a somberness that is just subtle enough to be noticed, but not get in the way of the idealistic sheen that Williams uses so well.

The main theme of War Horse is beautiful, Williams is the greatest theme writer in the history of ever and some how he manages to still do it to this day. The theme is simple, but evocative of early 20th century hopes and dreams as well as the nobility of the soliders fighting in the first two world wars. Which makes sense due to the fact that the film is about the incredible journey of a boy, too young to enlist going to the war torn trenches in France to save his friend, the titular horse. 

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OK, I am calling it right now. Henry Jackman is a composer to watch. So far this year he has scored three films, all with a unique, interesting and fun sound. First it was the stellar X-Men: First Class, my review of which can be found here, followed by Winnie the Pooh which was really good in very different ways. Now Jackman brings his up and coming stylings to another animated feature, although this time one that has it’s roots in a decidedly different musical lineage.

Puss in Boots is the first spin off film in the Shrek franchise, and it follows the titular Puss (tee hee), played by Antonio Bandaras, in his own adventures. Puss was a highlight of the second film and one of the few good parts of the third and fourth movies so a stand alone feature might work.

The film is about sword-wielding avenger with a thick Spanish accent played by Antonio Bandaras, and if you immediately thought Zorro then you and Mr. Jackman might have something in common.

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The Transformers trilogy is an interesting beast. The first film was a surprisingly great sci-fi action film, the second was one of the worst pieces of junk I have ever sat through and the third comes somewhere in the middle. Despite the inconsistency in quality from film to film the one thing that remained steady in it’s excellence was Steve Jablonsky’s scores.

Jablonsky comes from the Hans Zimmer cadre of film composers who have dominated the movie score scene over the last decade. Like Klaus Badelt and Harry Gregson-Williams before him, Jablonsky made a significant impact in his career collaborating with a prolific filmmaker, Michael Bay. He had several good scores prior to Transformers, particularly The Island, but it wasn’t until he scored the giant talking robot opus that you knew you were listening to a real talent who has limitless potential.

Now at the end of the Transformers saga Silva Screen Records has put together a collection of the music from the entire trilogy, celebrating some of the best action sci-fi music ever written. The music is performed by London Music Works and does a really incredible job of capturing the essence of what the music is. This is especially great considering that at times the music actually sounds quite different.

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In the interest of full disclosure, I have to reveal I’ve had Stephen King’s Under the Dome on my Kindle for about a year and still haven’t gotten around to reading it. Not that I think it won’t be good, it’s just that other things have come up.

Fortunately, it seems I may not ever have to bother reading the book. Why? Well, today it was announced Showtime is partnering with Steven Spielberg and Stephen King for an Under the Dome drama TV series, which will be produced by DreamWorks Television.

In case you haven’t had the time either and don’t know the story of Under the Dome, it’s a supernatural thriller which revolves around locals at a Maine vacation spot who battle one another when a force field suddenly surrounds their town and cuts them off from the rest of the world. Wasn’t that the premise of an old Twilight Zone episode? Huh.

Anyway, now that the deal appears to be done with Showtime, the search is now underway for a writer (or writers) to adapt the novel into series form. No word yet on who that may be.

However, if I may make a suggestion, I hear Frank Darabont is available. I think he would be a great choice.

Showtime, you listening?

The score for the first Michael Bay Transformers movie was something of a shock. I wasn’t expecting much from the movie, and I anticipated even less from the movie’s score. In fact, I expected something more like incomprehensible metal percussions and minimalism in the theme department.

What Steve Jablonsky delivered was nothing short of a revelation, I had a perfect  cinematic music moment during the arrival to earth scene. A moment where the music, movie and context of my own life all blended together for one transcendent moment.  This has only happened three other times in my life, and the composers responsible were named Wiliams, Goldsmith and Shore. So believe me when I say I really liked the music of the first film.

Then came Transformers 2, an abomination of truly grand proportions. The score was solid, but unspectacular. It had none of the awe and wonder that made made the first film’s music such a joy. In the absence of that we got instrumental Linkin Park! Whoop!

Now I understand a film that is second in a franchise isn’t going to have that same freshness, but I was expecting so much better. So now here we are at Transformers 3, Jablonsky has returned with almost everyone else and I am more than curious to hear what he has to offer.

Last week I gave you a review where I hadn’t seen the movie (well TV show actually), now this week I am giving you a review where I saw the movie first before I listend to the score album. In the movie, the music wasn’t as dominant as it was in the first film, but it was far more enjoyable than the last film’s score.

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When asked about his role in Jaws 4: The Revenge, Michael Caine once said, “I never saw it—but I saw the house it paid for, and it’s fantastic!” I suspect John Turturro’s been saying something similar for the past four years whenever he’s asked about the Transformers movies. Now we can add John Malkovich and Frances McDormand to that group. And maybe Alan Tudyk.

The plot is as labyrinthine as it is unnecessary. Back in the early 1960s, a ship from war-torn Cybertron (if the Transformers spend all their time fighting, how did they ever evolve?) crashed on the moon. Among the cargo were several “Pillars” that have some sort of significance to the war.

Also, a big, tough Autobot named Sentinal Prime. The White House gets wise to this, and thus we have the impetus for the moon landing (apparently, many historical events were due to Transformers; they don’t get around to revealing that car in which Kennedy was shot was an Autobot, but there may be a fourth film).

Fast-forward to the present day, where the Autobots are now working for the Feds to preserve humanity (how did we ever get along without them?). While on a mission to Chernobyl, Optimus Prime discovers some remnant of the Pillars and decides that it’s high time to revive Sentinal. Also, the Pillars are somehow able to teleport things, which means that it can be used to bring an army of invading Decepticons to earth (according to Frances McDormand, National Intelligence Director).

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Here we are, week 3 into a seemingly never-ending summer of huge named blockbusters, and the first film to come close to $100 million in the domestic box office is the fourth installment of Pirates of the Caribbean: On Stranger Tides.

With a budget of nearly $250 million, the film opened wide this weekend to over 4,100 screens across the country and pulled in an estimated $90.1 million since Friday. Not to mention its overseas numbers, which totaled in over $250 million worldwide.

Coming in behind the film, Bridesmaids only went down $4 million from last weekend’s $26 million to an estimated $21 million. This is a perfect example of word-of-mouth helping a film out, as the marketing normally dies down after the first weekend of a film’s release.

Doing less impressive, Paramount’s Thor lost half of its totals from last weekend, bringing it in at third with an estimated $15.5 million. Worry not, however, as the film has brought in nearly $400 million worldwide since its release date.

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As we do often, we’ve got another trailer to share with you today. That’s one of the cool things about Hollywood, they’ve always got another movie to promote and there’s always a new trailer to watch and maybe even enjoy.

Case in point today is a brand new one for Reel Steel starring Hugh jackman and some battling robots. DreamWorks has released a new trailer for the movie and in this one we get to see more of Jackman in action, more fighting robots and, unfortunately, more of the “human story” as well. Sorry, the kid is a bit annoying.

I know the movie can’t be two hours of robots kicking the crap out of each other but at least they could have found a slightly more appealing kid to play, well, the kid. Hey, its probably not as bad as we think it is.

Judge for yourself and check out the trailer after the jump. Reel Steel punches its way into theaters on October 7th.

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Just a short while after it was announced Pixar’s upcoming sequel to 2001′s Monsters Inc. will actually be a prequel, it looks like Pixar and Disney may have spoken too soon, as the film is now getting pushed back to 2013.

We’re not looking at a massive push, just 6 or 7 months. According to THR, that hasn’t stopped Disney from filling up that prime open box office time.

Disney is pushing back the release of Pixar’s sequel Monsters University from Nov. 2, 2012 to June 21, 2013. As a result, Disney toon Reboot Ralph will now open Nov. 2, 2012 — Monsters’ old date — instead of March 12, 2013.

Within several hours, Paramount and DreamWorks Animation announced they were moving The Croods from March 1, 2013, to March 22, 2013.

Needless to say, both November and now the following June are going to be pretty big months for animation fans, especially families. Sadly, this does mean that fans of Billy Crystal and John Goodman’s characters from the original will have to wait that much longer.

Those who remember the original Rocky and Bullwinkle show remember two sister franchises fondly. Those being Dudley Do-Right about a bumbling Canadian protagonist and his wins against the evil Snidley Whiplash, and then there was Peabody and Sherman. The latter was about a super-genius talking dog and his teen boy sidekick who would hop in the WABAC time machine and learn about various triumphs and follies in history.

Do-Right got his 15 minutes of Hollywood fame in the form of a Brandan Frazer adaptation, and now it’s Peabody and Sherman’s turn. It looks like Dreamworks is moving ahead with their completely CG adaptation, and have now cast Robert Downey Jr. in the lead role. From EW.

The project was just announced internally to the DreamWorks staff, with Robert Downey Jr. signed to voice the super-smart, bespectacled canine.

The new animated feature, planned for 2014, aims to bring the duo back to the pop culture mainstream. “Certainly for Boomers, they’re in the sweet spot of our childhood animation memories, but beyond there it gets a little bit, well, not quite as familiar,” says director Rob Minkoff (The Lion King).

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Yesterday, we brought you 3 awesomely hilarious clips from next weekend’s big animated release, Megamind, and if you didn’t think that was enough, we have 3 more for you.

We have more than enough faith in most things super hero these days, but when the film is opening against Skyline and Due Date, expect it to either blow everything out of the water, or get left behind in a race between Hangover fans and sci-fi fans.

Megamind has enough name credit behind itself to make a big enough splash, but fighting names like Robert Downey Jr. and a bunch of explosions, it may be a tough sell for November.

If you’re still teetering on which movie to spend your $10 on, check out some great new clips for the film after the jump, and be sure to make your decision by November 5th.

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