We all know that original Blade Runner director Ridley Scott has gotten the band back together to finally make a sequel to the 1982 classic. Now we’re starting to get a real feel for what the much-anticipated followup is going to look like.
Executive Producer Scott convinced Harrison Ford to reprise one of his signature roles, grizzled cop Rick Deckard, alongside Ryan Gosling as new replicant hunter Officer K, in a story from original co-scripter Hampton Fancher.
So far we’ve seen some promising stills and footage, but anyone can string together a few eye-popping images. Can director Denis Villeneuve (Arrival) deliver an entire movie worthy of following in the footsteps of Scott’s visually stunning masterpiece? The early evidence suggests that he can! Check it:
After hearing virtually nothing about Blade Runner 2049 after the casting of Ryan Gosling was announced and Harrison Ford‘s participation confirmed, Warner Bros has suddenly dropped a bunch of teaser material about the sequel to director Ridley Scott‘s 1982 classic, Blade Runner.
First of all, we have several photographs courtesy of Entertainment Weekly depicting the principle characters, including Gosling as Officer K, Ford as Deckard and Ana de Armas as a mystery character. Scott is also seen conferring with Ford.
More than any other Doctor, Matt Smith’s incarnation seems tied to his hair. Oh, sure, Tom Baker’s Fourth Doctor was once described as “all teeth and curls,” but it was his scarf that defined that version of the Time Lord. But from the moment he was cast, Smith’s hair was the focal point.
It could be because the initial publicity photos (and the cover of Doctor Who Magazine) all depicted him with what appeared to be a hairstyle rejected by English New Wave band A Flock of Seagulls. I know that was my initial reaction. (And then, like everyone else, I opined, “He looks to young.” Live and learn.) Or, it could be the fact that Smith’s shock of floppy hair was incorporated into in the look of the 11th Doctor — and the way his mop top always seemed to inject itself into scenes in that inaugural season of stories.
But now that Matt has left the role, the very first thing he did was shave off all that hair — all of it — and take a role diametrically opposite to that of the Doctor (a murderer in Ryan Gosling’s How To Catch a Monster). These were both extremely smart moves.
Now that series seven has wrapped for fans with transmission of the wonderful “The Name of the Doctor,” you might be wondering what the Doctor himself, Matt Smith, is up to.
He’s in Detroit, filming a big role for Ryan Gosling’s directorial debut, How To Catch a Monster.
And he looks like this.
Matt Smith told Britain’s TV Magazine that he will return to DOCTOR WHO for at least one more series in 2014. This means his 11th Doctor will not be regenerating during the 2013 Christmas Special, as some rumors and fan sites have been claiming.
This is what Matt told TV:
“I’m on a break for a couple of months while I’m in Detroit making How To Catch A Monster. We come back and shoot the Christmas special over the summer, then we go on to the next series, which will either start filming at the end of this year or at the start of 2014.”
Jenna-Louise Coleman confirmed that she will play Clara in the eighth series of DOCTOR WHO — however, the show is going on a filming hiatus this year to give Matt Smith (the Doctor) time to go to Hollywood and shoot his first leading movie role.
Smith nabbed the lead in Ryan Gosling’s directorial debut, How To Catch a Monster, so DOCTOR WHO will have to be put on hold while he works in Hollywood. Production of WHO will resume in September with the Christmas Special and then the next season.
Since the production will be waiting for Matt, it’s obvious that he’s still in it, although producer Marcus Wilson (unhelpfully) would only say, “We want [Matt] to stay the Doctor for as long as possible.” Show-runner Steven Moffat was almost equally unhelpful, declaring, “[Matt is staying] forever. For the rest of Time.” This being a Steven Moffat series, who knows just how long Time has left?
Moffat did, however, confirm the Christmas Special and series eight:
“Of course there’s going to be a Christmas special. Santa will also visit your house. Yes, all is as it was. I’ve just started planning the next series, and I’m going to swing [the arc] a slightly different way again.”
Fridays always scream “movies” to me, and if nothing at the cinema tempts you enough to brave the talking audiences, crying babies and budget-busting concession stand, why not take a spin with Drive, which was released on Blu-ray/DVD this week (along with the horror prequel The Thing).
But be warned: Although Drive was originally marketed as an action flick, this is not a standard revenge movie, and there is not a lot of “action.” Instead of lots of squealing tires and gunplay, this is a movie filled to overflowing with quiet suspense. Long stretches (entire scenes, even) go by with silent characters watching a wristwatch or brooding, waiting for something to happen. The tension sometimes reaches near-intolerable levels in scenes that drip with an atmosphere of foreboding. But then the movie suddenly erupts into brief paroxysms of brutal, gory violence.
The 18th Annual SAG Award nominations were released this morning, accompanied by the usual bitching and moaning over who was or wasn’t on the list. Nominations by committee are bound to come up with some head-scratchers, and there’s nothing we fans can do but complain and question the mental capacity of the voters.
However, one oversight — one travesty, really — cannot be allowed to quietly slip by: Why wasn’t Albert Brooks nominated as outstanding supporting actor in Drive, director Nicolas Winding Refn’s revisionist noir thriller. It’s unthinkable! And while that ship has sailed, allow me to make the case for Mr. Brooks deserving an Academy Award nomination. (The Golden Globe nods come out tomorrow, so it’s too late to change any minds there…)
In my opinion, Brooks turned in the best supporting performance in a motion picture since Martin Landau’s Oscar- and Golden Globe-winning take on Bela Lugosi in Tim Burton’s masterful Ed Wood back in 1994. And that’s saying something. Brooks was an effective bad guy by underplaying, rather than chewing the scenery.