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Jan 13 12 3:22 AM
Jan 13 12 6:00 PM
by Alex Billington January 13, 2012Source: YouTube
"Were you always this obnoxious?" A new featurette has debuted (via AICN) on the EuropaCorp YouTube for their upcoming sci-fi film M.S. One - Maximum Security, also known by many other titles, including Escape From M.S. One (in the US) and previously Lock-Out. The video includes interview segments with co-director Stephen St. Leger and focuses on the "badass" character of Snow, played by Guy Pearce. We've seen a few trailers for this
before and it looks pretty damn cool already, but this spot gives us a
look at just how insanely Snake Plissken-esque Pearce is. It also stars Maggie Grace & Peter Stormare. Enjoy!
Watch the new featurette for Escape From M.S. One, or M.S. One - Maximum Security, via YouTube:
A man (Pearce) wrongly convicted of conspiracy to commit
espionage against the US is offered freedom if he can rescue the
president's daughter (Grace) from an outer space prison taken over by
Escape From M.S. One (or also known as Lock-Out, or M.S. One - Maximum Security) is directed by French cinematographers James Mather & Stephen St. Leger, of only the short Prey Alone, making their feature directorial debut. The screenplay was co-written by Mather & St. Leger and filmmaker Luc Besson, who also executive produced the film at Europa Corp. FilmDistrict is releasing Escape From M.S. One in the US, and had initially set an April 20th release date this spring. We'll let you know if the release changes at all.
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blueberry12 wrote:If you ever get to Sweden you can watch all his ( and Stellan´s , Gustaf´s ) plays on vhs/dvd at Dramaten.
It´s free , but you need to book time.
Jan 15 12 5:17 AM
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karjo wrote:Pelham, Great info on Peter. I always wondered who the sadistic guy was in Fargo (one of my favorite movies). Both my son and I loved him as the Russian in Armageddon and never realized it was the same guy in both. Thanks
Jan 16 12 8:10 PM
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Pelham123 wrote:I had a clip of Constantine posted but youtube gave it the old heave-ho. I hate having to rip encryption so it may take me awhile to repost it. I found my Fargo dvd too but he has so many scenes that it'll take me a bit to get them all clipped and uploaded.
Jan 18 12 9:21 PM
ohvaI have tons of friends. They're just all online.
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With that in mind, we’re going to take a look back at the Best Picture winners to date and figure out where the Academy went wrong. Not when they picked the wrong film, per se, but when they failed to pick the nominated film that was actually worth remembering. We’re going to avoid a few of the obvious ones – everyone knows about the Citizen Kane and Goodfellas debacles – to shed light on some of the Best Picture nominees that were less famously screwed over in this week’s Five Great Movies: Best Picture Snubs!
As always, these aren’t the five best movies, necessarily, just five great ones.......[High Noon, Giant, Fargo, Moulin Rouge and Brokeback Mountain are described in the article. I'm only including the part about Fargo, of course]Peter Stormare and Steve Buscemi in Fargo
Fargo (dir. Joel Coen, 1995)
The Academy, as we mentioned earlier, often votes for posterity, and grand romantic epics sure seem like something to be remembered for. But in the case of The English Patient, a film that seems to have as many fans as detractors, it was probably the wrong year for sentimentality. 1995 was considered the year of the independent, with only one of the nominated films, Jerry Maguire, stemming from a major studio. Despite its “independent” label, however, The English Patient is such a broad epic romance that it feels shocking conventional right up to the end, when the romance between Ralph Fiennes and Kristen Scott Thomas takes an unusually macabre turn for the worse. It probably deserved most of its technical awards, but nowadays it’s clear that The English Patient doesn’t have the cultural staying power it seemed likely to enjoy. Not when it was nominated alongside Fargo.
The Coen Bros. were already known for their signature quirk, thanks to indie classics like Raising Arizona and Barton Fink, but Fargo – a not-really-based-on-a-true-story of a kidnapping gone horribly wrong – was a film of such overt greatness that their greatness suddenly became undeniable. William H. Macy stars as a used car salesman who hires two thugs, Steve Buscemi and Peter Stormare, to kidnap his wife so he can use the ransom money to hide his financial indiscretions at work. Frances McDormand, who deserved her Best Actress win that year, appears rather late in the film for a leading performance, as a pregnant local police chief whose good nature places her at odds with the film’s casual violence and hilariously dark sense of humor. It’s those elements that probably sank Fargo’s Oscar chances, as the film lacks the uplifting sentimentality that seems present in most Best Picture winners, but the film is so expertly crafted that its deft tone feels almost effortless.
Does Fargo amount to anything? No, not really, and of course that’s the point, as McDormand points out late in the film. She thinks upon the senseless murder and mayhem that came before the film’s conclusion and asks the surviving criminal, “And for what? For a little bit of money? There’s more to life than a little money, you know. Don’tcha know that? And it’s a beautiful day. Well, I just don’t understand it.” A perfect, hilarious film about the pointlessness of the violence Hollywood celebrates, and a hell of a lot more significant than The English Patient, even if you are one of that film’s fans.
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