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Tag Archive: Steven Spielberg


Review by C.J. Bunce

When the worst of us does its best to silence the rest of us, you get a story like 1971’s Pentagon Papers bombshell.  When a voluminous, decades-in-the-making, confidential government report that demonstrated unconstitutional behavior by a succession of presidents from Truman through Johnson is leaked to the press, The New York Times first reported on it, and the Nixon administration sought and was granted an injunction preventing the Times from publishing further articles on the subject.  Director Steven Spielberg focuses his new expertly crafted biopic The Post on The Washington Post as it decided whether to publish excerpts of the Pentagon Papers in the face of the Times injunction, primarily through the eyes of newspaper owner Katherine Graham, played by Meryl Streep, and managing editor Ben Bradlee, played by Tom Hanks. For the average moviegoer, Spielberg takes a rather mundane footnote in American history and makes it completely engaging and entertaining.  Carefully re-creating the early 1970s more than 45 years later with everything from the annoying mishandling of coins as you tried to make a payphone call, to the rotary phones we all used, to the weekly ritual of the family newspaper strewn across the living room, to costume designer Ann Roth’s hand-sewn vintage wardrobe re-creations, eyeglasses, jewelry, and hairdos of the era, to old technology and random items on shelves (that might prompt you to think it’s time to get a new iced tea pitcher), to the thankfully bygone days of women sitting in one room at a party and the men in another, to board rooms completely devoid of women (although today there is still rarely more than one or two), Spielberg makes the best use of the film medium, sharing a timely and important story for a new generation of moviegoers.

Filmed in the same 1970s noir style as Alan J. Pakula’s All the President’s Men (and using a newsroom set that is almost as accurate as that film’s 1975 California movie set version of the real thing), The Post might as well be a prequel.  It’s almost as good, lacking some of the more heart-pounding, real-life thrills of Watergate, like the mysterious informant Deep Throat, the uncertainty of whether someone in the government was going to think The Washington Post’s press coverage was worth killing over, and the perceived nature of the stakes (the executive branch vs. the Fourth Estate).  To his credit Spielberg had the more difficult task of re-creating an era and a newsroom in 2017, when Redford was filming his movie only three years after the events took place (and Spielberg is also certain to illustrate the stakes to both the players and the nation of this earlier event).  From the opening scene Spielberg traverses familiar territory, opening with an embedded government wonk in a warzone in Vietnam, as believable as his earliest team-up with Hanks, in Saving Private Ryan.  Seamlessly composer John Williams rejoins his long partnership with Spielberg in this scene, offering one of his best scores in years, alternating within the film an intensity that rivals his Raider of the Lost Ark compositions with the contemplative import of the moment realized in his Schindler’s List soundtrack.

Yesterday is today, as scene after scene attests to the same corporate deal making, the same roadshow investors, the same IPO efforts, the same boardroom antics, the same misogyny, the same shuffling of blame, and the same indifference to the public good permeates the nation and the news.   Convincingly selling us on the gravity of the story is the best ensemble cast put together in the past year.  Streep plays a surprisingly layered Katherine Graham, a socialite who would become the first woman Fortune 500 CEO and first woman to helm a major newspaper, best known for her role in the Pentagon Papers and Watergate.  Streep never ceases to amaze as she creates yet another character as believable and authentic as any of her past award-winning performances.  The Tom Hanks that won best actor Oscars for Philadelphia and Forrest Gump is also back, playing the strident editor Bradlee for all it’s worth, complete with the editor’s accent, brusque language and bravado, equal to Jason Robards’ Oscar-winning take on the same man in All the President’s Men.  The rest of the cast is a virtual Who’s Who of the current top genre actor scene.

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Warner Bros. kicked off San Diego Comic-Con’s Saturday events this year with Ready Player One director Steven Spielberg, cast members, and the author showing the first teaser trailer for the movie (if you missed it, we previewed it here).  The audiobook, read by Wil Wheaton and currently available free here at Amazon with an Audible sign-up, has been a huge hit with fans, almost taking on a life of its own.  This weekend the studio released a new trailer for the 2018 release, a future sci-fi vision of the 1980s via virtual reality and a young man’s quest for the ultimate Easter egg.

As readers of the novel would expect, you’ll be looking for “millions” of Easter eggs tucked away in the film.  Iron Giant, Freddy Krueger, the Back to the Future DeLorean were the focus of the teaser this summer.  See what you can find in this first full-length trailer.  Is that King Kong or Donkey Kong?  We’re excited to see in this new trailer Killjoys’ and Star Wars: The Force Awakens’ Hannah John-Kamen, Rogue One: A Star Wars Story’s Ben Mendelsohn, and Bates Motel’s Olivia Cooke joining star X-Men: Apocalypse’s Tye Sheridan, but no sightings yet of Star Trek and Star Wars’ star Simon Pegg yet.

Here is the second trailer for Steven Spielberg’s Ready Player One:

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It was only back in 2015 that the fourth film in the Jurassic Park franchise, Jurassic World, premiered its first trailer, and a rather bad one at that.  Now as 2018 approaches we have a trailer for the fifth film in the series, Jurassic World: Fallen Kingdom.  And the latest trailer reveals yet another rehash of the original, brilliant, Steven Spielberg adaptation of Michael Crichton’ fantastic novel.  As with Jurassic World, the effort is not entirely futile, Jurassic World was simple entertainment on a big scale–a feast for the eyes.  But for some of us, for all its incredible special effects and fantastic futuristic technology, Jurassic World proved the maxim George Lucas laid out in reference to the success behind the original Star Wars–“Special effects are a tool, a means of telling a story… A special effect without a story is a pretty boring thing.”  And that summed up Jurassic World–the umpmillionth variation on the Frankenstein how-not-to-build-a-monster story, and the latest twist on Crichton’s original look at a theme park gone haywire in his movie Westworld.

Yet if every other blockbuster that takes the leap into Sequel World is able to continue forward with more and more and more and pulls audiences into theaters, why not Jurassic Park?  For those that want to reclaim even a spark of the original in the theater again, maybe it’s enough.  So what does the trailer tell us that Jurassic World: Fallen Kingdom has going for it?

First off, Chris Pratt is back.  Audiences like Pratt movies in part because they simply like Pratt’s charm.  He has the same brand of star power as John Wayne, who always appeared to be playing John Wayne in all his movies.  Like Schwarzenegger, Willis, Van Damme, etc.  It must be an action star thing.  So if you’ve watched Pratt (like we have) in everything from Everwood to Guardians of the Galaxy 2, we’re wagering you’re going to like Pratt returning as dinosaur wrangler Owen Grady.  Bryce Dallas Howard is an equally good if not better actor, with less of a fan following, and here she and Pratt are back again being snarky with each other (snore) in a Jurassic World preview.  If they didn’t have chemistry in the first film, why would we expect it to surface in a sequel?  Maybe what we need is the return of Jeff Goldblum in his best-loved role as Dr. Ian Malcolm?  His performance in 1993 was so well-received that Crichton, who killed off Malcolm in the original novel, resurrected the character for the sequel.  Did Goldblum’s return help The Lost World: Jurassic Park?  Not really.  But it’s been twenty years since we last saw Dr. Nature… Finds… a Way, so maybe enough time has passed so we can love him all over again.

And there are dinosaurs.  We’ll never get tired of more dinosaurs.  I want to see a triceratops racing a stegosaurus on the big screen.  How about you?

Check out this new trailer for Jurassic World: Fallen Kingdom:

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Only a free and unrestrained press can effectively expose deception in government.  And paramount among the responsibilities of a free press is the duty to prevent any part of the government from deceiving the people and sending them off to distant lands to die of foreign fevers and foreign shot and shell.

— United States Supreme Court Justice Hugo Black, NY Times v United States

The Post is the next in a prestigious line of the drama sub-genre of motion pictures focusing on journalism, a group featuring great films like Citizen Kane, Meet John Doe, The China Syndrome, Call Northside 777, and Zodiac.  The Post could be seen as a sequel of sorts to another film classic from this group, the Academy Award-winning 1976 film All the President’s Men.  That film, which told the story of The Washington Post coverage of the break-in at the Watergate Hotel that led to President Richard Nixon’s resignation, co-starred Jason Robards as executive editor Ben Bradlee.  The Washington Post is again front and center in The Post, this time with Tom Hanks as Bradlee and Meryl Streep as publisher Katherine Graham (who was an active player in the events in All the President’s Men, but the character did not appear in the film).

With director Steven Spielberg, Streep, and Hanks attached to the film, it’s likely The Post will be a big Oscar contender next March.  The Post tells the story of The Washington Post’s decision to disclose The Pentagon Papers over the course of a few weeks in June 1971, an extensive government study that would show that the government had hidden from the public and media the true extent of U.S. activity in the Vietnam War.  The decision of the Supreme Court would stifle the media for 15 days before finally providing some guidance on when the government may restrict the press from certain disclosures.

The film features plenty of familiar faces, including Alison Brie as Graham’s daughter Lally Weymouth, Carrie Coon as Meg Greenfield (Post editorial writer and confidante of Graham), David Cross as Post editor Philip Geyelin, Bruce Greenwood as Robert McNamara (President Johnson’s secretary of defense), Tracy Letts as Paul Ignatius (President Johnson’s assistant secretary of defense), Bob Odenkirk as Ben Bagdikian (the reporter for The Post at the center of the Pentagon Papers coverage), Michael Stuhlbarg as Post managing editor Eugene Patterson, and Zach Woods as Daniel Ellsberg, the military analyst who disclosed the Pentagon Papers and was charged with espionage.

Check out this trailer for The Post:

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Review by C.J. Bunce

Timed for release as part of the 40th anniversary celebration of Steven Spielberg’s Close Encounters of the Third Kind, fans of Close Encounters finally get one of the most eagerly awaited, behind the scenes looks at the quintessential UFO film as Harper Design releases its hardcover chronicle this week, Close Encounters of the Third Kind: The Ultimate Visual History.  And it’s everything fans of the film could hope for.

Known for his work as a publicist on more than fifty films, author Michael Klastorin worked with Sony Pictures and Amblin Entertainment to unearth rare and never-before-seen imagery from their archives.  The book is a stunning collection of on-set photography, concept art, storyboards, and recollections of the cast and crew to create a visual narrative of the film’s journey to the big screen and through the entire production process.  First created as a story idea by Spielberg in his twenties, Close Encounters is still considered by Spielberg as one of his most personal projects.  Spielberg recounts his efforts to sell the film, his attempts to get a known screenwriter to write it only for him to finally decide to write it himself, and his original story synopsis, which remained hardly altered.  Spielberg initially wanted to reflect Watergate in his film to reflect the current zeitgeist, something of a government trying to cover up the aliens like Project Blue Book, but by the time the film was far along in pre-production it was determined audiences were tired of conspiracies as the sole defining theme.  Spielberg’s discussion of his early vision seems very similar to what Chris Carter would develop more than a decade later in his television series The X-Files.

Except those who are no longer with us, all of the players you’d expect provide contributions in the book.  Actor Bob Balaban provides some of the most interesting stories from the set, including his casting process for the film and development of his working relationship with internationally known director and film co-star Francois Truffaut.  Richard Dreyfuss’s recollections focus on his campaigning Spielberg to be cast for the role, the difficulty in the Nearys’ location shoot for the family home, and his realization from his very first discussions about the project with Spielberg that Close Encounters would stand up as a noble film pursuit.  Melinda Dillon’s role changed throughout the shoot, cutting one scene for financial reasons and adding the scene where she has the revelation that Devil’s Tower is the image in her dreams.  She also filmed much of the movie with a broken toe, followed by another leg injury caused on-set jumping from a helicopter.

The most fascinating behind-the-scenes effects discussion comes from Doug Trumbull.  His UFO storm development effect work was extraordinary.  You’ll find location photographs, visual effects explanations and process development discussions, photos of the Mother Ship model and other set models, concept art from Ralph McQuarrie, and many views of the film’s extra-terrestrials.

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Review by C.J. Bunce

I can’t hazard a guess as to how many times I have watched E.T. the Extra-Terrestrial.  Probably a handful of times in 1982 and 1983, and at least once during a return to theaters in the past 35 years, plus a few times on VHS.  What stood out today, watching the film as part of the Fathom Events and Turner Classic Movies 35th anniversary re-release screenings, is how ageless the film is.  A teenager sitting behind me caught every single joke.  In a time when parents don’t think to take their kids to classic film opportunities like this, the kids are truly missing a great experience.  The film is a giant adventure story set in the backyard of a boy and his brother and sister.  It’s relatable.  Just check out Elliott’s room.  There’s a toy Star Destroyer on the table.  A TIE Fighter across the room.  He carefully explains who Greedo, Hammerhead, Walrus Man, Snaggletooth, Lando, and Boba Fett are to E.T.  And that advance LEGO builder set on the shelf.  How many kids’ homes today, after all these years, still look so similar?  And someone nearby is getting ready to dress up as Yoda, or a character from his neighborhood, in only a few weeks, much like the kid E.T. tries to run off with on Halloween.

It’s not only relatable, it’s about that subject that sci-fi does best when done right:  Communication.  Last year’s acclaimed sci-fi film Arrival was all about it, but does it reach into each of us like E.T. the Extra-Terrestrial has?  We celebrated one of the best episodes of television this year here at borg.com, discussing the 25th anniversary of one of the greatest of all Star Trek episodes, Darmok from The Next Generation, a story entirely about the practical, real-world difficulty of communication.  Elliott, played so well by Henry Thomas, and later Gertie, played equally well by the younger Drew Barrymore, each use what knowledge a little kid has to try to relate to an outsider.  And we immediately see the problems–the barriers–that get in the way.  Elliott tries to convey to the very curious new alien visitor so willing to learn that this giant object is a peanut.  “You eat them, only you can’t eat this one because it’s not real.”  He’s describing a bank that was made to look like a peanut.  He then puts money in it.  And the result: E.T. next tries to eat a toy car.  Just as Dathon and Picard found, communication isn’t all that easy.  Only when Gertie gets her only one-on-one opportunity, of the three kids she is the one who helps E.T. gain his vocabulary.  The innocent and the youngest and the most awestruck.  And she’s also the first to understand he is trying to phone home.  Communication is difficult sometimes, but if kids can figure this out, what can adults do?

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This week’s release was the original cut, as seen in theaters in 1982, not with any modifications.  This is the first time the film has screened in theaters since the death of writer Melissa Mathison in 2015 (you might not have seen the laserdisc version of E.T. the Extra-Terrestrial, the only version ever released to feature Mathison’s then kinda-sorta well-known boyfriend Harrison Ford in the shadows as Elliott’s principal, meeting Elliott’s mom Mary (Dee Wallace) after his frog rescue–a bad scene, justifiably deleted).  I did not recall how much we see E.T. in the film’s first scene as he and other botanists search out samples.  E.T. carefully digs up what appears to be a Redwood sapling.  But I now understand what Spielberg was thinking in his later re-cut version.  As a kid I thought the humans were the enemy and yet this time I found no evidence of the humans trying to do anything other than learn about E.T.–much like the humans in Close Encounters of the Third Kind were scientists attempting to communicate.  In Close Encounters, the presence of weapons are to scare the public from the faked quarantine area.  Maybe that was the purpose of the weapons in the original E.T. cut.  But somehow the rifles seemed out-of-place when the kids were escaping on bikes, after E.T. dies, after showing all the adults desperately try to help, to save E.T, some even in tears.  This was the differentiator of Spielberg’s alien films from those that came before–the same spirit that only a few years earlier guided scientists to launch a couple of records into space hoping to communicate with someone out there.  So swapping out car phones or walkie talkies for rifles actually is consistent with the actions of the adults in the rest of the film.  I also can understand why so many little kids look back on the film as scary.  There’s plenty to scare little kids–those same things that scare E.T. throughout the film, as well as what might be many kids’ first introduction to death.  But the scene is gracefully done, and three decades later it’s great to hear that the adults are clearly heard attempting all those real-world, life-saving techniques to save our new alien friend.  Mathison masterfully blended a science fiction, a fantasy adventure, and a coming-of-age story all in one package.

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Fans of the beloved Steven Spielberg film E.T. the Extra-Terrestrial have only one more day to catch Steven Spielberg’s 1982 hit film in theaters.  As part of the TCM Big Screen Classics and Fathom Events celebration of the 35th anniversary of some of the greatest films of all time, E.T. the Extra-Terrestrial will be in theaters for only one more day via two screenings in hundreds of theaters nationwide.

You can still get tickets for one of two screenings showing locally Wednesday, September 20, 2017, at 2:00 p.m. and 7:00 p.m.  For more information, to check theater availability, and to order tickets, check out the Fathom Events website here.

After unprecedented commercial success with Jaws, Close Encounters of the Third Kind, and Raiders of the Lost Ark, Steven Spielberg did the unthinkable, directing a fourth blockbuster that would outperform them all, E.T. the Extra-Terrestrial.  E.T. the Extra-Terrestrial saw the big screen breakout roles of Drew Barrymore, Henry Thomas, and C. Thomas Howell.  Nominated for nine Academy Awards, it would take home four awards, for John Williams’ vibrant score, for sound, visual effects, and sound effects editing.  The film is the only movie from the 1980s that is among the top 50 all-time box office record-holders, currently holding its place at#15.

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Review by C.J. Bunce

For me, Close Encounters of the Third Kind was the film that got away.  I was lucky to have been taken to every great sci-fi classic and Spielberg film from Jaws forward, but multiple Star Wars viewings probably nudged out my chance to see this one back in 1977.  Close Encounters didn’t arrive in theaters until the Christmas season that year and it would likely have generated some nightmares as I was only about a year older than the boy co-star of the film–so it was probably a good thing.  Close Encounters of the Third Kind is back in theaters this week to celebrate its 40th anniversary.  Watching it for the first time on the big screen was like filling in a last brick in the wall.  It’s a satisfying re-watch, and every time you screen a classic in the theater again you learn something new.  The film is being preceded this week by a behind-the-scenes featurette, including an interview with Steven Spielberg and excerpts from the home movies he routinely films as he directs his movies.  It also contains a clip of each iconic scene in the film, so those who haven’t seen the film and want to view it for the first time may want to duck out for popcorn during the previews.  Close Encounters is screening only for a few more days, so no matter how many times you have seen it, it’s time to go back again.  Nothing beats a classic, especially a Spielberg film, on the big screen.

You might find Close Encounters’ pacing to stand out as a bit slow.  Movies today need to be action-packed to grab viewers.  The elements the viewer needs to know are laid out methodically, and yet the film is not told in normal storytelling fashion.  Richard Dreyfuss’s innocent everyman Roy Neary is not your normal protagonist.  Every bit the victim here, he also may be more like a lottery winner, selected to do what many dream of.  He asks for none of the personal invasion he encounters–ripped from his family and job, this uncontrollable compulsion arrives, pursuing him with only a realization that whatever this vision is about it’s somehow important.  From the film’s abrupt start it feels very avant-garde, a bit like modern independent filmmaking, with its back and forth explanation of a communication project in progress spliced with a utility worker who experiences a strange event.  Sequences of real world end-to-end conversations that other directors might have edited to more quickly get to the point also illustrate unusual directing decisions.  Only in what doubles as a horror movie sequence–basically a child abduction–do we get a clear realization of aliens as one possible antagonist of the film.  And when the movie really kicks in at Devil’s Tower the audience can see the international marriage of scientists and military is possibly another villain.  Or is there a villain at all?  Many scenes suggest dissonance itself is the culprit–all the barriers to clear communication that get in the way–the ongoing, pounding barrage of multiple interpreters in a single conversation, air traffic control operators speaking at once, Neary’s wife played by Teri Garr and her kids all talking or screaming or beating toys to pieces, Roy’s co-workers on the radio all speaking at once, a room full of scientists babbling at each other as they try to interpret these six repeated numbers beings sent to them from outer space, aliens playing rapid tones against humans doing the same.  And the sound of all the toys turning on at once, the toys of little Barry (Cary Guffey) that wake up his mom Jillian, played by Oscar nominee Melinda Dillon, forcing her to join the story as a victim along with Roy.  Then the resolution of conflict only arrives as the aliens and humans finally reach clarity with the tonal communication between them in the film’s climactic encounter.  In the preview to the film, Spielberg mentions Pinocchio and Jiminy Cricket’s crooning “when you wish upon a star, makes no difference who you are” as his inspiration–what the film is all about.  That familiar Disney motif is certainly present thanks to John Williams’ beautiful score.  Maybe Roy is his own enemy–unable to break away from the influence of these beings?  Or by following this calling does he rescue himself from a family that doesn’t understand or listen to him, and a mundane job and neighborhood of zombie-like suburbanites who always seem to be watching him?

Whatever the through line of the story is intended to be, the film is sweeping and enormous in scope, addressing subjects everyone can get sucked into: telepathy, conspiracy theories, all the UFO theories (from cattle mutilations to Area 51 to alien abductions and flying saucers), and unexplained phenomena (from missing people to the curious fascination of aliens with rummaging through refrigerators).  It’s all there in this suspenseful package, all from this brilliant young filmmaker who said he and his cast just couldn’t wait to show everyone this great thing they had created.  Hints at so many films are contained here that you could wonder if Spielberg starts generating every subsequent project idea by first watching Close Encounters:  We see the young child’s parents terrified in their home by some strange force in Poltergeist as Jillian tries to prevent the aliens from breaking into her home.  We see the quiet standing crowd at night waiting at the foot of Devil’s Tower for something good or bad to happen filmed similar to the soldiers waiting as the Ark is opened at the end of Raiders of the Lost Ark.  And it’s almost a surprise to realize the mother ship at the end of Close Encounters is not the ship from E.T., the Extra-Terrestrial, another giant, flying, lit-up Christmas tree-house transporting that curious little botanist who would arrive only five years later.

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Not many R-Rated movies these days get much attention in a genre world of sci-fi, fantasy, superhero, action, or suspense/thriller films.  The current wave of hit films seems to be targeting the broader, all-age audience, not just the adult set, with Deadpool being the notable exception.  But a new historical romance opening this weekend is so loaded with genre actors it drew our attention.  The background for Tulip Fever is as unusual as its subject matter.  Tulip Fever was initially set to be a Steven Spielberg film with Paramount Pictures starring Jude Law, Keira Knightley, and Jim Broadbent, way back in 2004, but a change in UK tax rules stopped the film in its tracks.  So Harvey Weinstein bought the rights and re-cast the film and production commenced in 2014.

The costumes, from Academy Award winning designer Michael O’Connor (Dredd, The Duchess, Harry Potter and the Chamber of Secrets) and the set design by Simon Elliott (Bleak House) look quite good, a dark European drama with Les Miserables-esque cinematography.  The film’s premise is unusual.  Academy Award winning actress Alicia Vikander (Ex Machina, The Man from U.N.C.L.E., Jason Bourne, The Danish Girl, and next year’s Tomb Raider) stars as Sophia, a young married woman who falls for a portrait artist during Tulip Mania in 17th century Amsterdam.  Her lover is played by Dane DeHaan (Valerian and the City of a Thousand Planets, The Amazing Spider-man 2).  The comparison of this couple to Kate Winslet and Leonardo DiCaprio’s secret lovers in Titanic is unmistakable.  But can a movie set with the backdrop of Tulip Mania possibly hope to draw the appeal of the sinking of the Titanic?  Probably not where this film is heading.  The film was originally screened at Cannes in 2015.  It’s release has been delayed at least six times.

But the genre actor cast list continues.  Sophia’s husband is played by two-time Oscar winner Christoph Waltz (Spectre, Inglourious Basterds, Django Unchained, The Legend of Tarzan, Muppets Most Wanted).  Oscar winner Dame Judith Dench (the James Bond series, The Chronicles of Riddick, Pirates of the Caribbean: On Stranger Tides, Shakespeare in Love, Henry V) has a cameo role as a nun.  BAFTA winner Tom Hollander (Pirates of the Caribbean series, Mission Impossible: Rogue Nation, Muppets Most Wanted, Valkyrie, Gosford Park) plays a doctor.  Primetime Emmy winner Zach Galifianakis plays a friend of DeHaan’s character and DeHaan reunites with Valerian co-star Cara Delevingne.

Here’s a trailer for Tulip Fever:

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JAWS–It’s the reigning king of summer blockbusters–the movie that even prompted the term blockbuster throughout most of the U.S.A. in 1975 because of its crazy long theater lines.  It’s still a favorite of those lucky enough to see it in the theater that summer (drive-in, in my case), and absolutely re-watchable like no other film.  Steven Spielberg directing the toughest shoot of his career, special effects that had to be ditched, a stunning score by John Williams, Richard Dreyfuss at his dramatic funniest, Robert Shaw at his finest.  And coolest.  Robert Shaw.  The Oscar-nominated actor from The Taking of Pelham One Two Three, Force 10 from Navarone, and From Russia With Love, turned 86 this month.  To celebrate, Narragansett, the brand of beer that Shaw drinks on-screen and the can that he crushes in that famous Jaws scene, re-released its famous 1975 commemorative beer can this summer.  Don’t remember the scene?  Check it out below.

Narragansett timed its release with Shaw’s birthday August 9 and Shark Week.  Unforeseeable to the beer company, Quint was brought back into the limelight later in the month with the discovery by Paul Allen and his research team of the actual USS Indianapolis shipwreck some 18,000 feet below sea level on the floor of the Pacific Ocean.  Shaw and Spielberg have been praised by survivors for the realism provided in the movie.  It’s a dose of reality in what was otherwise a summer action movie.  Yet we surmise the story of the tragedy might not have received the prominence in history it deserved, and maybe Paul Allen might not have learned of the ship to seek it out, without the pervasiveness of the film today, and the lore it perpetuates.  Fortunately 22 of the original sailors that survived that fated voyage are still with us.

Narragansett is the beer Theodor Geisel aka Dr. Seuss created ads for.  Unlike Morley cigarettes (which we discussed back in 2011 at borg.com here), Hank Hill’s Alamo Beer, Thomas Magnum’s Old Dusseldorf longnecks, Al Bundy’s Girlie Girl Beer, Homer Simpson’s Duff Beer, Laverne & Shirley’s Shotz Beer, or Drew Carey’s Buzz Beer, Quint was downing and crushing a can of real Narragansett.  Still brewed today, it’s the preferred beer of many in the Northeast and Eastern U.S, where it is distributed.  The iconic movie scene solidified the brand’s reputation as the beer of choice for everyday New Englanders and continues to captivate viewers to this day.  The company offers many great fan products, so make sure you check out its website store for items like its throwback can Christmas ornament, a great two-sided throwback T-shirt, and “Crush it like Quint” full-sized poster.

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