Friday, May 25, 2012

Review: ‘Men in Black 3’


By James A. Molnar
TGK Editor

Aliens live among us. And not all of them want to kill us.

This is the Spielbergian ideal within which the world of the “Men in Black” universe operates.

It’s whimsical and refreshing. Creative and fun.

While the second movie of this trilogy didn’t quite live up to these adjectives, “Men in Black 3” returns the series to its roots and focuses, thankfully, on the duo that is Agents J and K (Will Smith and Tommy Lee Jones).

The person that really shines in this movie, however, is not Smith or Jones, but Josh Brolin, who is charged with playing a younger Jones.

Smith and Jones look visibly older than they did in the last film, which came out a decade ago. It’s almost distracting in the beginning.

In order to save the Earth from pending doom (always the case for the Men in Black), Agent J (Smith) must go back in time — to the summer of ’69. While there, he works with a younger Agent K (Brolin). This is where the movie really finds its groove.

A sworn enemy of K’s ever since he lost his arm, Borris The Animal (Jemaine Clement) goes time jumping to save his arm and get revenge. A Boglodite assassin who has no problem killing people, Borris can shoot spikes from his hand and has claws on his feet. He also has quite the superiority complex.

Along with young K, another character adds life to the movie: a soothsaying alien named Griffin (Michael Stuhlbarg), who helps guide J and K and provides some comic moments in the meantime.


The problem with any movie that comes out this summer is that it faces an uphill battle against the creative juggernaut of “Marvel’s The Avengers.” Comparing MiB3 with that film is futile, for the bar was set so high. By itself, “Men in Black 3″ works and is entertaining; it doesn’t try to be too funny, a lesson director Barry Sonnenfeld learned with the last film.

The visuals are wonderful, though the 3-D is mostly bland. The music by Danny Elfman is again whimsical and perfect. Oscar-winning makeup artist Rick Baker successfully created some cool aliens for the film.

It’s time to save the planet from alien scum. And have some fun watching it.

/ 5

Official trailer:

Rated PG-13 for sci-fi action violence, and brief suggestive content.

Monday, May 14, 2012

For Your Consideration: The 2012 LAMMYs


The Gold Knight Blog is a proud member of "the LAMB," the Large Association of Movie Blogs. We joined the directory last August as member #1089 and are proud to be included with such enthusiastic bloggers and film commentators across more than 1,200 websites.

Tuesday, May 8, 2012

Oscars Outdoors sets premiere summer schedule


Grab a blanket and see some classic films under the stars.

That's the idea behind the Academy's latest summer series, revolving around its new open-air theater. The site is part of the organization’s nearly 7.5-acre Academy Hollywood campus and includes the Pickford Center for Motion Picture Study, home to the Academy Film Archive, the Science and Technology Council and the Linwood Dunn Theater.

The series lineup, titled "Oscars Outdoors," was revealed by Academy President Tom Sherak on Monday. It runs Friday, June 15, through Saturday, Aug. 18.

Academy programming chief Randy Haberkamp
announces upcoming programming
at the new open-air theater. Photo: Academy.
The series devotes every Friday night to classics and contemporary favorites aimed at adult audiences, and every Saturday night to family-friendly fare. The final Friday night presentation, on Aug. 17, will be an "Audience Choice" selection, determined by fans who cast votes here. Most features will be preceded by surprise animated or live-action short subjects.

"We are very excited to expand on our innovative programming and provide the community with a new venue that will deepen our ties to Hollywood," said Sherak, in the press release. "The events we are planning for the rest of the year are an ideal way to share our love of movies with a wider audience."

On Saturday, May 19, the Academy will inaugurate its new open-air venue with an invitation-only screening of 1989 Best Picture nominee "Field of Dreams."

Demolition at the site began in July of 2011. The renovated space now features an expansive lawn and an adjacent 10,000-square foot plaza, and will include a permanent 40x20 foot screen. In addition to hosting the "Oscars Outdoors" screening series, the venue is expected to serve the Academy and the community as an event space for special screenings, educational programs and other functions.

The 2012 "Oscars Outdoors" screening schedule is as follows:
  • June
    • Friday, June 15: CASABLANCA
    • Saturday, June 16: SNOW WHITE AND THE SEVEN DWARFS
    • Friday, June 22: RAISING ARIZONA
    • Saturday, June 23: FERRIS BUELLER’S DAY OFF
    • Friday, June 29: A STAR IS BORN (1937)
    • Saturday, June 30: THE GOONIES
  • July
    • Friday, July 6: SHANE
    • Saturday, July 7: THE NUTTY PROFESSOR (1996)
    • Friday, July 13: TO BE ANNOUNCED
    • Saturday, July 14: THE PRINCESS BRIDE
    • Friday, July 20: PILLOW TALK
    • Saturday, July 21: THE KARATE KID (1984)
    • Friday, July 27: DREAMGIRLS
    • Saturday, July 28: THE DARK CRYSTAL
  • August
    • Friday, Aug. 3: NORTH BY NORTHWEST
    • Saturday, Aug. 4: STEAMBOAT BILL, JR.
    • Friday, Aug. 10: YOUNG FRANKENSTEIN
    • Saturday, Aug. 11: BACK TO THE FUTURE
    • Friday, Aug. 17: Audience Choice (vote on www.oscars.org/outdoors)
    • Saturday, Aug. 18: THE WIZARD OF OZ (Sing-Along)

Tickets to each "Oscars Outdoors" screening are $5 for the public; free for children 10 years and younger; and $3 for Academy members and students with ID. Seating is unreserved. Tickets are available at www.oscars.org/outdoors. Gates will open at 6:30 p.m. Screenings begin at sunset.

Attendees are encouraged to bring low lawn chairs, blankets, warm clothing. Popular food trucks will be on site during each screening.

The Academy Hollywood campus is located 1341 Vine Street in Hollywood (between De Longpre Avenue and Fountain Avenue, and between Vine Street and Ivar Avenue). The campus is accessible via the Metro Red Line train and the 210 Metro Local bus. Free parking will be available.

Other programming
The Academy also has a full slate of other events throughout the organization, including 50th anniversary celebrations of the James Bond franchise and the Oscar-winning epic "Lawrence of Arabia."

The Academy will also host a busy schedule of events at its theaters in Los Angeles and New York as well as programs at venues in London, the San Francisco Bay area and Washington D.C. Summer-fall highlights include a centennial celebration of Universal Pictures, featuring a slate of the studio’s landmark horror films; "The Science of Superheroes;" and "The Last 70mm Film Festival," which will span six genres over six weeks. An expanded summer and fall programming calendar is available here.

"These are not just screenings, but events," said Randy Haberkamp, Managing Director, Programming, Education, and Preservation, in a statement. "We’re bringing a diverse range of programs and experiences to audiences as only the Academy can."

Saturday, May 5, 2012

‘A star is born’: Oscars remain in Hollywood for at least 20 more years at newly named Dolby Theatre


It's official: the Oscars are staying in Hollywood. Same location: Hollywood and Highland. New name: The Dolby Theatre.

The Academy, along with theater owner CIM Group, announced Tuesday, May 1, that the Academy Awards will remain in Hollywood under a new 20-year deal.

In a separate agreement, announced at the same time, Dolby Laboratories, Inc. and CIM announced a 20-year naming agreement for the theater home to the Oscars: The Dolby Theatre at the Hollywood & Highland Center (formerly known as the Kodak Theatre).

Under the new contract, the Dolby Theatre will host the Academy Awards through 2033.

The Dolby will be "a showcase of technology innovation," according to the press release. During the term of the naming agreement, which begins this summer, Dolby will update the theater, keeping it state-of-the-art. For starters, its recently released Dolby Atmos sound technology will be immediately installed.

Financial terms for either agreement were not disclosed.

Bloomberg first reported news of a possible Dolby deal on March 29.

"Any deal could be complicated because the Academy of Motion Picture Arts and Sciences, which puts on the annual awards show, is in negotiations to renew its pact to stage the Oscars at the venue," the financial news service reported.

In the December, the Academy exercised a clause in its contract with CIM to possibly leave its current Oscars venue, instead of automatically renewing its contract for eight more years. It was seen as a negotiation tactic, rather than a declaration of wanting to leave. Academy President Tom Sherak told various news organizations at the time that he would prefer to stay at the then-Kodak Theatre and wasn't negotiating with any other venues. And the Academy decided to stay after all — for 20 more years.

Shortly after the announcement, Deadline reported that Dolby's name will remain on the theater as long as its the home for the Oscars. There is an opt-out clause in its 20-year contract with CIM if the Academy ever decided to pull the show from the theater.

"As long as the Oscars are there, the Dolby Theatre will be there," said Ramzi Haidamus, Dolby Laboratories executive vice president of sales and marketing, on May 1, in a conference call announcing the deal.

The 85th Academy Awards are scheduled for Sunday, Feb. 24, 2013.

Goodbye Kodak

Just a decade after the opening the christened Kodak in Hollywood, The Eastman Kodak Co. received court approval on Feb. 15 to end forthwith its sponsorship deal with the 3,332-seat theater at Hollywood & Highland Center.

The 84th Academy Awards, on Feb. 26, were broadcast live "from Hollywood & Highland Center." Host Billy Crystal referred to the venue as the "Chapter 11 Theater" during his opening  monologue.

Built at a cost of $94 million and opening on Nov. 9, 2001, the Kodak was the place to be. Concerts, awards shows and finales for “American Idol” were held there before the Nokia Theatre at L.A. Live — opening in October of 2007 with 7,100 seats — crashed the party and replaced the Kodak as the broadcasting hot spot.

But it was not all doom and gloom for the Hollywood theater. Last September, Cirque du Soleil became the permanent show at the theater when it premiered "Iris" (it made a special appearance at this year's ceremony). Presented 368 times per year for 10 years, "Iris" was on hiatus while the Oscars took over the theater, but returned on March 24.

The show even modified the auditorium and the 9,600-square-foot stage. Cirque du Soleil needed two lifts built, with a price tag of $40 million. To accommodate these lifts, 44-foot deep pits were excavated out, making the vertical space 122 feet. Cirque also removed seating from the theater, reducing seating to 2,500, in order to give all audience members the same viewing experience.

Friday, April 27, 2012

2012 Summer movie preview

Our print partner, Toledo Free Press STAR, has a preview for this summer's biggest movies. TGK Editor James A. Molnar designed the cover, along with writing a column about ways to save money at the movies. (He is lead designer and film editor for the publication.) Can you name all of the superheroes featured on the cover? Take a look:

Thursday, April 12, 2012

Ohio native Randy Haberkamp promoted at Academy; other promotions and appointments announced

Ohio native Randy Haberkamp, whom The Gold Knight Blog profiled in February, has been promoted at the Academy to the newly created position of Managing Director, Programming, Education and Preservation. Academy COO Ric Robertson, to whom Haberkamp will directly report, announced the promotion on Wednesday.

Haberkamp was previously the director of educational programs and special projects at the Academy, holding the position since 2003. During Oscar season, Haberkamp, like other Academy employees, took on other projects to help out with the nonprofit organization’s biggest revenue maker: the Oscars. Some of his projects included the nominees’ luncheon, the Meet the Oscars exhibition and the official Academy Awards program. His projects also included organizing the Animated Feature Symposium and Makeup Artists and Hairstylists Symposium.

"Randy’s track record of creative programming, coupled with his expertise as a film historian, makes him perfectly suited for this position," said Robertson in the press release. "His leadership will be invaluable as we continue to develop compelling programs, initiatives and events that celebrate the movies."

In his new position, Haberkamp will oversee the Academy Film Archive and the Margaret Herrick Library, two leading preservation and research institutions with collections from industry icons, including Cecil B. DeMille, Alfred Hitchcock, Edith Head, Saul Bass, Katharine Hepburn, Jim Henson and Sydney Pollack. Collections also include more than 146,000 film and video assets, 80,000 screenplays and 10 million photographs.

Haberkamp will also assume responsibility for the organization’s more than 100 annual public programs in Los Angeles, New York, San Francisco and London, and oversee $1 million in institutional and film festival grants, as well as the Nicholl Fellowships in Screenwriting program.

Supervising a combined staff of nearly 120, Haberkamp will "coordinate strategic collaboration of departments and work in tandem with the Academy Museum of Motion Pictures development team."


In 2001, a job opened at the Academy for film programming; Haberkamp applied.

“I was lucky enough to get the job and have been here for 10 years now,” he said of the Academy, during an interview in January with The Gold Knight.

When the new year begins, it is “a very busy time” for Haberkamp.

One of his favorite projects to work on is the Meet the Oscars exhibition. This year, visitors of New York City’s Grand Central Terminal were able to hold an Oscar statuette and have their picture taken with it.

“There is something about watching people step up and pick up the Oscar that I find immensely satisfying,” he said. “It’s fun to see people get all excited and see where that statuette takes them mentally.”

Prior to the Academy, Haberkamp spent 14 years at CBS. He worked his way up through the program coordination department to become manager, before being promoted to director of feature films in January 1992.


Other staff changes
With the most recent Oscar season complete, the Academy has been busy promoting, hiring and looking for a new managing communications director.

On March 21, Academy CEO Dawn Hudson named Heather Cochran and Bill Kramer to two newly created senior positions as part of the Academy Museum of Motion Pictures.

The Academy announced an alliance with the Los Angeles County Museum of Art (LACMA) last October to establish its movie museum in the historic May Company building, currently known as LACMA West.

Cochran, elevated to Managing Director of the project, and Kramer, named managing director of development, will both report to Hudson.

Involved from the beginning, Cochran will help manage and execute the museum's overall vision. She joined the Academy staff in 2004 as Museum Project Administrator. She also has shepherded the development of the Academy’s Hollywood properties, supervising the design and construction of its new outdoor amphitheater.

Kramer, who started his fundraising career in 1999 at the Sundance Institute, will oversee the capital campaign and future fundraising efforts. In December, Academy President Tom Sherak announced that Walt Disney Co. President and CEO Bob Iger would serve as chairman of the capital campaign for the Academy Museum. Actress Annette Bening and actor-producer Tom Hanks were announced as co-chairs.

On March 28, the Academy announced two promotions from within its organization. Scott Miller and Kimberly Roush were promoted to senior management positions.

Miller, who will continue to serve as Assistant General Counsel, has also assumed the role of Managing Director of Administration, while Roush has been elevated to Managing Director of Membership and Awards. Both will report directly to COO Robertson.

Miller has held the position of Assistant General Counsel since 2002, overseeing all contract negotiations, directing global trademark enforcement and providing key legal support in the production of the Academy Awards. In his new position, Miller adds responsibilities, including campaign regulations and compliance, building and theater operations, and Oscar statuette manufacture and distribution.

Roush has served as Director of Membership since joining the Academy staff in 2008, managing all activities related to the global membership, including new member selection, branch committees and member communications and events, and balloting. She also supervises the coordination of the Governors Ball, as well as the Governors Awards. In her new role, Roush will oversee the seven-person awards department and its work, which includes the Academy Awards rules, Awards categories, the Scientific and Technical Awards, and the Student Academy Awards, as well as all awards-related activities within the member branches.

Past job announcements include the appointment of Christina Kounelias as chief marketing officer last August. CEO Dawn Hudson and COO Ric Robertson assumed their current positions in June of 2011.

Hiring
The Academy is accepting applications for a new managing communications director.

According to its website, the position supervises all Academy communications and "its mission to foster cooperation among the creative leadership of the film industry for cultural, educational, and technological progress."

Responsibilities include "developing and executing strategic and innovative campaigns designed to generate strong positive press coverage," along with working closely with Marketing, Membership, Programming, Technology departments and Senior Management. The individual will also supervise a PR team that handles media relations for the Academy Awards and screening programs and events.

The Academy is looking for someone with "at least a B.A. in Journalism or Communications-related field plus 10-15 years experience implementing effective, strategic communications plans as it relates to Corporate Communications, Entertainment, Publicity."

Go here for more information and how to apply.

Friday, April 6, 2012

Review: ‘Titanic 3-D’

By James A. Molnar
TGK Editor

There is a moment during "Titanic 3-D" when the audience realizes just what they are in for. The innocent love story has come to an end and it's now time for something more serious: the tragedy.

Just like Kathy Bates' "new money" character Molly Brown observed on the boat, the survivors are in for a harrowing evening, with sights and sounds of more than 1,500 people dying under the black sky blanketed with stars. And there is nothing she can do to help.

We all may know the ending, but we still root for Rose and Jack (young Kate Winslet and Leonardo DiCaprio). You want the ending to be different, the ship not to sink. It breaks your heart.

As I sat in the theater chair, it was almost like watching the tragic morning of April 15, 1912, from a lifeboat. Almost — the chair was cozy, the theater warm and I was snacking on popcorn and a frozen Icee. The story unfolds in front of our eyes. As the movie continues, it's not easy to understand quite what those on board experienced.

After first watching the original film in theaters 15 years ago, at 10 years old, I don't remember a lot of specifics but more general themes. The unhappy betrothed, greed, the sunken ship, the exquisite detail and visual effects in the movie, the enchanting score, the diamond and the drawing scene were all remembered. Of course, there was the fear of being in a boat or ship that resonated with me for years.

As an adult, I watched the film with a slightly different filter. But nevertheless I was taken away by the movie, enchanted once again, the music and love theme ever more powerful. The visual effects are still stunning and timeless. The 3-D is a new element to the film. It's well done and adds depth to the picture. But it's not why I wanted to see the Academy Award-winning film again.

There's nothing quite like seeing a classic film on the big screen. And now I can actually remember the film better and relate to some of its themes.

The three-hour-14-minute film flies by. And it still holds true that the reason the James Cameron-directed movie shines is because it's a great story, not because it's a documentary about a ship. Everyone knows that story. So too with the 3-D. It's not the reason to see the movie, but like icing on the cake.

/ 5

Trailer