Gabriela Cedillo, a 24-year-old Chicago bank teller, was thrilled to appear as an extra in Transformers 3 until she suffered a serious injury on set. She sustained critical head injuries from a metal object that flew through her windshield on Wednesday night. Medical staff rushed Cedillo to Loyola University Hospital where she was listed in critical condition. According to Chicago’s Red Eye, the object hit Cedillo’s vehicle around 7pm. More after the break.

The 2006 Toyota kept moving for nearly a mile, scraping against the concrete median on Cline Avenue. Finally her car came to a stop and Cedillo was airlifted to the hospital. Cedillo displays signs of severe head trauma and memory loss. CBS interviewed Cedillo’s neighbor, Kimberley Burrows. “It was shocking. I cried,” said Burrows. “It’s hard knowing that it’s someone this close to our home, in this movie, and now in the hospital fighting.”

Yesterday was the last scheduled date filming of Transformers 3 in Chicago. The film is set to be released next year on July 1st in 3D.

[Photo via Telegraph]

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Like many TV watchers today, I find myself gravitating toward certain shows which I will watch happily, even in syndication.  M*A*S*H, The Simpsons, South Park;really any show that gives me a laugh or something to think about.  For each of these examples there is a powerful individual or team working to create something that is fundamentally and totally theirs.  Alan Alda took M*A*S*H from a pretty straight situational comedy to a politically-charged cultural phenomenon that outlasted the conflict it depicted by seven years.  Matt Groening is responsible for the best loved and recognized TV family since the tube entered homes and Trey Parker and Matt Stone have shown that television characters can cause a global ruckus.  There is another man who I think should be recognized for his contributions to television greatness, Bryan Fuller.  He is the man behind the two season long ABC dramedy Pushing Daisies and the equally short lived Showtime original Dead Like Me.  While both shows were axed before they were given a real chance, they each demonstrate amazing care and maturity in their storytelling and overall production value.

Fuller’s first step into the biz as a TV show creator was Dead Like Me.  It tells the story of a newly dead girl named George, played by Ellen Muth, chosen by fate to become a grim reaper.  With her new boss and new co-workers as guides, she tries to make sense of an afterlife in which she must take souls without question, remorse or mercy and completely abandon her living life and her struggling family.  George’s alienation echoes the feelings of many 20-somethings of our time; as soon as you leave home, you are homeless, alone.  Appropriately, all of the characters in the show (both dead and living) are either severely depressed or entirely obsessed with death.  At one point, George’s little sister Reggie decides to keep a dead bird in her toy box, prompting their overbearing mother to bring her to a psychiatrist.

While the subject matter and certain actions taken by the characters may paint this show as gloomy, the visual palette of the program and overarching message keep it grounded as a comedy.  The entire series is shot in a very straight forward manner; few scenes are overly emotional or too lighthearted as to make the audience forget what’s at stake.  In terms of laughs, Dead Like Me has everything.  Wit, slapstick, satire and pop-culture references.  Some of the best comedic moments revolve around the Rube Goldberg-esque death scenes.  The overall message of the show seems to be to enjoy life while you have it.  Few people get a true second chance like the ones each of the reapers received, so, carpe diem!

While Dead Like Me chose to remain more restrained in its production values, Pushing Daisies went all out to create a visually inventive world in which the viewer can be immersed.  The show is set in a fictional town and centers on a pie maker named Ned, played by the amazing Lee Pace, who can bring things back from the dead simply by touching them.  As our expert narrator never forgets to tell us, Ned’s first touch brings eternal life but his second touch, irreversible death.  However, if a dead thing is brought back for more than one minute something else dies in its place; a squirrel for a dog, a tulip for a strawberry, a man for a woman, cosmic balance.  Ned decides to use his power to solve murder cases and collect the reward money with the help of a PI named Emerson to avoid raising suspicion.  One fateful case brings him to the open casket of his first love, Charlotte “Chuck” Charles, played by the beautiful Anna Friel.  In a desperate move, Ned keeps her alive and they fall madly in love but can never touch, lest she fall again into death.

As the series progresses, the murder mysteries take the group to elaborately designed locals, crafted with delicate precision on a modest budget.  Unlike Dead Like Me which kept to an emotional middle ground, Pushing Daisies’ breath taking sets detract from the morbid atmosphere and gives the show an almost Brady Bunch look.  But do not be fooled by the candy colors, the cinematography is beautiful. The viewer must be on their toes to fully appreciate the camera work.  Certain images of the brooding Ned will stick with you long after the end credits and dialog is shot with near flawless symmetry.  Balance, however, is hard to keep.  The limits of morality are pushed, even by the protagonists, to the point where the viewer has a hard time identifying with them anymore.  Beautifully flawed characters, brilliant production design and a lighthearted love story all make Pushing Daisies one of the best shows you may have never seen.

Just like film auteurs Quentin Tarantino, Christopher Nolan or David Cronenberg , Bryan Fuller puts a distinct stamp on everything he does, something that is very obviously his.  Both Dead Like Me and Pushing Daisies have a rather obvious vibe of ennui, one that is particularly gloomy and inherently morbid.  Still, neither show is hopeless.  A subtle optimism emanates from each, one visually, the other thematically.  It is this quiet sanguinity that make his shows some of my favorites and why I think he deserves some special recognition.

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In the still, Scrimgeour is meeting with Harry, Ron, and Hermione to discuss the contents of Albus Dumbledore’s will. The former Headmaster left a treasure for each of them with the intention of helping them in their uphill battle against Voldemort. This epic meeting is set early in the book, so obviously taking place in the first film. I call this meeting epic because Harry rips Scrimgeour a new one by letting the Minister of Magic know his feelings on how the Ministry is mishandling the whole Voldemort situation.

The third still shows Harry returning to 12 Grimmauld Place, the old headquarters for the Order of the Phoenix. Because Snape betrayed the good guys, the location is not used anymore because the Slytherin traitor could possibly teach the Death Eaters the secrets of entering the old House of Black. When Harry, Ron, and Hermione have to go on the run, they decide toseek refuge at the enchanted hiding place. Upon arriving at the old house, the trio discovers the Order of the Phoenix put protective enchantments to prevent Snape from revealing the former headquarters location. With that considered, the three spend time residing in the house early in their journey.

So there you have it, three new stills and a little diagnosis from a Potter purist. Harry Potter and the Deathly Hallows Part 1 will hit theaters November 19th, 2010 with Part 2 gracing our senses July 15th, 2011.

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If you haven’t already, you should really start catching up on Zach Galifianakis’ interview web series on Funny of Die, Between Two Ferns. He sits down with A-list actors and asks them completely awful and inappropriate questions, to which they usually get upset about and hilarity ensues. All the guests are completely in on it, but the back-and-forth between Zach and the A-listers feels very real at times, thus making it funny as hell. Recently Zach sat down with Oscar-winning actor Sean Penn, but in character as his “twin brother” Seth Galifianakis.

It’s really awesome to see Sean Penn, a TWO-time Oscar-winner, taking the time out of his schedule to participate in a ridiculous online comedy sketch. He even seems to poke fun at his “serious, rageful” demeanor by telling Seth, after being asked an inappropriate question, “I’ll knock you the f*ck out right in your chair.” It’s just awesome. Check it out.

For those of you who are new to Zach Galifianakis, and by “new” I mean after The Hangover, he’s actually been a stand-up comic for about 15 years now. The Seth character has made appearances throughout his career, most famously in his brilliant 2006 DVD special, Zach Galifianakis: Live at the Purple Onion. If you like Zach even in the slightest, this stand-up special will have you pissing your pants in no time. Def recommend. And again, you can catch all of Zach’s Between Two Ferns at Funny or Die.

[Source: EW]

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Many of you may have seen the trailer and movie poster (profiled by Barrett) for the upcoming flick Black Swan. The movie is from the twisted mind of Darren Aronofsky, the man who brought us The Wrestler, The Fountain, Pi, and the well-known Requiem for a Dream. His movies always seem to have a demented angle to them, and Black Swan looks no different if you have seen the preview. Even though Aronofsky pushes the envelope with each of his projects, audiences usually respond well to the message he is trying to convey.

The film just premiered at the Venice Film Festival and the first press screening recently let out. The buzz circulating online could not be much better for Aronofsky and his new pet project. Some of the biggest movie sources on the planet can be see raving about the film below. Even if you don’t read the excerpts from the reviews, at least skim them to grasp some of the words used to describe the film. Thoughts on the film like: “devastated, tense, excited, sexy, horror-thriller, wicked, visually complex, and enthralling” are just some of the praise given by these critics.

I think the most intriguing thing I pulled from the excerpts is “horror-thriller.” While I know Aronofsky was going to make this film interesting, I find it hard to wrap my head around a movie about ballet circling the horror-thriller genre. I have no doubt that Aronofsky pulled it off as you can see the positive critical reaction pouring over the latest perverse project from the director. Consider me a paying customer when the movie hits theaters. Read some of the early buzz below, courtesy of Slashfilm.

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In my movie production classes at the University of Minnesota I was trained how to look for those more subtle details which contribute to scene building aesthetics. While some of this background mechanics might not make sense to all but a few rabid movie connoisseurs, I still think it is a good read and might help you catch some of the finer nuances of the craft as you watch. I’m offering this piece because I love to examine key dynamics in powerful scenes in great film. One movie I have a passion for and have seen more times than I can count is The Curious Case of Benjamin Button. I personally think it is David Fincher’s crown jewel, but that can be debated.

The plot depicts Benjamin’s unique condition where a person ages backwards. The film opens with Benjamin’s birth on the last day of the Great War and ends with his death in close to the new millennium. This tale is fundamentally a love story between Benjamin and a female he has known his entire life named Daisy. After flirting with the idea of being together for years, Benjamin and Daisy finally end up as a loving couple. The particular scene I am going to analyze is when Benjamin and Daisy are in a hotel bed together discussing how things in life never stay the same as thunderstorm rages outside. This scene is one of my favorites (it is hard to choose when there are so many great ones) and one that has many applied aesthetics to be discussed.

First on the menu is the lighting. The lighting director used a method called chiaroscuro to add to the drama of the scene. The chiaroscuro lighting in this scene emphasizes organic (everything looks natural) and emotional aesthetic functions. The emotional function is especially important as it shows the love these two have for each other. The overall lighting for the scene is low key and selective. The single light source is especially apparent and effective when the characters turn their faces away from the light showing the source is highly directional. This single light illuminates parts in the scene like the bed and characters while leaving the background purposely darker. The low key lighting causes faster falloff on the characters’ faces. This helps define the texture in their faces, especially the wrinkles on Daisy’s face. This is particularly significant as they are discussing how she only has two wrinkles.

The single light source is from a bedside table giving off warm yellowish-orange lighting to the bed. The color of the lamp illuminating the bed creates a sense of calm, and desaturates the colors the lamp touches. The desaturating effect from the lamp makes the colors seem dull or bland and can help convey a sense of tranquility. The dark, saturated cool colors around the windows, door, and edge of the room convey energy and intensity which is heightened by the pounding thunderstorm. The lightning from the thunderstorm is used as a dramatic agent to intensify the chaos outside and emphasize the calm these two lovers share together, sheltered from the storm’s wrath. The warm colors surrounding the bed invite the viewer into the characters affection for each other.

Another aspect is the perfected use of sound in the scene. As the scene starts, the audience can hear the sound of the rain on the roof. As the dialogue picks up, the rain remains but effectively slips to the background allowing focus to shift to the character’s exchange.  As the couple continues their discussion of the uncertainty of the future, the storm continues to rage. The use of a sound bridge is used to help the editing appear seamless. The thunder clashes as the shot switches from the characters to the door and windows being rattled by the whipping wind. The shot then cuts back to the characters with the sound of the whipping wind bridging the changed shot. The sound decays as the camera moves closer to the characters and away from the storm. It is almost as if the characters cannot hear the sound of the loud thunderstorm when they are lost in each others’ embrace.

This is emphasized as the shot leaves the comfort of the bed to the door as it rattles and the storm crashes. After the shot flashes back to the bed and its inhabitants, the melody of the score begins to overwhelm even the storm as the characters continue their conversation. Their conversation concerning the uncertain future is portrayed by the outside thunderstorm. The two are perfect in bed with each other, but the stormy outside represents the future and all its unpredictability. Benjamin says, “Nothing lasts,” to which Daisy responds, “Some things last.” The piano melody is soft as the characters begin to embrace. I think this shows certainty in their love and that whatever the future brings these two will always have each other.

The last concept I am going to highlight are the vectors in the scene. The characters looking into each others’ eyes as they talk is an example of an index vector. The characters’ index vectors are telling the audience where to look. These vectors are acting as a force to pull the audience’s attention into the characters gazing into the others’ eyes.

Daisy then moves and lies on top of Benjamin’s back as he gazes into the distance while thinking. Daisy is looking directly down at him as he is thoughtfully pondering how “nothing lasts.” My eyes are draw to Benjamin because Daisy’s index vector draws me to his thought even though he is staring off camera. The scene also features graphic vectors. The graphic vector that stood out to me most is the horizontal lines of the bed (though the bed does have vertical bed posts). The characters are lying on the mattress immediately drawing my eyes to the horizontal graphic vector they rest on, and then the characters themselves. Along with the warm hues and soft music, this horizontal vector also gives off a calm feeling surrounding the bed.

This film is full of beautiful aesthetics distinguishing it as one of the best of 2009. The Curious Case of Benjamin Button is some of David Fincher’s best work as a director. The same can be said for Cate Blanchett and Brad Pitt and their acting performances. I could discuss this movie at length all day long, which is why it is one of my all time favorite movies.

Check out my full review of the film here.

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Way back in May of last year we reported Ben Stiller’s comments on Zoolander 2, to which the actor said he’d been working on the script for on and off over the past decade, and that he was trying his darnedest to get it made. Flash forward a year later and it seemed as though Paramount had passed on Zoolander 2, as well as a sequel to Anchorman because of budget constraints. Now, there appears to light at the end of the tunnel due to a recent tweet from Stiller in response to the question “Is Zoolander 2 still happening?” He replied:

Yes. Working on it now with my buddy Justin.

The Justin he’s referring to is his long-time friend and Tropic Thunder screenwriter, Justin Theroux. It seems to reason Theroux has been  hard at work on the script for Z2 ever since production wrapped on Iron Man 2, for which he also wrote the script. But other than that vague tweet and blogosphere speculation, there’s nothing  else to officially report. Zoolander is one of my favorite movies of all time and I would be ecstatic if they made this sequel; especially if  Stiller brings back Will Ferrell to reprise his role as Mugatu,  one of the funniest, weirdest characters ever. I pray to the movie gods that Derek and Jacobim get a chance to go at it one more time. If that happens, I’ll be doing this:

[Source: Cinema Blend]

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All of us know that the French do romance the right way with Paris making all its love magic. The French hone the most romantic city on earth, while the rest of the world helps glorify it. The rest of the world helps uphold its image as THE place to find love through romance film after romance film. The Eiffel Tower gets old, don’t you think? If you are looking for a simple “love in Paris” flick, you won’t find it in this French foreign film Love Me if You Dare that was released in 2003. Love Me if You Dare, originally titled Jeux D’Enfants, shows that the French are just as confused with love as the rest of us. The film is a diamond in the rough when it comes to dark comedy. Yann Samuell has mixed dark comedy and romance into a film both genders can enjoy. Gentlemen, don’t run away just because the word romance is being thrown around here. I recommend Love Me if You Dare to anyone with a love for foreign film and a sense of humor.

The film begins with a pretty tin circular box given to Julien Janvier by his sick mother. The box becomes the center of a game that must never be played with your best friend, according to eight year old Julien. When he sees a new classmate from Poland, Sophie Kowalsky, having a hard time with the other children, he gives the box to her. Then he asks her to lend it sometimes. Sophie won’t give it back. She says if Julien wants the box back he has to prove it. Next thing you know, a bus full of panicking children (the same children making fun of Sophie) is sent rolling down the street in neutral. Once Julien has the box, he can dare Sophie to prove she deserves the box. The box becomes a never-ending game of dares between the two best friends. As Julien and Sophie mature, their friendship becomes blurred with fits of love for each other. However, neither will actually admit to loving the other. They would rather drag out ridiculous dares that only end up hurting the one being dared.

The characters develop into interesting and complex adults. Both characters come from backgrounds that have shaped them differently than your average Bourgeois family child. Sophie is raised in a family where her sister helps with a lot of the parenting. From the beginning, Julien carries more weight emotionally, in turn, making him a more complex character by the end of the film. You may hate the characters the youngsters turn into. When you consider the circumstances, you begin to understand they are only trying to understand the world that has been put in front of them. They have to deal with it, even if it isn’t appropriate in the eyes of society.

The roles of Julien and Sophie are cast for childhood and then cast again for young adult to adulthood. Both casts are phenomenal! As children, Julien is played by Thibault Verhaeghe and Sophie by Josephine Lebas-Jolly. They do an exceptional job playing the adorable yet mischievous children that are every parent and teacher’s nightmare. As young adults to adults, Julien is played by Guillaume Canet, and Sophie by the ever popular, Marion Cotillard. The adults are amazing talent that continues the film flawlessly after the ten year lapse. They did homework on understanding the complex adult characters and give beautiful permances. As a viewer, you can’t help but love the pair even when you hate them.

Something many people don’t know about Marion Cotillard, is that her role Love Me if You Dare is helped her get the recognition in to star in other high-profile French films like La vie en rose, which she of course won an Oscar for in 08′. For Love Me if You Dare, she won the Jury Award for best actress at the Newport Beach Film Festival. If it were not for this film, she may never have been cast in La vie en rose, or Public Enemies, or Inception, thus never giving us her outstanding performance as Mal. If you liked her performance in Inception, you will love her performance in this film.

Furthermore, for those of you who are unfamiliar with Yann Samuell, he is a respected director in film advertising and music videos. He does short film and he does it well. It was a surprise in 2003 when Love Me if You Dare became Samuell’s first ever full length film. If the movie tanked, it would be all on him. However, he knows how to captivate short film audiences with pictures and he doesn’t sell himself short in Love Me if You Dare. As you watch this movie, you can tell he constantly “sells” the image of love between Julien and Sophie. He makes it look like Julien and Sophie are meant to be together, even when they are denying it through other actions. He shows people that love can continually be captured in life, even if it defies Bourgeois societal values. People should be accepted for who they are, not discarded for who they are not. Today, values and boundaries have been blurred in relationships. Julien and Sophie are his representations of people trying to live that struggle with what they know best, each other.

Well, there is only one thing left I can demand of you at this point. I dare you… to watch this movie, while reading the subtitles, with your fullest attention. Are you game?

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The Movie Mash is proud to announce two new additions to our writing staff, with Sarah Williams and Sam Portz. This website has grown significantly over the past year, and with more readers comes a larger demand for consistent, original content, so this felt like the right time to bring aboard some additional talent to help. Sarah and Sam will provide you with the traditional news, Netflix This and movie reviews that you’ve come accustomed to, but they’re also going to shake things up a bit by bringing you original features that focus on film scores/music, foreign films and analytical essays. Go to the About Us page to check out more on Sarah and Sam, and please feel free to welcome them in the comments section after the break.

Thank you for your continued support.

Yesterday, Toy Story 3 crossed the $1 billion mark for worldwide ticket sales. The latest Pixar creation is only the seventh movie of all time to cross that threshold. Strangely enough, Toy Story 3 marks the second time this year that a Disney owned film has earned a billion dollars at the box office. Earlier this year, Tim Burton’s Alice in Wonderland also scored worldwide earnings over $1 billion. With those films both grossing more than a billion dollars, Disney becomes the first studio ever to have two films reaching those astronomical earnings in one year.

Just two weeks ago, Toy Story 3 became the highest grossing animated film of all time, and now it continues its march up the earnings list with this milestone. So obviously Woody and Buzz are the only animated characters on the billion dollar worldwide earnings list.

Even though Toy Story 3 came out more than two months ago in the United States (June 18), the movie continues to dominate the box office in other countries. The film is the most successful Disney release in Latin America ($138 million) and the United Kingdom ($102.4 million), and its also the fourth highest grossing movie ever in the UK. The film has dominated the Japanese cinema pulling in $111.2 million in its run and finishing #1 at the box office five weeks in a row.

I am not surprised this amazing movie has captivated worldwide audiences like it did the American crowds. The movie is not only a triumph of animation, but of storytelling. Getting viewers to care about toys is never a simple task, but Pixar creators did not get that memo. (Didn’t you get the memo?….Batman Begins anyone?)

The surprising thing to me is that Alice in Wonderland made so much money in theaters; apparently I missed that memo. I just now learned that the 2010 Burton directed project is the fifth highest grossing film of all time, just in front of The Dark Knight. I was taken aback because I didn’t think the newest 3D Alice in Wonderland was really that great of a movie. It was an interesting watch; but the 3D was crappy, the story was average, and the movie didn’t seem to posses the charm of the animated classic.

Any who, I thought posting the top ten grossing films of all time would be interesting for readers to check out. The top seven have all broke the billion dollar mark with Avatar at number one destroying the two billion dollar mark and set to earn even more with its re-release to theaters this weekend.

I think its interesting to note that one of the worst Disney movies I have ever seen, Pirates of the Caribbean: At World’s End, found a place on the top ten list.  I know not everyone hated this movie as much as I did, but it was one of the few movies that I seriously considered walking out of; and I absolutely loved the first installment and enjoyed the second one. You can also see two of the Potter movies in the top ten. Did you know that all six Potter movies are amongst the top 27 grossing movies of all time while all three Lord of the Rings films are in the top 20? The top ten goes something like this:

1. Avatar
2. Titanic
3. The Lord of the Rings: Return of the King
4. Pirates of the Caribbean: Dead Man’s Chest
5. Alice in Wonderland
6. The Dark Knight
7. Toy Story 3
8. Harry Potter and the Sorcerer’s Stone
9. Pirates of the Caribbean: At World’s End
10. Harry Potter and the Order of the Phoenix

[Source: BoxOfficeMojo]

What Do You Think? Discuss.

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