We have a new trailer for Zack Snyder's Justice League.The filmmaker decided to release a new trailer for his upcoming extended version of the DC superhero flick in honor of the third anniversary. Dummies transforms the hard-to-understand into easy-to-use to enable learners at every level to fuel their pursuit of professional and personal advancement. TURNING GREEN is an interesting title for this well made film about an American boy surviving in Ireland. Written and directed by Michael Aimette and John G. Hoffman the story takes place in the 1970s in a little town in Ireland. 16-year-old James Powers (Donal Gallery, a very promising new actor on the screen) and his little brother Pete (Killian Morgan, also a find) are of Irish ancestry but. A trailer for Noreen, a short film written and directed by Domhnall Gleeson and produced by El Zorrero Films. Starring Brendan Gleeson Brian Gleeson Gerry Byrne. In 2020, body horror movies have risen in popularity. With up and coming talent such as director Brandon Cronenberg living up to his father's legacy and Misha Green's impeccable depiction of metamorphosis in its most gruesome way, this lesser known, underrated sub-genre has been slowly re-emerging and gaining recognition in unexpected places.
Turning Green is a 2005 Irish-Americandark comedy written and directed by Michael Aimette and John G. Hofmann. The script was a runner up in the original Project Greenlight on HBO.[1]Donal Gallery stars as James Powers, a displaced American teenager living in Ireland in 1979 who discovers girlie magazines on a random trip to London. He illegally imports the magazines, which changes his fortunes – and perspective on life in Ireland. The tagline for the film is 'Turning Green. The tale of a boy, a country and a box of porn.'
As one of the first movies to receive a domestic theatrical release by New Films International, it screened in Los Angeles (November 6, 2009), New York City (November 13, 2009) and Chicago (November 20, 2009).
The title Turning Green refers to many themes of the film, both physical (James becoming sick after performing one of his drinking bar tricks, converting Irish pounds to American dollars) and metaphorical (James unwittingly becoming more Irish.)
Turning Green received positive reviews from the Los Angeles Times, The New York Times, Variety, NPR and The Star-Ledger among others.[2]
Plot[edit]
Sixteen-year-old James Powers hates his life in Ireland. Six years prior, he was forced to live with his three aunts after his mother died and his father shipped him and his little brother Pete (Killian Morgan) off to rural Ireland. There, the bored, depressed and xenophobic James drops out of school and spends his days yearning to get back to his idealized America. For James, getting back to the U.S. is a long and improbable prospect. He tries to make money, little by little, to return to New York City – making small bar bets and working for the local bookie, Bill the Bookie, played by Alessandro Nivola. When Bill doesn't get the money owed to him, Bill the Breaker is sent in, played by Academy Award winning actor Timothy Hutton. Bill the Breaker does exactly the same job as James, only with an added dose of extreme violence. But it's obvious that Bill the Bookie prefers James, and takes a shine to the clever and resourceful young man.
James has just two friends. The first is his younger brother Pete, who has assimilated much better to Irish life than his older sibling. Still, James quizzes the 11-year-old on all things American, from baseball to New York City, yet Pete doesn't have that connection to America that James does. Pete, ever the thoughtful brother, simply goes along with James' obsession. James' other friend is Tom (Colm Meaney), the gruff-yet-affectionate fisherman and frequently unsuccessful gambler. He sells his boat to pay for his gambling debt and in one scene, hands James a wad of cash. James has the ability to read between the lines of Tom's grouchy commentary, and sees the good in him. Tom in turn, is a rather faulty father figure to the directionless James.
James also pines for the cutest girl in town, Fiona, who may or may not know he even exists. If he had more confidence, he might approach her, but he keeps his distance. Meanwhile, James' clueless aunts suspect something is wrong with James, based on the inordinate amount of time he spends locked in the bathroom. Of course, what they suspect to be an illness is no mystery to a more informed audience who can more easily determine what interests most 16-year-olds.
In a fortuitous moment, the aunts send James to London for a few days to see a medical specialist. There, he discovers his possible ticket out of Ireland – pornography. Illegal in Ireland, James strikes a deal with a local London newsagent to import them to his town and, using his connections made working for Bill, sells them to an eager Irish audience. To pay for them, he uses money that Tom gave him to repay his debt to Bill. This sets up conflict as Bill always demands payment on time.
Upon his return a few days later, James meets up with the two Bills and they discuss business. In the racetrack toilet, Bill the Bookie asks James repeatedly if he had collected any money before he left. James, fully aware that he used Tom's money to buy the magazines, lies and says no. With that, Bill the Breaker suddenly attacks and beats the unsuspecting James. Bill the Bookie knew very well that Tom's money was supposed to come to him, but somehow hadn't. The beating serves as a warning to James to watch his step.
James immediately runs over to Tom's, who has also been beaten up by Bill. Tom banishes James from his house. Now, James is more alone than ever. James fantasizes that one of the girls in the magazine is talking to him, as she cajoles him to sell the magazines and then sell some more. Determined more than ever to pay back Bill, James finally receives his shipment of magazines and sells them all in one day. This leads him to expand his business – from approaching local merchants to selling them to other towns east, west, north and south. Suddenly, business is booming. James feels he's actually helping Ireland, he's liberating them, inspiring them. 'Like Michael Collins, Éamon de Valera. Or that guy from Thin Lizzy.'
As he nears closer and closer to his possible escape from Ireland, his perspective on the place changes. He even seems to be enjoying life for the first time in years. He finally strikes up the nerve to ask Fiona out on a date. He buys Tom a bigger boat. Even the aunts seem more tolerable. Meanwhile, Bill the Bookie has been wondering where this glut of illegal magazines has come from. Learning that the magazines are coming from London, Bill figures out that James is the one who is cutting into his underground business. He's the only one smart enough to do it.
And just as James is about to reverse course on his skewed vision of Ireland, Bill steps in. The two Bills take James to the top of the cliff, which leads to an ironic and wistful conclusion.
Themes[edit]
Like many coming of age stories, Turning Green is about a young man learning about himself. In this case, it's more than a fish out of water story, but a fish out of two waters – Ireland and America. James is teetering on the cusp of adulthood and childhood, between his homeland and his adopted one, and deciding where his future lies. He refers to himself not as 'Irish American' but 'Irish American Irish.' This constant flip-flopping has left him unsure of who he is and where he belongs. As his lot in life changes, James has to decide where home really is – a place or really just a state of mind.
It's also a story about a point of view. James has almost spitefully decided to hate Ireland and idealize America. As he's just 16, he's lived only 10 years in the U.S. and 6 in Ireland, hardly enough time for him to really relate to either. Additionally, in the 6 years there, he's inadvertently developed an Irish accent. It's clear to us that he's much more Irish than he'd like to admit.
He's also plagued by a none-too-healthy imagination, which only skews his perspective further. He has visions of nude women talking to him, urging him to sell the magazines in Ireland. His perspective on the aunts makes them almost cartoonish – they're really only as annoying as he makes them out to be. He's convinced himself that his brother wants to leave Ireland too, although that's obviously not true. And when the two Bills take James up to the cliffs to teach him a final lesson, it's not nearly as climactic as James has led himself to believe.
Production[edit]
Development[edit]
Michael Aimette and John G. Hofmann first co-wrote the script and submitted it to the first season of HBO's TV series Project Greenlight, which was created to give first-time writers a chance to direct their own film. The script made the final round of 30 and from that, gave the script greater exposure in Hollywood. After two years of development, the script was optioned by the NY-based independent production company Curbside Productions, and principal photography began in 2005. After completing a rough cut, the film premiered at CineVegas film festival to positive reviews.[3]
However, unhappy with the producer's cut and how the film was being marketed, Aimette and Hofmann created a director's cut which is more comedic and with a different ending.[4] The new version of the film was screened at The Craic Film Festival in 2007 and won the Audience Award.
In 2009, New Films International made their foray into the US domestic distribution market and Turning Green received a limited release in New York, Los Angeles and Chicago in November, 2009. New Films opted for the original cut of the movie, due to the expense of re-finishing the directors' version.[5]
Casting[edit]
Casting the role of James was essential, as he appears in virtually every scene of the movie. After a few weeks of unsuccessfully searching for the perfect balance between adult and child, the 17-year-old Donal Gallery auditioned for the role. He was given the role of James Powers on the spot. Never having acted professionally before, Gallery's performance was subsequently greeted with terrific reviews. The New York Times praised Gallery for his 'cheeky charm'[6] while Variety called him 'an impressive newcomer.'[7]
The American actor Alessandro Nivola is cast as Bill the Bookie, who brought a fey, soft-accented element to what could have been a typical 'bad guy' role. Another American, Timothy Hutton, is almost unrecognizable as Bill the Breaker, and he embraced the role of gruff Irish enforcer fully. Colm Meaney, a celebrity throughout Ireland, was cast as James' only friend Tom. The remainder of the cast is 100% Irish, featuring screen and stage actors from Dublin and its environs.
Filming[edit]
Sandisk extreme format. The budget of US$400,000 includes all cast and crew, and was shot on the east coast of Ireland, primarily Wicklow, Rathdrum and Ardmore Studios outside of Dublin. The final scene where James is now working at a bar in America was shot in New York, NY.
There was minimal rehearsal, and filming spanned 20 days during the summer. It was shot on a 24phigh-definition camera. The opening animated sequence, which tells the story of James and Pete and their metaphorical journey from America to Ireland, was created by Phil Jungmann, an advertising creative director and friend of the directors. Using Jungmann's illustrations and created in Flash, the animated James and Pete take a subway ride in New York. When the doors finally open, they're magically released into the Irish wilderness, left alone on a giant cliff looking out into the endless sea, their old homeland beyond their grasp.
Music[edit]
The movie features indie music artists that, while not from the 1970s period, reflect the mood of the film and James' dour view of the place. Nada Surf, Iron & Wine, the Caesars, Arco and Brian Seymour all contributed, and the commercial music company Pull scored the film. The original script had references to 1970s artists Queen, ELO, Led Zeppelin among others, but due to budgetary constraints, their inclusion was not possible.
The Green Room Movie Trailer
Reception[edit]
Turning Green received many positive reviews, as well as some mixed reviews. Kevin Thomas from the Los Angeles Times called it 'an amusing Irish coming-of-age story..when all those triple-X magazines spread throughout the community, Turning Green takes off in earnest.'[8] NPR's Mark Jenkins felt it was 'enlivened by witty asides and playful commentary' and praised Aimette and Hofmann that 'for a couple of Yanks making their first feature, they've drawn a perceptive sketch of the Old Sod.'[9]Stephen Holden's review in The New York Times was largely positive as well, calling it 'whimsical' but noting that the story's ending left the movie 'stranded in the wilderness.'[6] Stephen Whitty of The Star-Ledger said 'as the debut film from a couple of new directors, it's an encouraging start'[10] and Variety's Robert Koehler dubbed it 'a tart comedy..empowered and alive' before succumbing to 'uneven drama.'[7] In general, the reviews were positive, and the negatives are primarily based on the very ending of the movie, which Aimette and Hofmann both felt deviated from the tone and humor of the rest of the movie.[11][12]
The film was released on DVD in early 2010.
References[edit]
- ^'Project Greenlight (2001–2002)'. IMDb.com. Retrieved 2014-08-02.
- ^'Turning Green'. Rotten Tomatoes. 2011-07-28. Retrieved 2014-08-02.
- ^'Movie Review - Turning Green - www.ericdsnider.com - The Official Website of Eric D. Snider'. www.ericdsnider.com. 2005-06-11. Retrieved 2014-08-02.
- ^'Turning Green | Unpaid Film Critic'. Unpaidfilmcritic.wordpress.com. 2009-11-20. Retrieved 2014-08-02.
- ^Sharon Swart (2009-07-15). 'New Films Intl. enters U.S.' Variety. Retrieved 2014-08-02.
- ^ ab'Turning Green (2005)'. The New York Times. Retrieved 2014-08-02.
- ^ abRobert Koehler (2005-06-21). 'Turning Green'. Variety. Retrieved 2014-08-02.
- ^Kevin Thomas (2009-11-07). ''Turning Green' - Los Angeles Times'. Latimes.com. Retrieved 2014-08-02.
- ^Jenkins, Mark (2009-11-05). 'Movie Review - 'Turning Green,' And Longing for the Red, White, and Blue'. NPR. Retrieved 2014-08-02.
- ^''Turning Green' movie review: Stuck in Ireland with a new dramatic twist'. NJ.com. 2009-11-13. Retrieved 2014-08-02.
- ^'Dan Persons: Mighty Movie Podcast: Erin Go Frack Yourself: Michael Aimette and John G. Hofmann on Turning Green'. Huffingtonpost.com. 2009-11-06. Retrieved 2014-08-02.
- ^'CineVegas '05 Interview ('Turning Green' Directors Michael Aimette & John G. Hofmann)'. eFilmCritic. Retrieved 2014-08-02.
External links[edit]
- Turning Green at IMDb
- Turning Green at Rotten Tomatoes
Posted on Friday, December 11th, 2020 by Hoai-Tran Bui
Loki looks out of this world — this reality, even. And that's the intention of the upcoming Disney+ limited series centering around Tom Hiddleston‘s God of Mischief, who we last saw in Avengers: Endgame stealing the Tesseract and teleporting off to goodness knows where. And it turns out, Loki isn't so sure himself, as the trickster god finds himself jumping through time, and various realities, and apparently pursued (and at one point, captured) by a mysterious organization known as the TVA, led by Owen Wilson.
There's a lot to unpack in the jam-packed Loki trailer, so let's head into our trailer breakdown.
The trailer starts off with a minute of footage from Avengers: Endgame, leading up to Loki's theft of the Tesseract and his disappearance. Then, a flash of weird cosmic lighting that forms some kind of tunnel through space and time, and we cut to: the desert, where a disheveled Loki has landed, just as perplexed as we are. He's greeted by three Mongolian-looking people, and his eyes flicker back and forth, apparently considering his options.
Things only get stranger from there, as we cut to the interior of a Marriott Hotel mysterious building that seems to house infinite floors, each with stranger and stranger designations — LK3, 2W1, FHF, VG2, 3FG, CET, XN1, and TSL among them, with peculiar 'x' and '=' signs in the middle, and a symbol that looks like a smiley face. What could they mean? I can't say for sure, but if the Marvel Comics depiction of the organization that runs this building, the TVA (or Time Variance Authority Screen paste buffer. ) is correct, then they each level could house different realities and timelines.
In the comics, the Time Variance Authority is an organization responsible for monitoring the multiverse and maintaining interdimensional order…and can even bring an end timelines if they're deemed too dangerous to exist. Which makes a trickster god like Loki in possession of a stone that allows him to bend space their worst nightmare.
'You taking me somewhere to kill me?' an imprisoned Loki, wearing a collar and a jumpsuit with the 'TVA' logo emblazoned on his chest, asks his captor.
'No I'm taking you someplace to talk,' Owen Wilson's cryptic new character wryly responds, to which he and Loki engage in a back-and-forth about the trickster god's tendency to lie, going so far as to take a mocking tone with Loki — which proves that Wilson's character is one of the few not intimidated by him. So who is Wilson playing? His character was not confirmed at the Disney Investors conference, but — in perhaps a slip of the hand from Marvel — the captions on the trailer for Loki refer to Wilson's character as 'Mobius M. Mobius,' a mid-level manager of the TVA, who is one of dozens of clones (all taking the appearance of long-time Marvel writer/editor, and continuity expert, Mark Gruenwald, in a Marvel meta-joke). This isn't confirmation that Wilson is playing Mobius M. Mobius, but it definitely suggests he is — especially with the cropped hair and mustache he shares with the comics character.
More hints are given as to the TVA's powers, as Loki asks his captor how long he's been there, and Wilson responds, 'It's hard to say, you know, time passes differently here in the TVA,' before pushing him through the elevator doors.
As one of the first movies to receive a domestic theatrical release by New Films International, it screened in Los Angeles (November 6, 2009), New York City (November 13, 2009) and Chicago (November 20, 2009).
The title Turning Green refers to many themes of the film, both physical (James becoming sick after performing one of his drinking bar tricks, converting Irish pounds to American dollars) and metaphorical (James unwittingly becoming more Irish.)
Turning Green received positive reviews from the Los Angeles Times, The New York Times, Variety, NPR and The Star-Ledger among others.[2]
Plot[edit]
Sixteen-year-old James Powers hates his life in Ireland. Six years prior, he was forced to live with his three aunts after his mother died and his father shipped him and his little brother Pete (Killian Morgan) off to rural Ireland. There, the bored, depressed and xenophobic James drops out of school and spends his days yearning to get back to his idealized America. For James, getting back to the U.S. is a long and improbable prospect. He tries to make money, little by little, to return to New York City – making small bar bets and working for the local bookie, Bill the Bookie, played by Alessandro Nivola. When Bill doesn't get the money owed to him, Bill the Breaker is sent in, played by Academy Award winning actor Timothy Hutton. Bill the Breaker does exactly the same job as James, only with an added dose of extreme violence. But it's obvious that Bill the Bookie prefers James, and takes a shine to the clever and resourceful young man.
James has just two friends. The first is his younger brother Pete, who has assimilated much better to Irish life than his older sibling. Still, James quizzes the 11-year-old on all things American, from baseball to New York City, yet Pete doesn't have that connection to America that James does. Pete, ever the thoughtful brother, simply goes along with James' obsession. James' other friend is Tom (Colm Meaney), the gruff-yet-affectionate fisherman and frequently unsuccessful gambler. He sells his boat to pay for his gambling debt and in one scene, hands James a wad of cash. James has the ability to read between the lines of Tom's grouchy commentary, and sees the good in him. Tom in turn, is a rather faulty father figure to the directionless James.
James also pines for the cutest girl in town, Fiona, who may or may not know he even exists. If he had more confidence, he might approach her, but he keeps his distance. Meanwhile, James' clueless aunts suspect something is wrong with James, based on the inordinate amount of time he spends locked in the bathroom. Of course, what they suspect to be an illness is no mystery to a more informed audience who can more easily determine what interests most 16-year-olds.
In a fortuitous moment, the aunts send James to London for a few days to see a medical specialist. There, he discovers his possible ticket out of Ireland – pornography. Illegal in Ireland, James strikes a deal with a local London newsagent to import them to his town and, using his connections made working for Bill, sells them to an eager Irish audience. To pay for them, he uses money that Tom gave him to repay his debt to Bill. This sets up conflict as Bill always demands payment on time.
Upon his return a few days later, James meets up with the two Bills and they discuss business. In the racetrack toilet, Bill the Bookie asks James repeatedly if he had collected any money before he left. James, fully aware that he used Tom's money to buy the magazines, lies and says no. With that, Bill the Breaker suddenly attacks and beats the unsuspecting James. Bill the Bookie knew very well that Tom's money was supposed to come to him, but somehow hadn't. The beating serves as a warning to James to watch his step.
James immediately runs over to Tom's, who has also been beaten up by Bill. Tom banishes James from his house. Now, James is more alone than ever. James fantasizes that one of the girls in the magazine is talking to him, as she cajoles him to sell the magazines and then sell some more. Determined more than ever to pay back Bill, James finally receives his shipment of magazines and sells them all in one day. This leads him to expand his business – from approaching local merchants to selling them to other towns east, west, north and south. Suddenly, business is booming. James feels he's actually helping Ireland, he's liberating them, inspiring them. 'Like Michael Collins, Éamon de Valera. Or that guy from Thin Lizzy.'
As he nears closer and closer to his possible escape from Ireland, his perspective on the place changes. He even seems to be enjoying life for the first time in years. He finally strikes up the nerve to ask Fiona out on a date. He buys Tom a bigger boat. Even the aunts seem more tolerable. Meanwhile, Bill the Bookie has been wondering where this glut of illegal magazines has come from. Learning that the magazines are coming from London, Bill figures out that James is the one who is cutting into his underground business. He's the only one smart enough to do it.
And just as James is about to reverse course on his skewed vision of Ireland, Bill steps in. The two Bills take James to the top of the cliff, which leads to an ironic and wistful conclusion.
Themes[edit]
Like many coming of age stories, Turning Green is about a young man learning about himself. In this case, it's more than a fish out of water story, but a fish out of two waters – Ireland and America. James is teetering on the cusp of adulthood and childhood, between his homeland and his adopted one, and deciding where his future lies. He refers to himself not as 'Irish American' but 'Irish American Irish.' This constant flip-flopping has left him unsure of who he is and where he belongs. As his lot in life changes, James has to decide where home really is – a place or really just a state of mind.
It's also a story about a point of view. James has almost spitefully decided to hate Ireland and idealize America. As he's just 16, he's lived only 10 years in the U.S. and 6 in Ireland, hardly enough time for him to really relate to either. Additionally, in the 6 years there, he's inadvertently developed an Irish accent. It's clear to us that he's much more Irish than he'd like to admit.
He's also plagued by a none-too-healthy imagination, which only skews his perspective further. He has visions of nude women talking to him, urging him to sell the magazines in Ireland. His perspective on the aunts makes them almost cartoonish – they're really only as annoying as he makes them out to be. He's convinced himself that his brother wants to leave Ireland too, although that's obviously not true. And when the two Bills take James up to the cliffs to teach him a final lesson, it's not nearly as climactic as James has led himself to believe.
Production[edit]
Development[edit]
Michael Aimette and John G. Hofmann first co-wrote the script and submitted it to the first season of HBO's TV series Project Greenlight, which was created to give first-time writers a chance to direct their own film. The script made the final round of 30 and from that, gave the script greater exposure in Hollywood. After two years of development, the script was optioned by the NY-based independent production company Curbside Productions, and principal photography began in 2005. After completing a rough cut, the film premiered at CineVegas film festival to positive reviews.[3]
However, unhappy with the producer's cut and how the film was being marketed, Aimette and Hofmann created a director's cut which is more comedic and with a different ending.[4] The new version of the film was screened at The Craic Film Festival in 2007 and won the Audience Award.
In 2009, New Films International made their foray into the US domestic distribution market and Turning Green received a limited release in New York, Los Angeles and Chicago in November, 2009. New Films opted for the original cut of the movie, due to the expense of re-finishing the directors' version.[5]
Casting[edit]
Casting the role of James was essential, as he appears in virtually every scene of the movie. After a few weeks of unsuccessfully searching for the perfect balance between adult and child, the 17-year-old Donal Gallery auditioned for the role. He was given the role of James Powers on the spot. Never having acted professionally before, Gallery's performance was subsequently greeted with terrific reviews. The New York Times praised Gallery for his 'cheeky charm'[6] while Variety called him 'an impressive newcomer.'[7]
The American actor Alessandro Nivola is cast as Bill the Bookie, who brought a fey, soft-accented element to what could have been a typical 'bad guy' role. Another American, Timothy Hutton, is almost unrecognizable as Bill the Breaker, and he embraced the role of gruff Irish enforcer fully. Colm Meaney, a celebrity throughout Ireland, was cast as James' only friend Tom. The remainder of the cast is 100% Irish, featuring screen and stage actors from Dublin and its environs.
Filming[edit]
Sandisk extreme format. The budget of US$400,000 includes all cast and crew, and was shot on the east coast of Ireland, primarily Wicklow, Rathdrum and Ardmore Studios outside of Dublin. The final scene where James is now working at a bar in America was shot in New York, NY.
There was minimal rehearsal, and filming spanned 20 days during the summer. It was shot on a 24phigh-definition camera. The opening animated sequence, which tells the story of James and Pete and their metaphorical journey from America to Ireland, was created by Phil Jungmann, an advertising creative director and friend of the directors. Using Jungmann's illustrations and created in Flash, the animated James and Pete take a subway ride in New York. When the doors finally open, they're magically released into the Irish wilderness, left alone on a giant cliff looking out into the endless sea, their old homeland beyond their grasp.
Music[edit]
The movie features indie music artists that, while not from the 1970s period, reflect the mood of the film and James' dour view of the place. Nada Surf, Iron & Wine, the Caesars, Arco and Brian Seymour all contributed, and the commercial music company Pull scored the film. The original script had references to 1970s artists Queen, ELO, Led Zeppelin among others, but due to budgetary constraints, their inclusion was not possible.
The Green Room Movie Trailer
Reception[edit]
Turning Green received many positive reviews, as well as some mixed reviews. Kevin Thomas from the Los Angeles Times called it 'an amusing Irish coming-of-age story..when all those triple-X magazines spread throughout the community, Turning Green takes off in earnest.'[8] NPR's Mark Jenkins felt it was 'enlivened by witty asides and playful commentary' and praised Aimette and Hofmann that 'for a couple of Yanks making their first feature, they've drawn a perceptive sketch of the Old Sod.'[9]Stephen Holden's review in The New York Times was largely positive as well, calling it 'whimsical' but noting that the story's ending left the movie 'stranded in the wilderness.'[6] Stephen Whitty of The Star-Ledger said 'as the debut film from a couple of new directors, it's an encouraging start'[10] and Variety's Robert Koehler dubbed it 'a tart comedy..empowered and alive' before succumbing to 'uneven drama.'[7] In general, the reviews were positive, and the negatives are primarily based on the very ending of the movie, which Aimette and Hofmann both felt deviated from the tone and humor of the rest of the movie.[11][12]
The film was released on DVD in early 2010.
References[edit]
- ^'Project Greenlight (2001–2002)'. IMDb.com. Retrieved 2014-08-02.
- ^'Turning Green'. Rotten Tomatoes. 2011-07-28. Retrieved 2014-08-02.
- ^'Movie Review - Turning Green - www.ericdsnider.com - The Official Website of Eric D. Snider'. www.ericdsnider.com. 2005-06-11. Retrieved 2014-08-02.
- ^'Turning Green | Unpaid Film Critic'. Unpaidfilmcritic.wordpress.com. 2009-11-20. Retrieved 2014-08-02.
- ^Sharon Swart (2009-07-15). 'New Films Intl. enters U.S.' Variety. Retrieved 2014-08-02.
- ^ ab'Turning Green (2005)'. The New York Times. Retrieved 2014-08-02.
- ^ abRobert Koehler (2005-06-21). 'Turning Green'. Variety. Retrieved 2014-08-02.
- ^Kevin Thomas (2009-11-07). ''Turning Green' - Los Angeles Times'. Latimes.com. Retrieved 2014-08-02.
- ^Jenkins, Mark (2009-11-05). 'Movie Review - 'Turning Green,' And Longing for the Red, White, and Blue'. NPR. Retrieved 2014-08-02.
- ^''Turning Green' movie review: Stuck in Ireland with a new dramatic twist'. NJ.com. 2009-11-13. Retrieved 2014-08-02.
- ^'Dan Persons: Mighty Movie Podcast: Erin Go Frack Yourself: Michael Aimette and John G. Hofmann on Turning Green'. Huffingtonpost.com. 2009-11-06. Retrieved 2014-08-02.
- ^'CineVegas '05 Interview ('Turning Green' Directors Michael Aimette & John G. Hofmann)'. eFilmCritic. Retrieved 2014-08-02.
External links[edit]
- Turning Green at IMDb
- Turning Green at Rotten Tomatoes
Posted on Friday, December 11th, 2020 by Hoai-Tran Bui
Loki looks out of this world — this reality, even. And that's the intention of the upcoming Disney+ limited series centering around Tom Hiddleston‘s God of Mischief, who we last saw in Avengers: Endgame stealing the Tesseract and teleporting off to goodness knows where. And it turns out, Loki isn't so sure himself, as the trickster god finds himself jumping through time, and various realities, and apparently pursued (and at one point, captured) by a mysterious organization known as the TVA, led by Owen Wilson.
There's a lot to unpack in the jam-packed Loki trailer, so let's head into our trailer breakdown.
The trailer starts off with a minute of footage from Avengers: Endgame, leading up to Loki's theft of the Tesseract and his disappearance. Then, a flash of weird cosmic lighting that forms some kind of tunnel through space and time, and we cut to: the desert, where a disheveled Loki has landed, just as perplexed as we are. He's greeted by three Mongolian-looking people, and his eyes flicker back and forth, apparently considering his options.
Things only get stranger from there, as we cut to the interior of a Marriott Hotel mysterious building that seems to house infinite floors, each with stranger and stranger designations — LK3, 2W1, FHF, VG2, 3FG, CET, XN1, and TSL among them, with peculiar 'x' and '=' signs in the middle, and a symbol that looks like a smiley face. What could they mean? I can't say for sure, but if the Marvel Comics depiction of the organization that runs this building, the TVA (or Time Variance Authority Screen paste buffer. ) is correct, then they each level could house different realities and timelines.
In the comics, the Time Variance Authority is an organization responsible for monitoring the multiverse and maintaining interdimensional order…and can even bring an end timelines if they're deemed too dangerous to exist. Which makes a trickster god like Loki in possession of a stone that allows him to bend space their worst nightmare.
'You taking me somewhere to kill me?' an imprisoned Loki, wearing a collar and a jumpsuit with the 'TVA' logo emblazoned on his chest, asks his captor.
'No I'm taking you someplace to talk,' Owen Wilson's cryptic new character wryly responds, to which he and Loki engage in a back-and-forth about the trickster god's tendency to lie, going so far as to take a mocking tone with Loki — which proves that Wilson's character is one of the few not intimidated by him. So who is Wilson playing? His character was not confirmed at the Disney Investors conference, but — in perhaps a slip of the hand from Marvel — the captions on the trailer for Loki refer to Wilson's character as 'Mobius M. Mobius,' a mid-level manager of the TVA, who is one of dozens of clones (all taking the appearance of long-time Marvel writer/editor, and continuity expert, Mark Gruenwald, in a Marvel meta-joke). This isn't confirmation that Wilson is playing Mobius M. Mobius, but it definitely suggests he is — especially with the cropped hair and mustache he shares with the comics character.
More hints are given as to the TVA's powers, as Loki asks his captor how long he's been there, and Wilson responds, 'It's hard to say, you know, time passes differently here in the TVA,' before pushing him through the elevator doors.
Suddenly we cut to a new setting, where a soldier enters a darkened tent. The trailer is cut in a way that suggests that as soon as Loki was thrust through the elevator doors, he was thrust into a new world (or reality), but that's likely a bit of fancy editing. Still, it sets us up for an intriguing series of events, in which a unit of soldiers scope out this darkened outdoor area, lit only by gas lamps.
This is where things become even more puzzling and difficult to explain. A hooded figure appears, apparently at the same setting that the soldiers are scoping out. The figure carries a gas lamp, which the figure then throws on the ground, lighting the grass on fire.
As the fire spreads, one of the soldiers scrambles away — but he stands out from the rest. The helmet that tumbles off his head bears some resemblance to Captain America's World War II helmet, and his uniform bears some parallels to that of the first Avenger's, though the bearded brunette man beneath the helmet is clearly not Chris Evans. It's possible that this is an alternate version of Captain America, being attacked by the hooded figure. This may confirm the rumors that the villain of the series — and the figure in the hood — is an alternate Loki from a different dimension, who has been rumored to be played by Richard E. Grant. Grant was confirmed to be part of the Loki cast last night, though Marvel was naturally tight-lipped on his role. However, the hints from this trailer lend nicely to the rumors that Grant is playing Old Man Loki, a villainous future form of Loki from an alternate timeline, who may be set up as the Big Bad for the series.
But we have to be reminded that this Loki in the limited series is not the reformed Loki, but the one still hot off his crimes in The Avengers. He may not be as keen to help the TVA maintain cosmic order, as seen in this shot where Loki is back in his old outfit, looking in the mirror and remarking, 'Glorious.'
Back at the TVA, Loki appears to be taken to trial by the organization's top authorities, with Gugu Mbatha-Raw presiding as judge. Behind her are three faces carved into the wooden wall, which is interesting since, in the comics, the TVA is literally a faceless bureaucracy — most of its agents being artificial clones without faces, sent to monitor each divergent reality. But a few higher-ranking judges enforce the TVA's regulations including Justice Peace, Justice Love, Justice Goodwill, Justice Might, Justice Truth, and Justice Liberty. The TVA is also led by a mysterious being known as Mr. Alternity.
Mbatha-Raw may be playing one of these justices — who, in the comics, sometimes have a tendency to go rogue and commit the crimes they're meant to prevent. Which may explain a later scene which sees Mbatha-Raw's character, flanked by two agents, fighting with Loki.
More sculptures within this seemingly infinite TVA building. I'm guessing they're the same three figures in the courtroom.
In another sequence with the imprisoned Loki, he's shown scenes of the lead-up to his capture by the Avengers over a hologram, which Loki turns his head away from, in shame. It suggests Loki is captured soon after he teleported away with the Tesseract, his defeat still fresh.
But an interesting turn of events takes place halfway through the trailer: Loki appears to be working with the TVA, or at least accompanying them on a mission at a store called 'Boxxcart,' where the agents take down a man for crimes unknown.
In one of the most intriguing shots of the trailer Wilson's character (who may or may not be Mobius M. Mobius), hands something over to a little white-haired girl, as they stand under the refracted light shining through a stained glass window pane of a demonic figure surrounded by cosmic imagery. Who is this ethereal-looking girl? A guardian of some dimension or reality? One that is evil, considering the demonic figure on the glass? It's too hard to say for now, but it's clear that Loki is stepping up its visuals in a big way.
Loki is getting tossed around the TVA a lot, landing in a depot with a metal detector covered in some red paint, standing over a scorched piece of floor. Another TVA staff member glances at Loki with mild annoyance as Loki appears to look for a way out.
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Speaking of stepping up the visuals, look at this gorgeous, cosmic image of what appears to be a planet or moon crumbling to pieces. Perhaps an effect of Loki's reality-warping mischief?
Apparently beneath that crumbling moon/asteroid/planet, sits a young girl in the ruins of her planet, bathed in a purple light. The next shot shows meteors showering down on this same planet surface. There's also the possibility that this is one of the instances when the TVA puts a 'stop' to timelines considered too dangerous to exist.
Loki, in the TVA jacket we saw him in before while accompanying the agents into the Boxxcart store, stands among the ruins of a city. It's another stunning, intriguing piece of imagery that I can't make heads or tails of.
But in one fo the most fun twists of the trailer, we see Loki board a plane as D.B. Cooper — yes, that D.B. Cooper. The man behind the hijacking of the Boeing 727 aircraft in 1971, who managed to extort $200,000 in ransom money and parachute out of the airplane, never to be seen again. The manhunt for Cooper and his disappearance has remained one of the greatest unsolved cases of the 20th century, but here we get a magical little spin on it: that Loki was D.B. Cooper, and that his disappearance is explained by Heimdall suddenly beaming him up to Asgard as he jumps out of the plane.
When Loki was first announced, we'd heard many descriptions of it being a 'time-hopping' adventure, and thus far we'd seen little of that, except for the D.B. Cooper scene. But in a short scene of Loki tossing a tunic-wearing woman out of the way, we get another glimpse of what appears to be a historical setting that the god of mischief has found himself in (still wearing the TVA agent gear).
Has Loki become an agent for the TVA, finding himself in increasingly absurd situations? That seems to be the case with this one sequence which sees a man dressed remarkably like M'Baku from Black Panther taking a hammer to a Loki lookalike, knocking the antler helm off his head, as the real Loki looks on in shock behind the fray. There are vines and wreckage bursting through ceilings and walls of this room, which suggests realities colliding in some way.
The final scene of the trailer, in which Loki wears a green suit and his antler helm, with a political 'Loki' sticker on his chest, appears to be a deliberate nod to the Vote Loki comic book arc by Christopher Hastings, a four-part 2016 comic book run that parodied the 2016 presidential elections and followed Loki's controversial political campaign for President of the United States.
Another alternate reality that Loki finds himself in? Or perhaps a sign of the decaying barriers between realities, as he is in the same destroyed room as before (filled with artifacts from across history) surrounded by various historical warriors, also wearing Loki stickers, who quickly turn on the Norse god after he smugly remarks, 'What did you expect?'
We don't know what we expected, nor what to expect, when Loki hits Disney+ in May 2021.
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