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"Jupiter Ascending" Lost Its Summer Release Date, Delayed Until February

Posted: June 4th, 2014 by WorstPreviews.com Staff
"Jupiter Ascending" Lost Its Summer Release Date, Delayed Until FebruarySubmit Comment
Every film critic has an opinion on which film will be the big flop of the year. And this year, it seems that most agree that it will be "Jupiter Ascending," a big-budget sci-fi film from directors Andy and Lana Wachowski (The Matrix).

Warner Bros has been planning to give "Jupiter Ascending" a big summer release, scheduling it for July 18th. But now, the studio decided to delay the film all the way until February 6th, 2015.

Warners is claiming that the delay is to give filmmakers more time to complete work on more than 2,000 special effects shots. But many believe that the studio simply lost confidence in the film, which is why it's being released in February, the worst month for movies.

Source: Variety


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Displaying 28 comment(s) Profanity: Turn On
PORN-FLY writes:
on June 4th, 2014 at 10:10:22 AM

Well at least Lana got her rocks off directing Tatum
PORN-FLY writes:
on June 4th, 2014 at 11:09:32 AM

An In Depth Look At Behind The Scenes Of Lana Wackowski Directing Channing Tatum For Jupiter Ascending

http://touch.dailymotion.com/video/x9tj1z_dragon-hunter-2_fun
DrugDealingMonkey writes:
on June 4th, 2014 at 11:17:19 AM

January is way worse:
The Paranormal Activity movies, low-budget sh*tfest (For example, The Legend of Hercules) and a bunch of more found footage horror films.
Cannon writes:
on June 4th, 2014 at 11:18:43 AM


I guess this was not the One.

OneTime writes:
on June 4th, 2014 at 11:49:07 AM

moral of the story is. when u come out of the closet...life goes downhill

keep it hidden away folks.

forver,.
bandolero999 writes:
on June 4th, 2014 at 12:10:59 PM

Hahahahaha 😂😂💩💣💩
elrei writes:
on June 4th, 2014 at 5:28:28 PM

I actually enjoyed Cloud Atlas, so this is really disappointing.











Says no one. EVER.
Papillon writes:
on June 4th, 2014 at 5:52:26 PM

Cloud Atlas has only one merit: Tom Hanks acting genuinely in various characters.

That was the only attraction.

The Waschowski's sis & bro went too far ahead in their concept of human evolution and perhaps it will be fully understood in 150 years from now.

In our time, it barely made any sense. Except for Tom Hanks.
Papillon writes:
on June 4th, 2014 at 5:54:07 PM

^ ^ Yes, the 1st paragraph is not grammatically correct. Too f*cking tired.
minkowski writes:
on June 4th, 2014 at 6:13:48 PM

I watched Side by Side last night, which includes interviews with the Wachowski Things, and let me tell you, there's nothing more frightening than listening to Lana's slurred, forced falsetto sotto voco babble about absolutely nothing.

Seriously, her and brothsband have nothing to say about film except they love it.
minkowski writes:
on June 4th, 2014 at 6:16:34 PM

As for the news...hard to get excited when everything they make is so far-fetched both visually and conceptually that it makes little to no sense and doesn't fully register on the eyes or brain, no matter how hard the viewer tries. It's like watching parts of Altered States while huffing cyanoacrylate.
cress writes:
on June 4th, 2014 at 6:50:34 PM

@Mink. I got a huge belly laugh from Fincher during a comment he made in SIDE BY SIDE:

There are cinematographers who became cinematographers because they love the voodoo of it. They love it when the director says to them, "Down that corner...are we going to be able to see that, or is that going to kind of melt away?" And they get to go, "Just wait till tomorrow. It's going to be amazing. Your gonna love it." And I've had those experiences. I've sat in dailies and I've (paraphrasing) gone "Wow".
But there was an equal amount of times that you go...I'd look at it and go, "What the f*ck?"
minkowski writes:
on June 4th, 2014 at 7:22:21 PM

@Cress: I learned from Fincher's commentary only that he loves to say f*ck and sh*t a lot. lol. Never would have thought such an accomplished and intelligent filmmaker like him would be so rough around the edges in public.

And listening to Nolan And Pfister whine about digital made my head hurt, especially knowing that they know in ten years almost no one in the business will be using film, grain or not.
cress writes:
on June 4th, 2014 at 7:26:29 PM

@Mink. I got a kick out of Fincher, as he just seemed very "matter of fact" in his comments. He didn't put on any airs, so to speak.

Yeah, Pfister was annoying as f*ck. Good doc, though.
minkowski writes:
on June 4th, 2014 at 7:53:54 PM

@Cress: very good doc*mentary, and really informative. I had no idea they were that far along in eliminating film.

Would've been nice to hear more from Jimmy than "3D rocks my socks!", and "Avatar rules!", though.
c-prime writes:
on June 4th, 2014 at 9:48:09 PM

@ cress: Regarding "Pain & Gain", I thought so as well. Wahlberg, The Rock, and Anthony Mackie look to be having a lot of fun in it. Their chemistry and "we-came-ready-for-anything" sells the film, even as the story gets more outrageous and lurid.

I'm probably one of the few people alive who finds some merit in Michael Bay movies. But well, sh*t, I grew up with a lot of them - "The Rock" and both "Bad Boys" pics are candy-coated nuggets of nostalgia. The guy straight-up makes flashy, loud, escapist, and often brainless popcorn fare and I accept that. But he also knows how to capture an action scene and, yes, an explosion. His work with actors is usually spotty, although "Pain & Gain" showed signs of improvement (wrestling out The Rock best performance to date must've been no easy task, no pun intended).

Given all the sh*t he gets in the press, it's always amazed me how he attracts A-list talent to star in his movies. (Maybe it's just the incentive of a large payday, but I wonder if it might be more.) Why, we have Kelsey Grammar in the next "Transformers" pic, John Turturro and Frances McDormand in some of the previous ones, Ed Harris pops up in a movie every once in a while, and so on.

Don't get me wrong, Bay's got some unassailably terrible movies (obviously "Pearl Harbor" and "Armageddon", and I'm very ambivalent to all of the "Transformers" movies), but when he's operating at the peak of his powers (whatever you determine those to be), I can't help but find myself entranced by the scope and audacity of the spectacle he's putting on display. The vibrant color palettes, the overstuffed mis-en-scène, the capricious, "WTF?" developments of almost every plot - It's like the guy is some kind of tacky, 21st-century Douglas Sirk. And that's kind of a compliment. Kind of.

But he could stand to push himself more as a filmmaker, and to that end, "Pain & Gain" was a step in the right direction. It showed that he could make a movie on the relative cheap (compared to most of his extravaganzas) look like a figurative million bucks and without sacrificing his unique visual style. What's more, there's only one explosion in the whole flick (a small one at that, again by Bay's standards). No, it won't silence haters and no, it doesn't have the substance a lot of people come looking for when they go to the movies, but then I don't ask as much from MB as I do from, say, David Fincher, Martin Scorsese, Alexander Payne, etc.

Some directors are both showmen and storytellers. Bay is strictly the former and if he just gravitated to better material more often, he might could silence his most ferocious critics. But in a silver screen age inundated with big budget lookalikes and pervasive VFX shots, I feel like I at least get my money's worth out of the sights and sounds he conjures up than most of his contemporaries.
c-prime writes:
on June 4th, 2014 at 9:49:24 PM

"...'we-came-ready-for-anything' DEMEANORS..."
DeVries writes:
on June 4th, 2014 at 9:58:11 PM

Complete the f*cking Matrix instead.
SACdaddy writes:
on June 4th, 2014 at 10:04:32 PM

Lol have these directors made any successful films outside of the Matrix series?

I didn't mind Cloud Atlas. Actually thought it had most of the elements needed to be a great film. It just got way to full of itself and lost in its own translation if you know what I mean. Oh and the makeup work was so distracting that it pulled me completely out of the context of the film at times,much like the horrible makeup on Tatum in the JA trailer. Apparently the Wack Bros. haven't learned their lesson yet.
minkowski writes:
on June 4th, 2014 at 10:26:40 PM

Michael Bay is more similar to the action-oriented sibling of Baz Luhrmann, not Douglas Sirk who shares with Bay and Aldomovar's use of sweetly-sickening colors, only.

"It showed that he could make a movie on the relative cheap (compared to most of his extravaganzas) look like a figurative million bucks and without sacrificing his unique visual style. What's more, there's only one explosion in the whole flick"

Budget goes way down when you're filming only people running, not robots and cities and entire highways exploding. Color-grading costs almost nothing, especially if you have your own DaVinci anyway, which I bet Bay does.
minkowski writes:
on June 4th, 2014 at 10:38:56 PM

"Michael Bay is more similar to the action-oriented sibling of Baz Luhrmann, not Douglas Sirk who shares with Bay and Aldomovar's use of sweetly-sickening colors, only."



Well, that and both share commercial success and critical failure, although for very different reasons.

*sigh*
Max Rockatansky Junior writes:
on June 4th, 2014 at 11:12:30 PM

"Jupiter Ascending" Lost Its Summer Release Date, Delayed Until February ... It looks so gay, it might as well come out on Valentine's Day.

It'll fail.
c-prime writes:
on June 4th, 2014 at 11:46:28 PM

@ minkowski: I would never have thought to compare to him to Baz Lurhmann, as the only film of his I've watched to date is "The Great Gatsby" (one giant stinker), but giving it some thought, that's probably a justified comparison. (My mom and pop have recommended "Australia" to me several times, but I never got around to seeing it because it looks overlong and boring.)

Sirk came to mind not just because of the glossy visuals but also because his movie, like Bay's "Pain & Gain" on some level, had something to say about material excess and the vanity and decadence associated with high-class living. That sustaining upward mobility, for all it's ostensible benefits, often comes at the expense of one's empathy and outright humanity.

But then that's just the link between one Bay movie and innumerable Sirk ones. I could probably make another case with "Pearl Harbor", but it's been thirteen years since I first saw it, and I like to reflect on that nightmare as little as possible.

I concede the Bay/Luhrmann Venn diagram probably has more overlap the the Bay/Sirk one. I'm sure it could be easily said, too, that Lurhmann has more in common with Sirk than Bay - as "Gatsby" illustrates, the guy has quite the affinity for melodrama. Sirk is to Lurhmann as Lurhmann is to Bay sounds like the best analogy.
c-prime writes:
on June 4th, 2014 at 11:48:38 PM

"Sirk came to mind not just because of the glossy visuals but also because his MOVIES..."

The plural, not the singular. And there's an extraneous "to" in the first sentence.
DaveThePhotoGuy writes:
on June 5th, 2014 at 12:07:07 AM

Looks like a shoe in for razzie next year...
minkowski writes:
on June 5th, 2014 at 12:13:18 AM

@C-Prime: You should watch Baz's Romeo and Juliet, which does with music what Bay does with explosions, and it's one of the reasons I thought to compare Baz to Bay over Sirk to Bay.

Sirk, really, takes a lot of hits because his films generally dwelt on the female mind and the emotions therein, whereas other cinematic works of the time treated women as little more than as foils for the male lead, or objects of desire. Sirk was one of the few initial directors to not only take seriously "what women want" but to use emotional melodrama as both a plot device and mise en scene, which did him no favors with contemporary critics who despised his maudlin, sappy plots and effeminate set designs.

In later years, more liberal voices began to prevail and Sirk received something of reappraisal among those who rejected the male-dominated attitude of Sirk's era.

But I would agree though that there is a common intersection between the three (Baz, Bay and Sirk), although the plot contents of Bay's films are very different from Sirk's.

Even Pearl Harbor, though a love story, is still one of the male machismo, with the female lead playing little more than a means of moving the plot forward, which is why Titanic, the movie that Bay wanted to emulate, worked, largely because the boat sinking drove the love story, which was the film's center, and the not other way around.

In Pearl Harbor, Bay tries to make the love story drive the historical events, which is really the one good reason it fails, in addition to Bay's bombastic, pyrotechnic handling of a somber historic day.

I really think, patriot that he is, Bay tried to do contort Pearl Harbor into a jingoistic rally of patriotic emotions, which might be another reason critics hated it.

Perhaps Bay will one day learn basic story mechanics without resorting to explosions, hyperbolic camera moves and crude emotional manipulation.

And regarding Pain and Gain...comical black material for sure, but Bay had an enormous assist thanks to the multi-paged Miami-Herald article that served as a direct script framework, whereas with Pearl harbor Bay had to do some research of his own, and we see how well he did with that, especially every aspect of the film outside the titular bombing runs.

I do agree with your comparison of Pain to Gain with some of Sirk's films, but I also feel Bay's message, if there was one since this is Bay and he is to film what a hammer is to sculpting, was that there's nothing wrong with wealth, with materialism, with consumerism, so long as you earn it, else you risk looking like the Three Stooges in one of their shorts wherein they conspire to gain monetary advancement without the concomitant hard work required to achieve such a affluential pedigree.
minkowski writes:
on June 5th, 2014 at 12:15:02 AM

*to -do, others.
c-prime writes:
on June 5th, 2014 at 12:48:00 AM

@ minkowski: Extraordinarily articulated points, all. Fine history lesson, too. And as ashamed as I am to admit this, I never once considered how thematically similar "Pearl Harbor" is to "Titanic". They're glaringly alike now that you mentioned it, and it never stood out to me before - I guess I succeeded in effacing both from my memory. If only I had been so lucky with "John Carter" or "Unbreakable".

I guess I will have to get around to seeing "Romeo + Juliet", as much as it pains me to watch anything with DiCaprio during his teen heartthrob days (like the aforementioned "Titanic"). A group of girls tried to talk me into watching "Moulin Rouge!" one time, but if memory serves me right, I called it something to the effect of "fairy sh*t" and we all ended up rewatching Steven Spielberg's infinitely better "Minority Report" instead. Might be time for me to reconsider that one as well, but if they overplay that Christina Aguilera & Co.'s trashy Patti LaBelle cover, I'm gonna grab either the nearest razorblade or a bottle of Pepto.

I'm sure one of these days I'll finally bite the bullet and see "Australia", too - my folks wouldn't shut up about for months when it came out. They probably represent 40 percent of that movie's U.S. gross.

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