Has a titular character for a tentpole film ever been muted in their own previews? That seems to be the case for Universal Pictures’ flashy-looking Snow White and the Huntsman, which so far seems hellbent on not letting its lead, played by Kristen Stewart, utter a single word in the previews. It’s probably wise to let Charlize Theron do all the talking, but how do you not give Snow White at least one line? Even Chris Hemsworth gets to open his mouth and yell in slow motion once again, Thor-style. Stewart is only given the exciting task of gazing off and acting lost. This is only a 60 second preview and I’m sure we’ll see Stewart say something before the film comes out, but after two previews with zero dialogue, it’s starting to get a bit comical. Check it out after the break.

It’s hard to overstate just how amazing it is to consider a big-budget, major studio-produced 3D family adventure centered on Georges Méliès. Before now, the work of the early cinematic innovator, whose movies (most famously 1903’s A Trip to the Moon) revolutionized and advanced special effects, has been relegated to film history texts and brief snippets of televised specials. If there’s one filmmaker to make Méliès matter again, to introduce him to a mass audience, it’s Martin Scorsese. After all, the Oscar-winning legend is not just one of the foremost cinematic masters, as a noted film preservationist, he’s among the chief protectors of the long, glorious and frequently threatened legacy of the motion picture. In Hugo, Scorsese transforms the trappings of a 3D holiday picture into a loving tribute to Méliès and the earliest masters of the cinematic dream factory. From the structure of its narrative, to the details of its plot, and the industrialized nature of its majestic visuals, this is a film infused with the joy and wonder of movies. Set amid the glittering magic of Paris in the early 1930s, the film follows 12-year-old orphan Hugo Cabret (Asa Butterfield), who secretly lives in a train station. Hugo, who winds the station’s clocks, dwells inside a labyrinthine interior comprised of enormous grinding gears, rising steam currents, and other elaborate metallic concoctions. Among the latter is a non-functioning automaton brought home by Hugo’s late father (Jude Law), which the young man works on incessantly in the hope that he can bring [Due to Content Scraping and Theft, we have been forced to try abbreviated feeds. We apologize for any inconvenience this may cause and woud very much appreciate you clicking through to view the full article on FilmSchoolRejects.com]

Writer, now director, William Monahan crafts a unique brand of hard-boiled men. The Departed and Kingdom of Heaven screenwriter never follows a guy who’s gonna throw-down and flex at any chance he gets. His protagonists are flawed, paradoxical, and in London Boulevard, even kind of feminine. Monahan’s adaptation of Ken Bruen’s novel features a sensitive lead with no interest in being a gangster, an antagonist who’s more interested in kissing the Farrell character than killing him, and every other so-called mobster in this film could not be more incompetent. Unlike The Departed, Monahan has written an anti-gangster picture. The writer and his works are contrarian — his scripts generally go against conventions, and he speaks in a fairly candid manner. Here’s what writer-director William Monahan had to say about vulnerable, sexily flawed women, what makes for bad exposition, and why the last shot of The Departed still works, even if you didn’t get it:

Almost a year ago we got our first glimpse of William Monahan‘s (the writer behind The Departed and Kingdom of Heaven) directorial debut, London Boulevard, but it’s unfortunately taken a while for it to open in the states. Originally the film was going to be released by FilmDistrict, then not too long ago IFC took over distribution. While the British gangster pic wasn’t greeted with the best response, I happen to like Monahan’s debut a whole lot. This trailer, which is fairly similar to the U.K. one, is well representative. It sells the slickness and cool factor just right, where the film works best. The film isn’t as grand or as epic as The Departed, but it’s a smooth and clever directorial about a gangster trying not to be a gangster. And, yes, Ray Winstone is as fun as he looks in this trailer.

William Monahan‘s directorial debut, London Boulevard, has been sitting on the shelf for some time now. The gangster pic got released in the U.K. last November, but we have seen no official press materials stateside. FilmDistrict was originally going to distribute the film for us American folk, but that no longer seems to be the case. IFC Films has swung in and picked up the U.S. distribution rights. With the talent involved, it could very well be their first investment to earn more than ten dollars. Considering they are a company that takes admirable chances, good for them. They will be giving Monahan’s film their usual indie treatment. First, it’ll premiere on VOD (October 5th), then later on hit limited release (November 14th). One would think a movie starring Colin Farrell would get a wider release than this, but the strategy makes sense. London Boulevard is not the most commercial film, and it’s far from a critical darling. The movie was ripped to shreds by critics in the U.K., and it’ll probably be received the same way here.

It’s fascinating that the director of Taxi Driver is the man who put this together. Martin Scorsese once again shows his versatility by tackling Hugo, an adaptation of the popular children’s novel “The Invention of Hugo Cabret.” Interestingly, it look like he’s channeling Chris Columbus here with a healthy dose of Lemony Snicket. Yes, it looks fun and silly, but this trailer makes it look a bit too childish (and features far, far too much of Sacha Baron Cohen falling down and smashing into things Kevin James-style).

Without a synopsis beyond being called a contemporary noir movie, Ashes nonetheless earns some respect for the cast it just hired. Ray Winstone and Leslie Manville are veterans, and Jim Sturgess is a rising actor who has the talent to back up his growing fame. According the The Hollywood Reporter, those actors will be joined by Jodie Whittaker (Attack the Block) and the consistently strong Luke Evans (Robin Hood, Clash of the Titans) for the project written by Sex & Drugs & Rock & Roll team Mat Whitecross (who will direct) and Paul Viragh. Any noir news is good news, and this cast is something to look forward to. Oddly enough, the film is being financed partially by the band Coldplay which creates the interesting possibility of the pop band also scoring a dark drama. That’s speculation, but it would either be a fascinating success or an unmitigated disaster, and that’s the kind of scenario to get out of bed for in the morning. Production starts next week.

Rango is the first animated genre movie I’ve seen that, with no exaggeration, works as well as its live-action counterparts possibly could. Gore Verbinski’s latest is a damn fine western, an entertaining throwback to classic B-pictures that pays clever tribute to its predecessors. Sure, it’s populated by walking/talking lizards, rattlesnakes, and Gila monsters. So what? A lizard suffering from some serious existential torment, Rango (Johnny Depp) knows not who he is or of the world beyond the tank he’s called home and the pseudo-tropical knickknacks he’s made his friends. That changes forever when a karmic car accident finds the good-humored, tropical shirt-baring reptile abandoned in the Mojave Desert, his domicile destroyed forever. Making his way through the treacherous terrain, our hero dodges an enormous falcon, befriends roadkill named Roadkill (Alfred Molina) and is eventually escorted by fiery fellow lizard Beans (Isla Fisher) to the long-forgotten, crumbling town of Dirt.

Kevin Carr sits his chubbiness down and sees if Edge of Darkness and When in Rome can make the grade.

I loved Edge of Darkness precisely because it was more than I expected.

In Boston, the only city in America with corruption and crime, a policeman’s daughter is shot right in front of him, so he tracks down answers and sets to ass-kicking.

Hugh Jackman won’t be involved in Steven Soderbergh’s Cleopatra musical. In other news, Steven Soderbergh is conceiving a Cleopatra musical.

Gela Bubliani has brought two bad asses on board for the remake of his 2005 thriller 13 Tzameti. Will they be able to make us forget that 50 Cent is also in it?

It looks as if Indiana Jones is a pretty big deal, even across the globe. Our friends from Japan are immortalizing our favorite whip-wielding spelunker with the cutest little figures you will ever see.

Paramount has released another still image from the upcoming Indiana Jones and the Kingdom of the Crystal Skull.

Though the beginning was a touch weak, the movie gets better and better as the story progresses.

Despite the flaws that keepBeowulf from being a nearly great film, at the end of the day you have to give Robert Zemeckis a pat on the back.

We hear that 3D glasses give some people headaches. So, in order to dull the pain, we offer the Beowulf drinking game. Toast a glass of mead (or Coors Light, for all we care) with the Danish warriors.

Beowulf has everything you’d need for a great motion picture. It has a great story, an awesome conflict, incredible actors and all of Hollywood’s digital technology thrown behind it. The biggest stumbling block it has is its director.

Need a little 3D Angelina Jolie in your life? How about we give you a chance to go see her new flick Beowulf for FREE in IMAX 3D? If that doesn’t get your attention, you may want to check your pulse…