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This image released by A24 Films shows Guy Pearce, (left) and Robert Pattinson in a scene from ‘The Rover’. (AP)
Pixar reveals major details of ‘Inside Out’ ‘Rover’ an intense look into future

LOS ANGELES, June 12, (Agencies): Guy Pearce and Robert Pattinson star in this Australian dystopian crime drama from director David Michod. Fusing a number of quasi-apocalyptic influences into a hybrid work with a pungent character of its own, “The Rover” suggests something like a Cormac McCarthy vision of Australia halfway between today and “The Road Warrior” era. David Michod’s follow-up to his internationally successful debut, the Melbourne gangster saga “Animal Kingdom,” is equally murderous but more pared down to basics, as desperate men enact a survival-of-the-meanest scenario in an economically gutted world reduced to Old West outlaw behavior.

As recycled as many of the individual images here may be — its forbidding, lifeless landscapes are populated almost entirely by bloodied, grizzled, sweaty men with guns — Michod has nonetheless developed a very specific setting for his elemental drama. It’s a time “10 years after the collapse,” when, from the evidence, the Australian economy has gone south and locals are reduced to scavengers while Asian mining interests control the purse strings.

With all these grim geopolitical conditions serving as backdrop, the foreground action is as elemental as that of a thousand old Hollywood Westerns. While taciturn loner Eric (Guy Pearce) makes a pit stop in a ratty Asian roadside lounge, three desperate characters — nasty old Archie (David Field), young black man Caleb (Tawanda Maryimo) and hot-headed American Henry (Scoot McNairy) — ditch their pickup truck and steal Eric’s sedan. Jumping into the pickup, an incensed Eric gives chase and, after an unusual stop-and-start pursuit, ends up very much the worse for wear.

As freshly staged as it is, this scene-setter annoys with its numerous dramatic implausibilities: Why, for instance, do the bandits prefer Eric’s car to their own? But these distractions are soon kicked to the side of the road by the appearance of the badly wounded Rey (Robert Pattinson), Henry’s younger brother, who was left behind after a gun battle. Frazzled and fried, Rey speaks in a halting, fractured manner that suggests he might not be quite all there upstairs. But he wants to get Henry, so he and Eric, men near the end of their respective ropes, head further into the outback to settle some scores with mutual nemeses.
It’s a journey that writer-director Michod, who developed the story with actor Joel Edgerton, uses to explore a multitude of extremes — of desperation, soullessness, viciousness and environmental hostility. If one imagines for a moment that Eric is going to become something resembling a sympathetic protagonist, such notions are dashed the moment he needlessly kills a tough little person who’s selling him a gun.

The most friendly and humane character to turn up in the entire film, a warm-hearted woman (Susan Prior) who reflexively calls Eric “sweetheart,” doesn’t last long either after he enters her sphere.
As the two men scour the countryside looking for Henry and his cohorts, Eric messes with Rey’s head, insisting that his brother left him to die and otherwise playing on the vulnerabilities of a sensitive but mentally challenged hick who almost could have stepped from the pages of a William Faulkner novel. His stubble, dirty yellow teeth and injuries muting his physical beauty, Pattinson delivers a performance that, despite the character’s own limitations, becomes more interesting as the film moves along. But always commanding attention at the film’s center is Pearce, who gives Eric all the cold-hearted remorselessness of a classic Western or film noir antihero who refuses to die before exacting vengeance for an unpardonable crime.

The brain behind “Inside Out” gave the world its first extended look at a feature film all about the human mind.
Pete Docter presented concept art, some working footage, and a deeper plot synopsis at a panel at the Annecy International Animated Film Festival on Tuesday. The Oscar-winning director of “Up” explained that the film follows the life of a young girl as she learns to experience feelings and deal with the real world; sort of like in “Up,” the beginning of the film shows her early years, with color-coded and anthropomorphized emotions popping up based on corresponding events.
At, a reader sent in a description of the early montage that was shown to audiences at the festival:

Joy is her first emotion. Joy seems happy on her own, but then sadness appears. When Riley is being fed broccoli, Disgust appears. When her father threatens no dessert without eating her broccoli, Anger makes an appearance. Fear is introduced when she looks at a cable on the floor cautiously and then steps over. We also see the emotions watching her first important memory appear. Memories can be called up for Riley to recall on a sort of projection in Headquarters.
Docter told the crowd that the little girl was in part based on his own daughter, Ellie, who he noticed changing as she reached her pre-teen years. But, as noted, the little girl really is just the conduit for the story, which mostly takes place in his her mind (not her brain, exactly; this is more metaphysical) and features stars like Amy Poehler, Bill Hader, and Mindy Kaling as the voices of her emotions.

Sonic the Hedgehog is getting a movie, even if it’s a decade or two too late.
Sony Pictures Entertainment and Marza Animation Planet have teamed to develop a hybrid CG-animated/live-action feature film based on the popular “Sonic the Hedgehog” video game series.
The movie will be written by Evan Susser and Van Robichaux and produced by Neal H. Moritz through his Original Film banner, along with Marza’s Takeshi Ito and Mie Onishi. Toby Ascher will serve as an executive producer, while Dmitri Johnson and Dan Jevons will be involved as co-producers.
The film will look to capture Sonic’s irreverent tone and spirit, reuniting him with some of the most revered and infamous characters of the franchise, including the evil Dr Eggman. Playful, mischievous, and quick on his feet in more ways than one, the world’s fastest hedgehog is known for his ability to move at supersonic speed to protect his friends from their enemies.

For more than two decades, Sonic has been one of the world’s biggest gaming icons and a $1 billion franchise with more than 140 million games sold.
“There are limitless stories to tell with a character like Sonic the Hedgehog, and a built-in international fan base. Along with our wonderful creative partners at Marza, we’re looking to capture everything that generations of fans know and love about Sonic while also growing his audience wider than ever before,” said Columbia Pictures’ president of production Hannah Minghella, who will oversee the project for Sony along with Andrea Giannetti.

“Sonic has had dozens of adventures on the console and the small screen, and we’re thrilled that he’s now coming to the big screen. Sony Pictures has had great success with hybrid animated and live-action features, and we’re confident that this collaboration will bring a fresh take to Sonic, while still capturing everything that the fans love about him,” added Masanao Maeda, CEO of Marza Animation Planet.
Marza is a leading CG animation production company with the vision to create films for the global market from Japan. It plans to release one feature-length film each year.
Susser and Robichaux are alumni of the Upright Citizens Brigade Theatre in LA. Their feature script “Chewie” was ranked No. 3 on the 2011 Black List. They are currently writing the TV series “How to Grow Up,” which being developed at CBS, as well as the feature film “Fist Fight,” which will star Max Greenfield (“New Girl”). The duo are also writing a live-action version of “The Jetsons.”


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