I can’t help but have the tiniest twinge of interest in anything pertaining to time travel — it can even generate attention toward a movie with the deathly acting combination of Mark Duplass and Aubrey Plaza — so please excuse whatever misguided enthusiasm might be generated right… now. Variety reports that Paramount, Montecito Pictures, and Walden Media are enlisting on-set PAs Theodore Bressman and David Branson Smith to write Field Trip, an adventure film based on an idea from Jordan Cahan.
Field Trip — which has been something of a “passion project” for Montecito’s own Ivan Reitman these past few years — revolves around a teacher who takes students on a [insert title here] that uses time travel in lieu of public transportation systems. Now, again, my love of this sci-fi conceit is not always to be trusted — I’ve been burned on this one a couple of times, believe you me — but isn’t there some opportunity for a fun movie? Although Reitman, much as I respect him, hasn’t always been the best judge of genre work (Ghostbusters II, Evolution, My Super Ex-Girlfriend), the supposedly long-standing commitment to making Field Trip work should count for one thing or another. Our big question mark, at the end of the day, should be whether or not two newcomers can write a good script.
Similar ground is covered by Deadline, from whom we learn that Scott Rosenberg has sold an untitled, under-wraps action pitch to Disney; John Jacobs (Ted) will produce the eventual movie. Since we don’t have anything on the actual project, it may as well be said that the scribe has a developing Russell Brand comedy (The Hauntrepreneur) to his name, did some work on Michael Bay‘s Pain and Gain, and — he’ll forever be associated with this, whether the guy likes it or not — wrote “the Animal Crackers scene” in Armageddon. You can only peak once.
Is the concept behind Field Trip enough to sustain an entire film? Any early curiosity about Rosenberg’s effort?
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not […]
In the case of evaluating David Cronenberg, — or at least forming the sort of career narrative seemingly essential to auteurist analysis — it’s inevitable to propose something of a rupture within his oeuvre: the very evident graduation from grindhouse to arthouse, and, with it, an ascension from body to mind. What dictated these labels […]
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. If we were provided screener copies, we’ll have our own write-up, but if that’s not the case, one can find official descriptions from the distributors. Check out […]
Writing about the films of Robert Bresson usually begins by informing reader that his films must be discussed through a trance of hushed tones and quiet veneration. There is no room for rushed judgement or quick-witted observations; Bresson makes Serious Art, as opposed to Hollywood directors who do not. There are the key phrases to […]
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