Does Michael Bay's 'Transformers: Dark of the Moon' Recycle Old Movie Clips? (Video)

Movie buffs on the web are abuzz over a video suggesting car chase scenes from the action movie and his 2005 film “The Island” are similar.

Is Michael Bay ripping off himself?

The Internet is buzzing over a video suggesting that the director recycled clips from his 2005 film The Island in his latest movie, Transformers: Dark of the Moon.

A YouTube user has posted a video comparing car chase scenes from the two movies, in which certain shots are strikingly similar. [Watch below.]

VIDEO: Shia LaBeouf Jokes 'Transformers 3' Is ‘Crap’ on 'Jimmy Kimmel'

Dark of the Moon, the third installment in Bay’s Transformers franchise, opened Wednesday and has become the third best worldwide debut of all time, smashing records and grossing a whopping $372 million through Sunday.

With the actual July 4th holiday still to go, the movie should finish Monday with a total opening gross of $405.8 million.

STORY: 'Transformers' Now on Track to Earn $180 Million Domestically Through July 4th

Dark of the Moon stars Shia LaBeouf, Josh Duhamel, Rosie Huntington-Whiteley, Tyrese Gibson and Patrick Dempsey.

LaBeouf has suggested this will be his last Transformers film.

The Island, a thriller starring Scarlett Johansson and Ewan McGregor, earned $163 million at the worldwide box office during its theatrical run.

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R.I.P. GENE COLAN: COMIC MASTER AND CO-CREATOR OF BLADE by Steve Balshaw

American comic book artist Gene Colan died at 11pm on June 23^rd 2011, after a long fight against liver disease.

He was 84. He had been ill for a couple of years, and no doubt many of the obituaries that have appeared since that date had been prepared for a while. His death was hardly a shock when it came, and yet it still shook me. It has taken me this long to sit down and think about how much I loved Colan’s work, how important it was to the medium in which he worked, how substantial his influence was, and will continue to be.

Gene Colan can legitimately be described as a legend in the field of American comics, where he worked from 1944 until 2009, when he became too ill to continue. He started out drawing Crime comics, War comics, and Romance comics, and became something of a specialist in the latter.

It wasn’t until the 1960s that Colan began working on the Marvel superhero titles that would make him famous. At the time Stan Lee encouraged all artists working for Marvel to study the work of Jack Kirby and to try to emulate it as much as possible. Often this resulted in inept Kirby clones, but Colan was able to assimilate the force and dynamism of Kirby into his own very different drawn-from-life naturalism to create art that had all of the required dramatic impact, but also a level of elegance, fluidity and narrative sophistication that would allow for more subtle character interplay and narrative detail than the work of many of his contemporaries. He offered a heightened, stylised vision of the world that was nevertheless solidly grounded in carefully-observed reality, and did much to push comic book storytelling in a more adult direction. His skilful orchestration of mood, in particular his use of shadow, made Colan particularly suited to stories of the supernatural. Indeed, he claimed never to have felt much affinity for superheroes.

Nevertheless, Colan thus became the definitive artist for pretty much every superhero character he ever drew, and failing that, the artist who helped entirely REdefine the character for a new audience. It was Colan who made the previously clunky Iron Man’s body armour look sleekly plausible and the Submariner’s lush undersea world look startlingly real, while his Captain America, second only to Kirby’s, was the first to be confronted by the contradictions and social upheavals of the country whose flag he wore. Colan also co-created The Falcon, one of the first black superheroes, born out of his desire to see more black faces in the comics he drew. But it was Daredevil who would be his signature character. Colan worked on the comic for 80 issues, and was the first artist to suggest the character’s affinity for shadow and darkness. Little wonder that when Colan fell out with Marvel in the 1980s, DC immediately offered him Batman. Of all the superheroes Colan worked on, however, Dr Strange was the one he was clearly best suited to - appropriately enough, the character least like a superhero. Dr Strange gave Colan a chance to combine his skill at depicting the real world with his love of the shadowy, the supernatural and the plain weird, and the character went from being a superhero with spells up his sleeves to being a credible “Master of the Mystic Arts”.

But Colan’s finest work of all was outside of the field of superheroes. With Howard the Duck, he returned, strangely enough, to a theme that had characterised his run on Captain America - a character “trapped in a world he never made”, trying to come to terms with what he finds there. But this time around the intention was angrier, crazier, more satiric. Colan’s naturalistic depiction of 70s America, contrasted with the Disneyfied stylisation of the title character, served to emphasise the sense of dislocation and alienation and made the force of writer Steve Gerber’s satire all the more pungent. A number of collaborations with writer Don McGregor saw Colan’s art being reproduced for the first time from his original pencils, a trend that would continue until the end of his career. Particularly notable were Raggamuffins, a sequence of sour little tales about loss of childhood innocence, and the noirish private eye series. Nathaniel Dusk.

Above all, however, it was Colan’s collaborations with the improbably (but appropriately!)-named writer Marv Wolfman on several supernaturally-themed comics that finally established his legendary stature in the field, and should recommend him to our loyal Grimmlins, if they are not familiar with his work already. In Marvel’s 1970s Tomb of Dracula, Colan and Wolfman were able to transform a catchpenny horror title into a sophisticated exploration of Faith, moral choice, and the nature of evil. They subsequently returned to many of the same themes in the cult 80s DC title, Night Force, and indeed teamed up again to create an entirely different take on the Dracula character for Dark Horse in the 1990s. But it is Tomb of Dracula that has the lasting legacy: it introduced the world to Blade the Vampire Hunter, Hannibal King, and Deacon Frost, all of whom would turn up in the successful film and TV franchise. And yet it wasn’t until the second Blade film that Colan got so much as a credit. It was ever thus.

Gene Colan, R.I.P. Another of my heroes gone, but not forgotten.

SUNDAY AT THE 10TH FANTASTIC FILMS WEEKEND, BRADFORD, UK.

What an interesting find, LETS SCARE JESSICA TO DEATH (1971) screened first up, late morning. In the introduction to the film Tony Earnshaw (Festival Director) explained how horror aficionado Kim Newman (In an interview on his career) was asked what his favourite film was and this was the answer, an obscure early seventies low budget affair that has gained cult status over the years but hasn’t really gained major recognition. After an extensive search, Tony tracked down an old discoloured 35mm print of the film from Paramount pictures dusty library.

What a find! If you like 70’s paranoia movies, this will be right up your street. Apparently influenced by THE HAUNTING, director John D. Hancock (Twilight Zone, Hill Street Blues) first movie should have gained him more recognition than it did. Only now does it seem to be getting the acknowledgment it deserved. A really interesting movie taht make a virtue of its low budget and never really gives you solid answers to the complexities of its plot. What starts out as a story about a couple leaving the rat race for a backwater town and an empty old house, moves into psychological territory as we discover that Jessica has recently been released from a psychiatric hospital. When spooky things start to happen around the house and then the locals start acting very oddly, were wrapped up in a quagmire of themes, each hinting and suggesting at a different outcome. Is there a conspiracy to ‘Scare Jessica to death’? Why does the strange traveller girl look just like the ancient fading family picture in the attic? Why do the locals all sport weird scars and act as if they are possessed? LET’S SCARE JESSICA TO DEATH is like THE HAUNTING meets INVASION OF THE BODY SNATCHERS with a healthy chunk of Lynchian obscure weirdness thrown in for good measure. See it if you can!

Choices, choices! Next up I chose THE STUFF, Larry Cohen’s (Q THE WINGED SERPENT, IT’S ALIVE) mid eighties schlock piss take parable on modern consumerism is actually rather satirical and pretty funny, despite its exploitation movie facade. THE STUFF is a tasty yet deadly living organism that overcomes the mind and takes over the body. Somehow this highly addictive substance has become the top selling, vigorously marketed dessert in the US. Ex CIA agent Mo Rutherford is hired by a rival company to investigate what dubious secrets lie behind its success. I was pleasantly surprised at THE STUFF’s spin on genre classics like THE BLOB and INVASION OF THE BODY SNATCHERS. Quirky performances from Michael Moriarty and Paul Sorvino make it really quite cutting edge in many ways. This film made me laugh with it not at it.

THE BEAST MUST DIE (1973) is really an AMICUS ‘B’ movie and not one of their best BUT with , as is so often the case withAMICUS, a really interesting cast. Peter Cushing (Of course), Anton Diffring, Charles Gray, a very young Michael Gambon and Calvin Lockhart. Heres the cheesy concept (And thats all you really have to know!) A big game hunter invites a motley group of guests to his remote home, convinced one or more are werewolves. BUT and this is the cheesy fun part, before the end of the movie we are forewarned that we, the audience, will be given the chance to guess who we think the wolf is. A clock ticks down as you consider briefly the clues given, just before the truth is reveal. Did you guess correctly? What fun! Interactive media before the xbox was even a glint in Microsoft’s eye. Great concept but overall the plots a bit naff really. Fun while it lasts though.

Missed Hammer’s COUNTESS DRACULA and new horror shorts unfortunately, just can’t see everything. Managed to get a little time to investigate the museum itself and discovered a great section on the history of animation and some interactive stuff on optics, moving images, photo techniques, etc, great for kids and big kids alike. Tried to check out the new Ray Harrehausen collection but failed (the archive was closed on Sunday).

So onto the evening’s entertainment. I mentioned in the last blog that there is also a classic TV section to the festival and the highlight of Sunday’s selection was a screening of Jonathan Miller’s 1968 BBC film WISTLE AND I’LL COME TO YOU based on a classic M.R. James ghost story and a post screening audience with the man himself, interviewed by my very own college tutor (Too long ago to mention) and well known art historian Christopher Frayling. A fascinating and quite unexpected session that covered Miller’s intellectual theories on, well, all sorts of things. Frayling tried to keep it on track, referencing his TV work on ALICE IN WONDERLAND (1966) and the connection between Miller the physician and Miller the director of Film, Theatre and Opera but the good doctor did have a tendency to take his answers in whatever thought provoking directions that sprang to mind. Miller was fascinating and often humorous with among other things, anecdotes on working with Peter Sellers and Peter Cook. The M.R. James adaptation, starring Michael Horden is considered one of the best produced although I personally found it rather slow. You imagine Horden is an older version of Miller himself (He was only 34 when he directed it for BBC’s Monitor programme), an intellectual who holds a healthy scepticism for anything considered remotely otherworldly. He theorises and ponders on the human construct that lesser minds describe as ghosts only to find himself seriously disturbed by a series of events that alternatively could be passed of as bad dreams or supernatural happenings. It’s as if Miller is discussing and critiquing James’s writing while also (Loosely) adapting it.

In sharp contrast to the intellectual complexities of Miller’s mind, we closed the festival with a 35mm uncut version of Stuart Gordon’s RE-ANIMATOR. It’s been many years since I last saw this film and I have to say it holds up against modern schlock horrors pretty damn well. It’s confidently written and performed and blackly funny. Jeffrey Combs as Herbert West, the medical student with a new procedure that can reanimate the dead is wonderful. The grizzly consequences of his actions unravel in darkly humorous but rather gory mayhem. As a film maker myself, what struck me was how well structure but simple the plot was and the limited locations. This was a cheap film to make but it’s avid pace and visceral nature keeps you totally involved so as not to notice its budget limitations. Many contemporary low budget horror film makers could learn a lot from this! Me included!

So that’s it, all over. A great weekend. If you check out Ozzy Beck's blog you’ll see that he basically did everything i didn’t do and he still had a great time. Hats off to Tony for putting on such a full and engaging line up of films. If you check the Fantastic films facebook page, you’ll see he’s plotting next year’s line up already!!! For more new horror movies later this year, check out GRIMM UP NORTH festival this October in Manchester.

SIMEONS SATURDAY AT THE 10TH FANTASTIC FILMS WEEKEND, BRADFORD

Thanks to festival director Tony Earnshaw, I managed to secure a weekend pass for the festival at the very last minute. Unfortunately I couldn’t make the busy Friday line up of films and events as I was directing a promo trailer for a new Feature film project called THE RETURNED. An exciting scifi film project that I’ll reveal more about over the coming weeks.

So, I missed out on prolific Hammer director Peter Sasdy talking about his work which included movies such as HANDS OF THE RIPPER, DOOMWATCH, COUNTESS DRACULA and WELCOME TO BLOOD CITY. I also missed a 35mm screening of HANDS OF THE RIPPER, Peter’s personal favourite. THE EXORCIST: DIRECTORS CUT and THE DEAD and a whole bunch of other horrific delights played out and from all accounts delighted the crowd.

Alas I missed them all but started nice and early on the Saturday morning, catching, first up, a 35mm screening of Hammer’s PLAGUE OF THE ZOMBIES, a rarely screened 1965 foray into zombie territory that beat the Zombie king, Romero, to the screen by a couple of years! As with much of the Hammer stuff, it looks a bit laboured by today’s standards but its interesting how much of the, now taken for granted, zombie tropes began gestation with Hammer’s movie. Possibly a lot more influential than its been given credit for.

Before I continue; a little about the festival as a whole. Very much the brainchild of Tony Earnshaw, the festival artistic director and, I think, an archivist at the Bradford media museum. Over the weekend, I came to learn a little more about Tony and discovered that he also wrote the definitive book on the making of NIGHT OF THE DEMON (1957), one of my favourite British horror movies (I Should have guessed by the festival logo!).

The museum has a library of old movies and the festival is able to make use of both archived 35mm prints the Cubby Broccoli and Pictureville screening theatres. There’s even a TV fringe element to the festival where they play some really interesting scifi, fantasy and horror stuff from the extensive TV archives. So, yes, its very much a retro fest with a healthy chunk of 60’s, 70’s and 80’s movies but they also screen a number of new horror movies (This year including THE DEAD and HOBO WITH A SHOTGUN). I’m guessing Tony is a bit of a purist and if possible sources his festival movies on 35mm, which is great for the punters. Sometimes he endeavours to hunt down missing or forgotten prints in order to present genre gems which have often been overlooked by time.

One of my issues with the festival is that there is just too much damned choice, sometimes with three presentations happening at once! On Saturday I also caught Aussie psychological thriller ROADMAN, Hammer’s Karnstein Trilogy (THE VAMPIRE LOVERS, LUST FOR A VAMPIRE and TWINS OF EVIL) and finally HOBO WITH A SHOTGUN.

ROADMAN is a pretty accomplished piece considering it was made on such a low budget. An impressive debut from director Peter Leovic, its a tense, engaging chiller about the double life of a serial killer, Max Greif, reaching out for normality. Ironically what makes it interesting as a psychological drama is what makes it somehow a little unfulfilling as a suspense thriller because we really come to feel something for Max as he leads a double life.

Despite his sometimes, very unsavoury behaviour, we come to identify with Max’s awkward attempts to woo his attractive but isolated neighbour Lorraine and his battle with the memory of his domineering father. And so when Lorraine settles down with him but ultimately discovers the truth about his murderous past we don’t really feel the threat. By the end Lorraine kinda comes to understand his psychological problems and embraces his faults. Its a character shift that I found hard to embrace totally. Maybe if we were given a little more about how Greif suffered at the hands of his father, we’d also understand his complex emotions and actions more. Still, a very interesting concept but for me more a psychological drama than a horror/thriller. I don’t think its available in the UK, which is a pity. It definitely deserves at least DVD release.

Theres something about Hammer movies that hold a fascination for people who grew up either watching them at the cinema or, like me on TV reruns in the late 70’s, early 80s. The Karnstein movies were the ones you were slightly embarrassed to watch with your dad! the ones with, X rated nudity and gore. Now, they’d probably draw little reaction from an audience of ten year olds! But back in the early 70’s they were considered boundary pushing! It’s amazing how things change!

What a cast in VAMPIRE LOVERS! Ingrid Pitt, Peter Cushing, George Cole, Jon Finch (Hitchcock’s FRENZY and Polanski’s MACBETH) and KATE O’MARA. All three films are based loosely on the 19th Century novella by Joseph Sheridan Le Fanu. Hammer broke new ground and briefly re-invented itself basically by the introduction of sex! Despite the cast, VAMPIRE LOVERS is still rather clunky but it’s a kitch romp. I doubt younger audiences would understand the fascination with the often rather unconvincing aesthetics of the Hammer output and it’s hard to explain what makes them fascinating, even now. It occurs to me though, that some contemporary film makers are making convincing pastiches of, particularly, 70’s movies (Think Ti West with HOUSE OF THE DEVIL for instance) but I defy anyone to make a convincing pastiche of a late 60’s, early seventies Hammer movie, I suspect it’s impossible. they exist in their own weird bubble!

In LUST FOR A VAMPIRE (1970), young beautiful Carmilla, enrols in an exclusive girls finishing school and proceeds to wreak havoc among pupils and teachers alike. Apart from a wonderfully camp performance from Ralph Bates and the sheer beauty (But wooden performance) of Yutte Stensgaard, LUST FOR A VAMPIRE is pretty ropey really. It is, though, high kitch and was maligned by some at the time of release for its nudity and sexual scenes. Was Hammer selling out? How tame these scenes look now! But there's one overriding still image of Yutte, naked and covered in blood, which still prevails and its this one image that keeps the film in our memories more than anything else!

Out of the three movies, the third TWINS OF EVIL holds up the best. better production values, better performances and a more interesting take on the source material. Probably also crowbarred in a healthy dollop of Vincent Price’s WITCHFINDER GENERAL, which was released three years earlier, TWINS has Cushing as a buttoned up puritan witch hunter who faces off against vampire; Count Karnstein but is oblivious to the fact that his two beautiful nieces have come under Karnstein’s evil spell. Its classic Hammer!

Last movie of the day, Jason Eisner’s HOBO WITH A SHOT GUN. You've probably heard of this movie if you are into new horror releases. Legendary Rutger Hauer is a homeless drifter who arrives in Scum town (A kind of eighties style, washed up shit hole ruled over by a freaky Dennis Hopper like gangster and his nasty couple of sons, who look just like Tom Cruise in RISKY BUSINESS!) and finds himself morally challenged by what he witnesses, finally taking the law into his own hands with a shotgun! Its
pure grindhouse untra-violent, trashy cinema. Also recalls early John Carpenter offerings. It’s tongue firmly in cheek, its actually very funny, if you have a black sense of humour! Released 1st August on DVD in the UK. Worth a watch!!

Sundays line up reviewed tomorrow! For the full festival line up, go to: http://www.nationalmediamuseum.org.uk/nmem/fantastic/2011/diary.asp

For more info on GRIMM UP NORTH FESTIVAL, this October in Manchester: www.grimmfest.com

ITS ALL OVER!!!

Were at Nice airport, waiting to depart. The Cannes market is over, the festival closes today and the winners get announced tomorrow. Von Trier goes home in shame with a little black moustache and a greasy side parting, while we go home fatigued but happy! Saw some interesting movies, had some productive meetings and drunk a lot of free booze!   Just wanted to  mention the Friday highlights. We caught an unexpectedly sublime movie called THE ARTIST, directed by Michel Hazanavicius and starring Jean Dujardin, John Goodman, James Cromwell and Missi Pyle (With a cameo from Malcolm McDowell). It's essentially a silent movie about a silent movie star, George Valentine who's life falls apart as he fails to embrace the rise of the talkies. This is one of the best films I've seen in ages. It's perfection in everyway. It's not horror or scifi but it's something really special. We'll try hard to secure it for Grimm 2011 but if we don't you MUST seek this film out.   Speaking of Malcolm McDowell, we then caught a lecture from the man himself all about his career and his work with Kubrick (A CLOCKWORK ORANGE), Lindsey Anderson (IF, OH, LUCKY MAN) and Paul Schrader (CAT PEOPLE). Funny and informative, McDowell seemed very down to earth and revealed some fascinating insights into some of cinema's geniuses.   After a few drinks courtesy of the Bordeaux region of France we then caught our final film, Takashi Miike's HARA - KIRI: DEATH OF A SAMURAI. If you are familiar with his work, you'll know that Miike is damn prolific and not afraid to go places other film makers fear to tread, with films like THE AUDITION and ICHI THE KILLER. His latest is actually in competition at Cannes (A surprise that such a maverick has made it to the Cannes pantheon of auteurs!) Strangely, the film is somewhat of a restrained affair. It's rather slow and melodramatic and so very different from much of his previous frenetic work. The film was presented in 3D and looked great but it's a slow burner. Don't expect too much blood and guts but it does hold a particularly nasty suicide scene.

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MONDAY, MONDAY!!!

Monday was a busy, busy day on the hunt for GRIMMFEST content. Too many horror screenings in fact! I missed an early screening (Cos I'm rubbish at getting up early!) of THE WICKER TREE, the sequel to the original THE WICKERMAN and directed by Robin Hardy (The man behind the original). Although I've heard rumours it's not that hot!

I chose morning screening of new UK (Screen Yorkshire and Warp X) horror KILL LIST over Xavier Gens (FRONTIERS) new movie THE DIVIDE, which I hope to find out more about soon. KILL LIST is a really interesting movie with great naturalistic performances from its key cast which includes Myanna Buring (The DESCENT 1 +2), our guest at GRIMM UP NORTH 2009. As the plot unfolds we come to realise that our slightly unbalanced family man lead character is actually a contract killer with a list of victims he must take down for cash. As you might suspect, things don't go to plan and slowly we come to realise that something is very wrong in this world. The film takes an unexpected change of direction in the 3^rd act (ala DUSK TILL DAWN) into classic horror territory which surprises shocks but also mystifies a little. I'm not sure the jarring plot totally adds up but it's certainly a visceral and involving watch, sometimes violently shocking, sometimes very funny! Definitely worth a watch. Think it's gonna screen at FRIGHTFEST later this year and if its not released by October, we'd be keen to screen at GRIMM.

THE SPEAK is an interesting little US supernatural thriller, cleverly utilising the one take visual style we saw in THE SILENT HOUSE recently.  Despite the restrictions you might associate with this technical and stylistic choice the film manages to remain atmospheric and at times pretty scary, it also has a cameo from Tom Sizemore.

Sacrificed screenings of Kevin Smith's RED STATE and new UK horror HOLLOW for the Screen international party. Was it a mistake? Well, the UK Minister for Culture, Ed Vaizey and Gregg Dyke (head of BFI) talked to the crowd of UK film talent and expressed their political differences but also their joint commitment to British film. After the demise of the UK film council and the move of responsibilities to the BFI, it's not yet clear if anything has really changed? Here, I also bumped into Piers Tempest who produced new ghost thriller THE CALLER which stars Stephen Moyer of TRUE BLOOD fame and comes out later this year in the UK. The trailer looks intriguing.

We finished at the Finnish party! I wasn't sure I'd find much on the horror/fantasy side of things here until, of course, I remembered that Nazi Scifi movie IRON SKY is a Finnish film. The part crowd source financed movie revolves around WW2 style Nazi's who have hung out on the darkside of the moon until now. They mean to take back Western Europe and the rest of the world! It's a crazy concept, which looks visually spectacular; utilising major CGI effects work on a pretty limited budget. The film gets a UK release later this year. I talked to the producer and discussed the potential of bringing the movie to GRIMM this year. Watch the trailer here: www.ironsky.net

 

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ABOUT LAST NIGHT

Last night was a real treat for me and probably my highlight of Cannes this year. I persuaded Rachel to join me for a screening of CORMAN'S WORLD, a new documentary about the king of exploitation movies, Roger Corman, not realising we were actually attending the official festival screening. The film is in competition and so Roger himself was in attendance along with sixties rebel rouser and icon, Peter Fonda. What a treat! The documentary was a fantastic insight into Corman's life and work and includes interviews from so many of the famous people whose careers he helped to kick start. Jack Nicholson, Ron Howard, Joe Dante, Martin Scorsese, etc, etc. A brilliant insight and also bloody funny in places! Were very keen to secure this for this year's GRIMM UP NORTH!!!

Desperate to blag our way into the Corman after party but failing miserably, we found ourselves at the 5 DAYS OF AUGUST after party. I haven't managed to catch this new offering from Action Maestro Renny Harlin yet but it looks more in the tradition of UNDER FIRE or THE YEAR OF LIVING DANGEROUSLY (Journos in a war zone). Great cast, Rupert Friend, Val Kilmer, Andy Garcia, etc. Unfortunately we didn't spot any of the cast at the party although Renny himself was in attendance. The cocktails flowed and the music kept us gyrating, somewhat precariously, courtesy of Val and co. Brilliant party and surprise meet up with the director and producer of Grimmfest 2009 movie, THE FALLOWFIELD. Leigh Dovey and Colin Arnold told us all about their current movie projects. Leigh has written a number of new horror screenplays and Colin has just completed a new music documentary, which is being compared in some quarters to RATTLE AND HUM! Nice work guys.

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