THE ATLANTIC (11.30.12) by IAN BUCKWALTER
The ‘Universal Soldier’ Paradox: When a Bad Franchise Produces a Great Film
CITY ON FIRE (10.28.12) by HK FANATIC
“Director John Hyams isn’t content to merely serve up your typical action movie dreck. He’s made it his mission to challenge audiences and their expectations of what a film like “Universal Soldier” can do… and it might take more than one viewing of “Day” to truly appreciate it…”
CRAVE ONLINE (9.24.12) by FRED TOPEL
“…intense, brutal and beautiful all at once.”
DEN OF GEEK (12.26.12) by GABE TORO
“…easily the best action film of the year.”
FILMDRUNK (10.24.12) by VINCE MANCINI
New Universal Soldier has Van Damme, Lundgren, Facepaint, and Face Punching
FLICKERING MYTH (11.17.12) by TOM JOLLIFFE
“…Day of Reckoning is a film so intense and dark of tone that, as a Unisol movie, it really shouldn’t work. Hyams though keeps such a tight grip of proceedings, with a good script and engrossing direction, that he never lets the ball drop… it’s actually one of the ballsiest movies out there.”
GRANTLAND (11.16.12) by ALEX PAPPADEMAS
“I love Reckoning’s formal audacity, its pretensions, and its willingness to throw backstory out the window… I wish there were more movies like it, and I can’t recall ever thinking that about a Jean-Claude Van Damme movie.”
IGN (9.25.12) by CHRIS TILLY
“It may not always be successful, but in an age when filmmakers seem happy to churn out the same movie over-and-over again, credit should go to Hyams for mixing up the tried-and-tested formula.”
INDIEWIRE (9.23.12) by ERIC KOHN
Fast and Furious ‘Universal Soldier: Day of Reckoning’ Is One of the Best Action Movies of the Year
INDIEWIRE (10.24.12) by ERIC KOHN
Why the Latest ‘Universal Soldier,’ Now On VOD, Is Better Than ‘Skyfall’
INDIEWIRE (11.28.12) by GABE TORO
‘Universal Soldier: Day Of Reckoning’ Combines Art House Intentions & Strong Action In A Franchise Return To Form
“I relished its off the wall and deep storyline, its trippy audio/visual style, strong acting, insane action scenes and its ‘take no prisoners’ attitude.”
L.A. TIMES (11.29.12) by MARK OLSEN
“…the movie creates something of the sensation of huffing industrial solvents — in a good way! — a waking-sleep zombification that can’t exactly be described as pleasurable but definitely has an odd, distinct power.”
MOVIEHOLE (10.29.12) by JONATHAN URBAN
“…a complex, thought-provoking film, words not usually used to describe a balls-to-the-wall action genre film. In fact, it may be impossible to define it by any one genre as, if anything, it is genre-bending in some of the most unexpected ways.”
MOVIES.COM (11.28.12) by EVAN SAATHOFF
8 Reasons Why ‘Universal Soldier: Day of Reckoning’ Is Among the Weirdest Movies Ever
NERDIST (9.23.12) by LUKE Y. THOMPSON
“It’s no stretch to say this is the best Universal Soldier movie – better to say it’s the biggest cinematic boner your inner (or outer, depending) 17 year-old boy is likely to have this season.”
NY TIMES (11.29.12) by ANDY WEBSTER
Technologically Enhanced Strongman vs. Government Evildoers
SCREEN CRUSH (9.24.12) by MATT SINGER
“…muscular, atmospheric and surprisingly scary… John Hyams has resuscitated a long-dead franchise and restored it to its former glory…”
TWITCH (9.23.12) by JAMES MARSH
Universal Soldier: Day of Reckoning Will Take Your Head Off!
THE VILLAGE VOICE (11.28.12) by NICK SCHAGER
John Hyams Is the Best Action Director Working Today
THE VILLAGE VOICE (11.28.12) by CHRIS PACKHAM
“The melee fight scenes are seemingly conjured into this dark, poo-encrusted world from some other, happier film containing sunshine and magic, in which muscley men grapple and put one another’s heads through walls.”
VARIETY (9.23.12) by JOE LEYDON
“Hyams and co-scripters Doug Magnuson and Jon Greenhalgh reference a wide range of sources throughout… To their credit, however, the filmmakers make mostly clever use of their borrowings, and they play fair: that surprise twist is signaled early on by clues hidden in plain sight.”
“UNIVERSAL SOLDIER: DAY OF RECKONING” 2012 directed by John Hyams; written by John Hyams & Doug Magnuson and Jon Greenhalgh; starring Jean-Claude Van Damme, Dolph Lundgren, Scott Adkins, Andrei Arlovski, Mariah Bonner, Craig Walker and Andrew Sikking
Grand Central Station in New York City is turning One Hundred Years Old next year…
the cloistered treasures of a mad collector…
The Museum of Modern Art’s blockbuster Willem de Kooning show presents Pink Angels (c. 1945) as the launchpad for the artist’s career. After dabbling in naturalistic and abstract styles, de Kooning created his first series of “women” paintings in the early 1940s. Pink Angels is the last and most abstract of that group. The toothy-grin on the pink proboscis at upper right is not just a blend of Picasso, Gorky, and H.R. Giger; it’s the cartoon signature of all the later, more famous de Kooning women. Pink Angels was no less a jumping-off point to pure abstraction. Palette notwithstanding, it prefigures the black-and-white abstractions that made de Kooning’s reputation.
This pivotal painting is owned by a more-or-less public Los Angeles collection, the Frederick R. Weisman Art Foundation. The Weisman collection of 2000 modern and contemporary pieces by Kandinsky, Picasso, Brancusi, Dalí, Miró, Ernst, Magritte, Giacometti, Dubuffet, Still, Motherwell, Bacon, Stella, Warhol, Lichtenstein, and the whole L.A. Cool School is installed in Weisman’s former Holmby Hills home. (Pink Angels is normally just to the right of the fireplace.) The home is open to the public for free, though only by appointment. Never heard of it? The Weisman Art Foundation doesn’t advertise, aside from a website and a Facebook page. Even the home’s street address is on a need-to-know basis.
Who is Frederick Weisman? A generation ago, he was Eli Broad—the most famous and ego-driven collector of contemporary art in L.A. He was himself related to two great collectors, Marcia Simon Weisman (his first wife) and Norton Simon (his brother-in-law). Weisman worked for his brother-in-law’s ketchup company, then struck out on his own with a chain of Toyota dealerships. With Marcia, he became an avid collector of contemporary art and, through a corporation, traditional Japanese painting. The marriage is commemorated in one of the most brilliant of David Hockney’s L.A. paintings, American Collectors (1968, now owned by the Art Institute of Chicago). Fred Weisman may not have been the most discerning of L.A. collectors, but he got the most publicity and made the best copy. There was the time that Weisman got into a fight with Frank Sinatra in the Polo Lounge. Sinatra punched Weisman so hard he had amnesia for several days. Marcia sparked his memory by bringing a prized drawing to the hospital. Snapping out of it, Fred said, “Jackson Pollock, I remember when we bought that.”
Hockney showed Fred and Marcia in their own separate spaces. A decade later, the couple divorced, splitting the art collection. Fred promptly embarked on a new life as a swinging bachelor art collector. In search of fresh masterpieces, he jetted from city to city in his Ed Ruscha-painted Lockheed jet (below), accompanied by nubile young art groupies and a ten-ton checkbook. Weisman began lending and donating works to museums, leading to hopeful speculation that his collection might one day land at one of the city’s museums. Some important Japanese paintings and prints were given to LACMA (including its flawless impression of Red Fuji). At times Weisman seemed to bask in the attention, but it ended as such things often do, in mutual disappointment. Weisman decided he had to have his own museum.
In 1986, he sought permission to use Beverly Hills’ Greystone Mansion to display his collection. An ever-present phantom in the L.A. museum world, the mansion had also been proposed for housing the Joseph Hirshhorn art collection—it of course went to Washington D.C.—and the stuffed bird collection of the L.A. County Natural History Museum. Neighbors went ballistic over the Weisman proposal, and a local newspaper editorialized that Old Masters would be more Beverly Hills’ style. This led Ellen Byrens of the Greystone Foundation to ask: “Where in the hell are all these Old Masters going to come from? Are we going to bring back Rembrandt?”
Weisman backed out. He talked with UCLA about a museum—as did Norton Simon, in fact—but no deal resulted.
Instead Weisman funded a Frank Gehry museum building for his alma mater, the University of Minnesota. This is now called the Weisman Art Museum, and its namesake promised to supply it with art. Weisman also spoke of constructing a sculpture garden for L.A.’s Barnsdall Park. That never happened. In 1990 he donated 33 mid-range works by California artists to the San Diego Museum of Art. Weisman had felt out LACMA with a laundry list of demands. He wanted all the pieces to be on display at all times, in a separate gallery. “We don’t do that,” LACMA director Earl Powell told the L.A. Times. “We integrate our collections, so we encouraged the foundation to give the works to a museum that could really benefit from the collection. I think it’s great for San Diego.”
It must have been an easy call. The 33 pieces were nice, nothing more. Meanwhile, Pepperdine University in Malibu opened a small and underfunded art gallery. In 1992 Weisman donated a relatively modest $1.5 million towards the gallery’s red ink, and put works from his collection on long-term loan, in exchange for the university renaming the gallery the Frederick R. Weisman Museum of Art. The move was as generous as it was odd, for Weisman, of Jewish heritage, had no previous connection with the Churches of Christ-affiliated liberal arts school. At the time of the gift, Weisman explained that “young people should have the opportunity to live with art… so they don’t just become bookworms”—one of the lesser-known hazards of going to school in Malibu.
Between the two Weisman museums and San Diego, it was easy to imagine that the collection had been spoken for. But then as now, the cream of Weisman’s collection filled to overflowing his Holmby Hills home and a Frank Israel-designed gallery annex. Great art hangs next to comfy sofas and crystal chandeliers. Every room is a Louise Lawler waiting to happen.
It’s not all big names. Weisman was the type of collector who liked to “discover” artists. That was a very good thing for the artists involved, though few of Weisman’s discoveries have been discovered by anyone else. Weisman also had a thing for trompe l’oeil, 2D and 3D. One room is peopled with Duane Hanson simulacra of Weisman’s mother and father. Elsewhere, a nude couple frolic in bed, a donkey peers out a doorway, and a disembodied derriere protrudes from a wall. Weisman spoke of converting the place into a Frick Collection-type house museum—referring to a New York institution that doesn’t have a derriere sticking out of the wall.
Weisman died at home in 1994. Since then, not much has changed. The art is owned by the Weisman Art Foundation, run by the collector’s second wife, Billie Weisman. Tours are available by appointment, Monday through Friday, 10:30 AM to 2:00 PM. Despite the friendliest possible price (free), the schedule rules out anyone with a 9 to 5 job, unless that job is scoping out art. The home attracts a steady trickle of curators and scholars from all over world. Billie sometimes greets them. But despite Fred’s talk of creating a house-museum, he didn’t manage to do that. His art resides in a private home that’s not zoned for a museum, surrounded by wealthy, tetchy, and politically connected neighbors. The Weisman Art Foundation is a bit like a Valley home-turned-porn studio—tolerated only as long as it keeps things on the DL. And that’s why the the Weisman collection is the best in L.A. that practically no one’s ever seen.
life… life… LIFE!!!
Astronomers on Monday announced the discovery of 50 new planets circling stars beyond the sun, including one “super-Earth” that is the right distance from its star to possibly have water.
“If we are really, really lucky, this planet could be a habitat” like Earth, said Lisa Kaltenegger of the Max Planck Institute for Astronomy in Heidelberg, Germany.
Construction on the first space-bound Orion space capsule started Sept. 9, 2011, after pressure from Congress to complete construction.
The planet, dubbed HD85512b, circles an orange star somewhat smaller and cooler than our sun about 36 light-years away. The star, HD85512, is visible in the southern sky in the constellation Vela.
The newly found planet circles this star every 59 days, putting it at the edge of the “habitable zone” where water could exist if atmospheric conditions were right.
In a teleconference, Kaltenegger said that the planet is at the warm edge of its star’s habitable zone, as if “standing next to a bonfire.” That means the planet would require a lot of cloud cover — which reflects starlight — to keep the surface cool enough to prevent any water from boiling, she said.
Astronomers have not determined whether the new super-Earth is rocky like the Earth or gassy like Jupiter, let alone whether it has an atmosphere. The new super-Earth is 3.5 times the mass of Earth.
Astronomers inferred the existence of the planet by watching its star wobble ever so slightly. The speed of the wobble indicated the existence of a planet tugging at the star.
This “radial velocity” technique has been productive, offering astronomers working at La Silla Paranal Observatory in Chile evidence of the 50 new “exoplanets” announced Monday. The planet-hunting instrument, called HARPS, are operated by the European Southern Observatory.
Sixteen of the new planets announced Monday, including the new super-Earth, are of the right mass to be made of rock instead of gas.
“We are building up a target list of super-Earths in the habitable zone,” Kaltenegger said.
To determine whether the planet has an atmosphere, astronomers need to capture an image of the planet — which they have not done — and analyze the light for signs of water, carbon dioxide and other gases. No existing telescope is sensitive enough for that task.
But a new telescope to begin construction next year, the European Extremely Large Telescope, will be up to the task, said Markus Kissler-Patig of the European Southern Observatory. It will be “technically capable of finding life around the nearest stars,” he said, by analyzing the atmosphere of exoplanets. The new super-Earth is a “prime target” for the new telescope.
Since 1995, astronomers have found more than 600 planets beyond Earth, according to a catalog.
In the accelerating race to bag and tag planets outside our solar system, HD85512b marks the second super-Earth found at the right distance from its star to possibly hold water, considered a vital ingredient for life. The first, called Gliese 581d, was discovered by the same telescope in Chile in 2007.
a monster mystery…
A giant eyeball that washed ashore and was found by a beachcomber in Pompano Beach, Fla., is mystifying wildlife officials — but probably not for long.
The softball-sized eyeball was reported to the Florida Fish and Wildlife Conservation Commissionon Wednesday, and wildlife officers put the specimen on ice. It will be preserved and sent to theFish and Wildlife Research Institute in St. Petersburg, Fla., for analysis.
Marine biologists couldn’t immediately identify which species of sea creature would be associated with the eye, but researchers will use genetic testing if necessary to solve the mystery, said Carli Segelson, a spokeswoman for the commission. “I shouldn’t say this, but they may be able to eyeball it,” she told me today.
Segelson said she’s been fielding tons of inquiries about the case, especially since a picture of “THE MYSTERY EYEBALL” was posted to the commission’s Facebook page. “It’s just gone viral,” she said. There are more pictures in the commission’s Flickr photo gallery.
Some have suggested that the eye came from a monster fish, a giant squid or even a whale. It does look a bit like this picture of an eye from a giant squid, but Segelson said wildlife officers are leaning toward a different scenario.
“The primary suspect right now is that it would be a large fish,” she said. Among the possibilities are a swordfish, or a tuna, or some sort of deep-water fish species.