{"id":121194,"date":"2013-04-16T02:52:15","date_gmt":"2013-04-16T09:52:15","guid":{"rendered":"http:\/\/www.shockya.com\/news\/?p=121194"},"modified":"2013-04-16T02:52:15","modified_gmt":"2013-04-16T09:52:15","slug":"cinemacon-2013-paramount-shows-off-star-trek-world-war-z-and-pain-gain","status":"publish","type":"post","link":"https:\/\/www.shockya.com\/news\/2013\/04\/16\/cinemacon-2013-paramount-shows-off-star-trek-world-war-z-and-pain-gain\/","title":{"rendered":"CinemaCon 2013: Paramount Shows Off Star Trek, World War Z And Pain & Gain"},"content":{"rendered":"

\"Paramount\"CinemaCon 2013 is officially in full swing with Paramount hosting the Off and Running presentation this evening. CinemaCon managing director Mitch Neuhauser kicked things off by introducing himself as Brad Pitt before running out on stage. After the big reveal earned a quick laugh, Neuhauser pointed out the Colosseum\u2019s nifty and truly impressive Dolby Atmos audio system, and then introduced the chairman of IMAX Entertainment, one of CinemaCon\u2019s sponsors.<\/p>\n

After congratulating Paramount on its 100th year, he got down to business, announcing IMAX\u2019s five-picture deal with the studio. The arrangement involves Michael Bay\u2019s \u201cTransformers 4\u201d and Christopher Nolan\u2019s \u201cInterstellar\u201d with three additional titles being unveiled in the coming months. Both Bay and Nolan will also be shooting select sequences using IMAX cameras. After showing off a reel including upcoming IMAX titles like \u201cOblivion,\u201d \u201cPacific Rim,\u201d \u201cIron Man 3,\u201d and more, it was on to another CinemaCon sponsor, the digital projection company, Christie.<\/p>\n

Their VP of Entertainment Solutions stepped out on stage and reiterated that soon, all projection systems will go digital and that the company recently hit a major milestone with a screening of \u201cG.I. Joe: Retaliation\u201d marking the best brightness levels ever achieved. The company\u2019s representative was well aware of what the large majority of the audience was looking forward to so hurried things along, but the brief run-through of IMAX and Christie\u2019s achievements do make you think twice about how important companies like those are to your moviegoing experience. Then again, not to take them for granted, but I\u2019m not going to lie; it was exciting when Christie finally handed the podium over to Paramount. <\/p>\n

The studio\u2019s vice chairman Rob Moore took the stage and spoke a little about the exciting growing relationship between Paramount and IMAX, the recent success of \u201cHansel & Gretel: Witch Hunters\u201d and \u201cG.I. Joe: Retaliation,\u201d and then introduced a preview reel of Paramount\u2019s upcoming slate. After touching on a number of iconic old-timers, we got some very quick snippets of \u201cStar Trek Into Darkness,\u201d \u201cPain & Gain,\u201d \u201cWorld War Z,\u201d \u201cParanormal Activity 5,\u201d Martin Scorsese\u2019s \u201cWolf of Wall Street,\u201d Jason Reitman\u2019s \u201cLabor Day,\u201d a totally black and white \u201cNebraska,\u201d a quick joke from Ron Burgundy for \u201cAnchorman: The Legend Continues,\u201d a peek at \u201cJack Ryan,\u201d some epic landscape shots from \u201cNoah,\u201d a tease of \u201cNinja Turtles,\u201d a preview of a CGI Sponge Bob SquarePants, a shot of Mark Wahlberg in \u201cTransformers 4,\u201d a title card for \u201cInterstellar,\u201d and finally, Dwayne Johnson\u2019s name right alongside \u201cHercules.\u201d The piece was particularly well cut and the soundtrack really did pound courtesy Dolby Atmos, making the sizzle reel an excellent, heart pumping segue into the main event \u2013 footage.<\/p>\n

\"Chris<\/p>\n

Star Trek Into Darkness<\/strong><\/center><\/p>\n

\u201cStar Trek Into Darkness\u201d scribe Damon Lindelof took the stage, having a laugh by dubbing himself, \u201cthe balder, less talented J.J. Abrams.\u201d Even in Abrams\u2019 absence, he also got to poke fun at Lindelof, too, by having Lindelof read a letter he wrote to the CinemaCon audience. Lindelof pointed out that he was firmly instructed not to look at this letter before the big night, and it\u2019s no wonder. When the letter wasn\u2019t humbly thanking the audience for being there, it was forcing Lindelof to announce plans to do a song and dance, and give Abrams full credit for \u201cLost.\u201d All kidding aside, Abrams revealed that he couldn\u2019t be there to unveil the footage because he was back in Los Angeles, knee deep in sound mixing work to have the film ready for its May 17th release.<\/p>\n

From there Lindelof brought \u201cStar Trek Into Darkness\u201d stars Chris Pine, Zachary Quinto, Alice Eve, and John Cho on stage. Lindelof conducted an endearingly awkward Q&A, beginning by asking Pine how James T. Kirk changes from film one to two. Pine admitted that in the first film, Kirk assumed the chair a little early, but in \u201cInto Darkness,\u201d he endures a significant amount of maturing courtesy of the pressure from Benedict Cumberbatch\u2019s villain, John Harrison. Quinto touched on the misnomer that Spock is devoid of emotion and pointed out that in this film, his personal journey involves the need to honor his feelings and be accountable to the people he loves. <\/p>\n

Eve chimed in to talk about being the series newcomers. She admitted the first day on set was like the first day at school; in the beginning, everything was new and scary, but come wrap time, it was like she\u2019d been there forever. Cho earned a laugh by admitting that he fell for a practical joke, having been told that the enormous laser on their scientific facility set was radioactive and believing it. Apparently the gag resulted in the need to jump up and down and be swathed in neutron cream, whatever that is. Then it was back to Pine who pointed out that while the second film is bigger and better than the first, it doesn\u2019t raise the bar with action at the expense of emotion. Before wrapping up, Lindelof brought up the touchy subject of 3D, pointing out that, originally, Abrams was against it, but after seeing some footage with the extra dimension, he converted. In the end, Lindelof himself is a big proponent of \u201cStar Trek Into Darkness\u201d in 3D, as he\u2019s seen the film in both 2D and 3D and calls the 3D version a far more immersive experience.<\/p>\n

\"Star<\/p>\n

Finally it was time for the footage and we didn\u2019t just get a single scene, rather 18 minutes of \u201cStar Trek Into Darkness.\u201d The two scenes we saw were both incredibly impressive displays of color, vibrant production design, curious characters, quite a few laughs, and deep space action. Read on for all the details, but be warned; scene spoilers lie ahead.<\/p>\n

The first scene takes place in a foreign world. Bones (Karl Urban) and Kirk are dashing through a jungle of red planets while Spock, Uhura (Zoe Saldana), and Sulu are working to stop a volcano from erupting and save the planet via an airborne ship. Meanwhile, Scotty (Simon Pegg) and the rest of the Enterprise crew and the Enterprise itself are submerged underwater in an effort to keep clear of the planet\u2019s indigenous people.<\/p>\n

Even with little to no context, the sequence is highly effect, functioning as though it were its own complete short film. Not only does it have a beginning, middle, and end, but each stage is oozing with both high-stakes action and relationship drama. This is also where the production and costume design excel. The planet, which you get a glimpse of in Kirk\u2019s recently released character poster<\/a>, is bathed in a mesmerizing red hue. And it doesn\u2019t just have that effect because it\u2019s such a bold color, rather because there are smaller details that still manage to pop even amidst the sea of red. As a sucker for cute creatures, I particularly enjoyed a little slug-like guy who earns a close-up even during a heated moment.<\/p>\n

The planet\u2019s natives are well worth noting, too. They\u2019re covered almost entirely in bright yellow robes, but underneath, are entirely white-skinned. And I don\u2019t mean pale; I mean stark white. Further solidifying them as beings that could star in the next horror creeper are their solid black eyes. No pupils, no white, just black.<\/p>\n

In scene two we\u2019re inside the Enterprise, in the middle of a conversation between Kirk and Cumberbatch\u2019s John Harrison who\u2019s harboring secrets about a certain mysterious ship. The dialogue here is exceedingly well written, showing off Kirk\u2019s confident command, but also hinting at how Harrison\u2019s cold demeanor could break him. Even though hostility is high, in the end, Harrison agrees to help Kirk get from the Enterprise to the adjacent ship.<\/p>\n

\"Chris<\/p>\n

From there it\u2019s a race against the clock. Scotty is on the opposite end of the action, trying to open the other ship\u2019s door so he can receive Kirk and Harrison. He earns a handful of laughs by completing his job with urgency, but also taking the time to stop and throw out a few lighthearted zingers. <\/p>\n

Meanwhile, Harrison and Kirk are all business, suiting up and jumping out into deep space. The pair zips through debris like bullets with in-helmet graphics helping them pinpoint the precise trajectory. As Kirk and Harrison approach, there\u2019s a slight snag in Scotty\u2019s end of the operation \u2013 a member of the crew has a gun to his head. The stakes get even higher when Kirk takes a piece of debris to the face, creating a crack in his helmet that spreads far enough to turn off the helmet graphics. However, just before reaching the door and potentially missing his small landing zone, Harrison saves the day by offering to guide him in using his helmet system. Back in the adjacent ship, Scotty has a bright idea just in the nick of time, opening the door and catching the gunman off guard. As Harrison and Kirk zip in, the gunman takes off on a wicked course, being thrown back into the ship by the outer space force, only to be sucked back out the door and hurled into space after.<\/p>\n

These aren\u2019t just flashy action set pieces; they\u2019re well developed stories on their own. Should the full feature find as much success as these two moments, Abrams might hit it big again, wowing audiences with the action-packed sci-fi factor while also delivering a notable dose of drama. Even better, it seems as though Abrams has totally secluded his signature lens flares to the interior of the Enterprise and toned them down significantly, too.<\/p>\n

\"World<\/p>\n

World War Z<\/strong><\/center><\/p>\n

The \u201cWorld War Z\u201d portion of the presentation kicked off with a screening of the film\u2019s trailer in 3D after which Neuhauser rehashed the whole \u201cintroducing Brad Pitt\u201d joke \u2013 but this time, it really was Brad Pitt. Pitt himself took the stage to thank the audience and touch on how he went from zombie novice to expert, pointing out that the main reason he was so hell-bent on making \u201cWorld War Z\u201d was because his boys love a good zombie. Before letting the footage roll, Pitt jokingly admitted, \u201cWe got a little carried away.\u201d<\/p>\n

The first scene began with a moment familiar from the film\u2019s trailer. Pitt\u2019s character is in the car with his family playing a guessing game while in the middle of the congested Philadelphia streets. After his wife points out the abundance of helicopters, Pitt turns on the radio, which blares something about a recent outbreak of rabies. Soon thereafter, a motorcycle cop swipes the side view mirror off their car. Pitt gets out to take a look and collect the severed piece, but, it turns out, a broken mirror is the least of his worries. He catches a glimpse of an explosion in the distance after which all hell breaks loose.<\/p>\n

People run like mad through the streets while a gigantic truck mows down smaller vehicles and absolutely demolishes a nearby box truck. Meanwhile, one of Pitt\u2019s little girls keeps moaning about having her blanket. However, that issue comes to an abrupt end when an ambulance smashes into their car. As the family emerges dazed from the wreckage, we get glimpses of the surrounding crowd, a crowd that looks as though its comprised entirely of normal people, but artfully guides your eye towards the individuals that just don\u2019t look right.<\/p>\n

But that only lasts so long because, before you know it, the street is swarming with devastatingly fast zombies. The scene hones in on one random man, dazed as he watches the chaos erupt around him. Initially his inclusion seems random and unnecessary, as you’d much rather stick with Pitt\u2019s family, but soon enough, Pitt and this other man connect and, slowly, Pitt watches as he gets into a car, the car\u2019s windshield is smashed by a desperately hungry head-butting zombie, and the man is bitten. And it doesn\u2019t end there. The man is then used as a vehicle to show how quickly the transformation happens. One of Pitt\u2019s daughters has a talking doll that counts to 12. The man is first nibbled on when the counting starts and once the doll hits 12, he\u2019s back on his feet and out for blood.<\/p>\n

Before the clip comes to a close we get a wide aerial shot of a bridge being blocked by police barricades as someone makes the announcement, \u201cInitiate containment plan alpha.\u201d<\/p>\n

\"Brad<\/p>\n

In scene two, Pitt is overseas, possibly in Israel. He\u2019s wowed by a stronghold of salvation camps to which the establishment leader replies, \u201cEvery human being we save is one less zombie to fight.\u201d And he\u2019s right. Their facility has more than enough zombies swarming their seemingly impenetrable walls. <\/p>\n

Back inside, Pitt questions how one might get into India (which is actually Russia in the film\u2019s trailer) to which the other man insists that Pitt stop his search for patient zero. Elsewhere in the camp, folks have joined together to pray and chant, the noise riling up the zombies outside. Pitt makes a futile attempt at telling the camp operator that they\u2019re too loud, but shortly after, the zombies are piled so high, they manage to climb over the wall.<\/p>\n

Soon thereafter, it\u2019s Philadelphia all over again. People are bitten and turn nearly instantaneously, quickly making humans the minority. Pitt takes off running with a group of soldiers assigned to take him to a plane. The large majority of the chase features hordes of zombies clogging the streets, but there\u2019s also a notably tense intimate moment during which Pitt and the soldiers are running down an alleyway that\u2019s covered by a cage. The ceiling isn\u2019t particularly high, so as zombies start to jump down from the roofs on top of it, they\u2019re within arm\u2019s reach of human flesh below. Sure enough, one solider is pulled up to the ceiling and becomes a meal. Rather than continue to suffer before turning, the solider whips out a grenade and blows both himself and the surrounding zombies away.<\/p>\n

As successful as those two scenes are, it\u2019s the third that\u2019s the big winner. It picks up with a dog ditching its owner and running to the back of an airborne plane. Otherwise, all of the other passengers are sleeping including Pitt and two people who look like they might be the soldiers from the scene before. From there, it\u2019s back to the dog who\u2019s made his way to a stewardess. After the dog takes off running again, the stewardess opens a container to find a zombie inside and is mauled to death. <\/p>\n

Just picture the Philadelphia and the camp scene, but in the close quarters of an airplane. As the tale end of the plane becomes a total feeding zone, Pitt\u2019s section tries to create a barricade by blocking the doorway with luggage. Unfortunately, one passenger pushes a suitcase too far and it topples over, catching the zombies\u2019 attention. Director Marc Forster throws in a particularly stimulating new vantage point, offering a glimpse of the chaos from the cockpit just as the zombies break through the makeshift barricade and start eating the passengers in Pitt\u2019s section.<\/p>\n

Eventually, Pitt makes the decision to blow the beasts away, tossing a grenade that rips a hole in the side of the plane and creates a wind tunnel, flushing the zombies, and likely some living passengers, right out.<\/p>\n

\"Dwayne<\/p>\n

Pain & Gain<\/strong><\/center><\/p>\n

To conclude the Paramount Presentation, the studio rolled a message from \u201cPain & Gain\u201d stars Mark Wahlberg and Dwayne Johnson. The pair apologized for not being there to introduce the film in person, but also joked they were too afraid to run into Michael Bay anyway. Right after, Bay himself took the stage and pointed out how instrumental the large majority of the CinemaCon attendees are to his work, particularly IMAX and Dolby.<\/p>\n

Before letting \u201cPain & Gain\u201d screen in its entirety, Bay explained that the film has been with him for 12 years and dubbed it, \u201cmy little movie,\u201d as its $25 million price tag is a mere drop in the bucket compared to Bay\u2019s other productions.<\/p>\n

While \u201cPain & Gain\u201d may have been smaller in scope than the \u201cTransformers\u201d series, it\u2019s got loads to offer in different respects. We won\u2019t be running a full review until closer to the film\u2019s April 26th release, but know that Bay really pushes the boundaries when it comes to melding humor with some truly dark and often vicious material.<\/p>\n

\u201cPain & Gain\u201d is on the long side and you can certainly feel it, but the film\u2019s ability to get you to enjoy watching three rather unlikeable leads is quite the achievement. Plus, the fact that this film is based on true events is just absolutely astounding and endlessly fascinating. In fact, it\u2019s such a strong driving force for the film, Bay mentions it twice, warning, \u201cUnfortunately, this is a true story,\u201d and then, towards the end of the film, when the material has entered absolutely outrageous territory, reminding us again, \u201cThis is still a true story.\u201d<\/p>\n

By Perri Nemiroff<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

CinemaCon 2013 is officially in full swing with Paramount hosting the Off and Running presentation this evening. CinemaCon managing director Mitch Neuhauser kicked things off by introducing himself as Brad Pitt before running out on stage. After the big reveal earned a quick laugh, Neuhauser pointed out the Colosseum\u2019s nifty and truly impressive Dolby Atmos 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2013: Star Trek, World War Z And Pain & Gain<\/title>\n<meta name=\"description\" content=\"Paramount unveils footage from "Star Trek Into Darkness" and "World War Z," and screens "Pain & Gain" in The Colosseum at Caesars Palace for CinemaCon.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.shockya.com\/news\/2013\/04\/16\/cinemacon-2013-paramount-shows-off-star-trek-world-war-z-and-pain-gain\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"CinemaCon 2013: Star Trek, World War Z And Pain & Gain\" \/>\n<meta property=\"og:description\" content=\"Paramount unveils footage from "Star Trek Into Darkness" and "World War Z," and screens "Pain & Gain" in The Colosseum at Caesars Palace for CinemaCon.\" \/>\n<meta property=\"og:url\" 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