stretch ( 2014 film )
u. s. - based stretch film producer sigma stretch film recently installed two stretch film lines, including a five - layer blown stretch film line at its facility in belleville, ont .
guys. rest assured. you will all see stretch, on the big screen, in 2014 .
gary comenas ,
jonas mekas and the film - makers' cinematheque
, urltoken, 2014 .
kuhn, markus & schmidt, johann n. :
narration in film (revised version; uploaded 22 april 2014 )
relativity will be the domestic distributor and will release the film internationally through its network of foreign output partners. the film is targeted for an april 11, 2014 release date .
according to sigma, the two production lines will support growing business; the cast film line has been in production since october 2013, and the blown film line for belleville will be in production in early 2014 .
18 - 23 july 2014 allrollex® 1500 mm 5 - layer cast stretch film line 1000 kg / h net output equipped with no. 1 allspeedy® winder for the production of manual, automatic and jumbo reels more than 5 lines have been installed in a few months
allrollex® - 3000 mm will be on demo show on november 10 - 21, 2014 in our novara factory. come to see the line running !
stretch offers more narration than a morgan freeman film festival, one of several pot holes it jumps over without a ramp .
are you ready to see our new allrollex® cast stretch film lines? july is time to come and see our new allrollex® cast stretch film lines. again and again: allrollex® two lines of this series will be on demo in our facilities :
andrew v. uroskie, between the black box and the white cube: expanded cinema and postwar art, university of chicago press, 2014, 288 pp .
paul hegarty ,
expanding cinema
, ch 1 in hegarty, rumour and radiation: sound in video art, bloomsbury academic, 2014, pp 19 - 31 .
stretch
hits amazon and itunes on october 7 and vod on october 14 .
sigma stretch film is a division of the sigma plastics group. founded in 1978, sigma is said to be the largest privately held film extrusion group in the u. s. comprised of 13 divisions, 39 plants and employing 4, 500 people, sigma stretch film has five north american plants with four in the u. s. and one in belleville .
stretch feels like the dots joined from what was left on carnaghan' s drawing board .
stretch is still in the pre - production phase, but will start shooting this summer to meet the march 21, 2014 opening just announced by universal. that date pits the movie against some stiff competition; both the highly anticipated ya adaptation divergent and the muppets sequel are slotted for that weekend .
stretch thinks it’s so damn clever, and is totally self - satisfied with its over - written dialogue. it’s complacent with its “fucks” and temper - tantrum rantings. stretch hollers, and stretch pontificates. think that’s harsh? in one moment, pine waxes philosophical about being a firestarter to stretch, while sitting in the back of the long black car. then he starts a fire, setting the limo ablaze and conceptually reigniting stretch’s life. sweet metaphor, bro .
film culture 43 :
expanded arts
, ed. jonas mekas, new york: film culture, winter 1966, 12 pp .
chill - roll unit with no. 2 cooled rollers with primary chill roll diam. 1400 mm allowing the production of super power stretch film at the highest speed and quality
the director of smokin' aces and the grey crafts a rolling snowball of utter carnage in stretch .
looking for movie tickets? enter your location to see which movie theaters are playing stretch near you .
call him stretch. kevin’s his real name, but stretch is what kevin asks people to call him. is it because he’s stretched so thin? stretch is a bummed out, burned - out limo driver in los angeles. yes, his name is stretch, one of those obtuse single - name guys like bullet or kojak or batman. here, stretch is patrick wilson. he talks a lot during his own film. so very much. he talks an irritatingly obvious amount. for example, when a competing limo driver shows up at stretch’s bungled pick - up for a seemingly insane david hasselhoff (a real cameo), he offers up this crackling observation of his competitor :
chicago’s epidemic of gun violence is exploited in a film that revels in bloodshed .
8: 30pm not my type (doors open at 8pm for the film). allow about 30 minutes for opening speeches. film will start around 9pm .
the opening night film may be attended without attending the reception. doors open at 8: 00pm for patrons who are attending the film but not the reception .
metz, christian (1966). “la grande syntagmatique du film narratif. ”
sellors, paul c. (2007). “collective authorship in film. ”
5 - layer cast stretch film line up to 1250 kg / h net output equipped with no. 2 allspeedy® winders with individual control on each winding unit production of manual, automatic and jumbo reels
stretch thinks it' s so damn clever, and is totally self - satisfied with its over - written dialogue .
stretch is a bold, bonkers and completely brilliant blast of creative energy from joe carnahan at his most gleefully unrestrained .
point of view in the cinema. a theory of narration and subjectivity in classical film
a universal spokesperson declined to comment on when or whether stretch will get a theatrical release. blum also declined to comment .
if you’re looking for context, stretch is available oct. 7 on itunes and amazon and oct. 14 on vod .
erzählsituationen in literatur und film. ein modell zur vergleichenden analyse von literarischen texten und filmischen adaptionen
the lines – the second is a five - layer cast stretch film line installed at sigma’s facility in shelbyville, ky. – are manufactured by gloucester engineering co. inc. , which is headquartered in gloucester, mass .
patrick wilson stars in the offbeat comedy stretch. the story follows a limo driver named stretch who picks up an eccentric millionaire who offers to payoff stretch' s gambling debts if he sticks with him throughout a wild night of debauchery. co - starring jessica alba, ed helms, and chris pine, the film has a pretty good cast. however, the script is weak and doesn' t seem to know where it' s going most of the time. and, a lot of the crazy shenanigans seem random and contrived. stretch is a bit of fun, but it' s also messy and unfocused .
earlier this year, i wondered if 2014 would be the year that folks stopped being shocked that people of color watch films. to make that point, i looked to films that had largely minority casts or were marketed to audiences of color. this report suggests that even more evidence is elsewhere .
short film screening (108 min) saturday 28th - 10: 30am - one screening only. preceded at 10am by a petit déjeuner (french breakfast). free with short film screening admission !
international underground film festival, nft, london, 14 - 20 sep 1970. organised by the robert street arts lab, the co - op, the other cinema and other independent film distributors .
up to date as of july 7th, 2018 (give or take a film or three) .
in a rare setback for jason blum and his blumhouse productions, universal pictures has scrapped plans to release the patrick wilson comedy - thriller stretch theatrically in march, and the producer has made an unsuccessful effort to find another distributor for the film .
star is no longer attached. the tay - tay camp is claiming “it was our choice” to pull out of the film, but in fact a project insider told deadline months ago right after lautner’s lionsgate film
early cinema, experimental film, expanded cinema, video art, live cinema, film labs, media archives, community television, demoscene, vjing, vvvv, live coding. see also artists' cultures .
stretch
is a truly enjoyable oddity, a movie that was too brash, too weird, too idiosyncratic for a major release, but one that should settle into a nice, long shelf life .
stretch
is a wild ride, and one very much worth going on .
james badge dale plays a determined fbi agent, jessica alba plays stretch’s sweet - as - can - be dispatch agent, ed helms plays karl, a figment of stretch’s imagination and one more crazy aspect of the film overall and “blink or you’ll miss them” cameos from the likes of shaun white and norman reedus add to the fun and be on the lookout for randy couture, he’s in there .
tulane drama review 11 (1) :
film & theatre
, aug 1966. [ 13 ]
we' re talking, specifically, about the trailer for his upcoming film
stretch ,
starring patrick wilson as a limo driver wrenched from his mundane life by the desperate need to pay off $ 6, 000 in gambling debts in one day .
for those of you who knock twitter, i wish i could show you the hundreds of tweets pouring in right now on behalf of stretch. tremendous .
an interview with writer / director boots riley about his incendiary new film ,
sorry to bother you .
the sacramento french film festival is proud to present a selection of shorts from france, in collaboration with unifrance .
black, david a. (1986). “genette and film: narrative level in the fiction cinema. ”
werner nekes ,
some notes on some expanded films
, international underground film festival, london, 1970 .
bruno lessard ,
missed encounters: film theory and expanded cinema
, refractory blog, 26 dec 2008 .
the film is an obnoxious cartoon version of hollywood noir, but carnahan has the chops to keep it moving quickly .
grodal, torben (2005). “film narrative. ” d. herman et al. (eds .) .
broken taboos, subjective truths. forms and functions of unreliable narration in contemporary american cinema. a contribution to film narratology
perhaps most surprising among the unreleased is stretch, a joe carnahan - directed comedic thriller starring patrick wilson. the film was to hit theaters nationwide march 21 but, in an apparently unprecedented move, universal pulled it weeks before release. blum tried to sell it elsewhere without success .
in stretch, wilson plays a chauffeur who picks up a difficult and devious billionaire, played in a cameo by chris pine. as the night goes on, their interaction leads to dangerous encounters. jessica alba, brooklyn decker, ed helms and ray liotta also appear in the film .
sign up: stay on top of the latest breaking film and tv news! sign up for our email newsletters here .
so there’s your set up and it goes on from there, if you’re in, you’re in, if you’re not then just stay away, stretch isn’t for you .
it’s not marlowe, that’s for sure. it’s not even thompson. what is this? wait, why would stretch, let alone any person, talk like this ?
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
guys. bottom line. stretch is fucking great. it' s funny. it' s touching. it' s unique and @ patrickwilson73 is absolutely brilliant in it .
both films will be presented this year as part of the short film screening on saturday, june 28, 10: 30am .
carolee schneemann ,
expanded cinema: free form recollections of new york
, international underground film festival, london, 1970 .
i' ve been waiting far too long to see joe carnahan' s stretch to finally be released. i had been following joe' s twitter practically religiously as he was filming it a while back, and i was absolutely gutted when the film was dumped momentarily by universal pictures. maybe universal thought the film was too much of a gamble, which is crazy, considering this film was shot on a low budget, and even the lowest possible expectations at the box office would' ve turned this film into a profit. i' ll talk more on that later, but for now, i just want to know what the fuck did i watch? majority of comedies are designated…
the veteran filmmaking reflects on his career in film and television, making the transition to directing, and his collaborations with spike lee .
fulton, helen (2005). “film narrative and visual cohesion. ” h. fulton et al. (eds .) .
gaut, berys (1997). “film authorship and collaboration. ” r. allen & m. smith (eds .) .
scholes, robert (1985). “narration and narrativity in film. ” g. mast et al. (eds .) .
tolton, c. d. e. (1984). “narration in film and prose fiction: a mise au point. ”
james badge dale (“the lone ranger”) has joined the cast of universal and blumhouse prods. ’ action - comedy “ stretch, ” opposite patrick wilson, ed helms and chris pine .
one of the most controversial issues in film narratology concerns the role of the narrator as an instrument of narrative mediation. this reflects the difficulty of specifying the narrative process in general and, more than any other question, reveals the limits of literary narrativity when applied to film studies .
peter weibel ,
expanded cinema: material films, film actions (without film), project and concept films
, in beyond art: a third culture. a comparative study in cultures, art and science in 20th century austria and hungary, ed. weibel, 2005 .
copyright © 2005 - 2018 / film. privacy policy / cookie policy. web design by pro blog design. logo concept by: illumination ink
10am petit déjeuner (french breakfast) with filmmaker / actor olivier rosemberg - lobby of the crest theatre. free with short film screening admission .
pine is another standout in the film, who dons long hair and a ridiculous beard, acting partly as stretch’s bonkers life coach and partly as the impetus for the insanity that our protagonist falls into. he’s almost unrecognizable, in fact, bucking the rather vanilla characters he’s been stuck playing since taking over the role of captain kirk in 2009 .
stretch armstrong is the classic action hero figure first launched by hasbro in 1976 and re - launched in the 90’s, sold successfully throughout north america and in markets across the world. the original stretch’s unique design broke free of traditional action figures, as he could be stretched over and over and always returned back to his original size. the nostalgic toy is considered to be rare and collectible to this day .
stretch goes clean, things are going well with candice until she reveals she’s dumping him for the quarterback of the cleveland browns. adding insult to injury a new limo service has moved into town and stretch’s boss is nervous and decided it’s time to pick off a few clients. within the next 15 minutes or so, stretch learns he has only a few hours to pay back a $ 6, 000 gambling debt, he’s late to picking up david hasselhoff (playing himself), witness to an armed convenience store robbery leaving bullet holes in his vehicle and he’s picking up ray liotta (playing himself). after all of this he meets roger karos (chris pine) a coked out, nymphomaniac billionaire being hunted by the fbi for fraud who’s attempting to skip town and stretch just so happens to be his ride .
. a combined love of acting and movie watching inspired him to write his first short film, pourquoi je fais ça? (why did i do that ?). after the huge success of this debut, he directed his second film, j’en rêve encore, in which he also stars .
deleyto, celestino (1996). “focalisation in film narrative. ” s. onega & j. á. garcía landa (eds .) .
expanded cinemas exploding
, in film unframed: a history of austrian avant - garde cinema, ed. peter tscherkassky, vienna, 2012 .
when it tries to talk tough, playing fast and loose with a “dude’s crazy night” concept, stretch runs out of gas quickly. the last act settles down only after too much ground is covered, when you quit trying to keep up. it’s then that the film finally crystallizes its nutty, willful plot twists, and quits with all the narration .
produced for universal, stretch got its theatrical release swiped out from under it, and now it’s found its way exclusively to vod. but if the studio executives wanted another smokin’ aces —which found enough appreciators to inspire a direct - to - video prequel—they should have been happy with what they got. the film is an obnoxious cartoon version of hollywood noir, but carnahan has the chops to keep it moving quickly, deftly orchestrating a plot that keeps adding new layers of complication and intrigue. it’s a backhanded sort of praise to say stretch is a movie that goes nowhere fast .
the ballad of narayama
is a japanese film of great beauty and elegant artifice, telling a story of startling cruelty. what a space it opens…
just a shame that i predicted the ending about 15 minutes in, it didn’t gel with the wild, unpredictable nature of the rest of the film .
schlickers, sabine (2009). “focalization, ocularization and auricularization in film and literature. ” p. hühn et al. (eds .) .
the only other significant issue i took with the movie was its pervasive voiceover from stretch; though it does offer some laughs here and there, it’s oftentimes overbearing and takes attention away from the character interaction on screen .
a spiritual and stylistic successor to smokin’ aces, complete with bugnuts chris pune performance, the film is fun and breezy and knows not to overstay its welcome .
annabel nicolson ,
artist as filmmaker
, art and artists, dec 1972; repr. in a perspective on english avant - garde film, 1978 .
universal pictures will no longer be releasing director joe carnahan’s low - budget action comedy, stretch, in wide release this march as initially planned. as first reported by the hollywood reporter, the studio opted out of its initial plans to distribute the film starring patrick wilson nationwide — an endeavor that can cost upwards of $ 30 million in marketing costs — after seeing the finished product .
wilson’s never seemed so beat, and you’ll know why. ed helms is a ghost haunting stretch. stretch encounters the dumbest voices and accents imaginable via cops and mobsters. cheap rock and synth music pervades; an m83 “outro” knock - off happens, likely because this baby went straight to video with limited budget. chris pine is an eccentric billionaire, sporting little more than a child’s tiger backpack, a jockstrap, and an enormous beard and wig .
exhibition, walker art center, minneapolis. synchronised film projectors on 2 sides of suspended screen, 16 mm colour, sound. 300 x 600 x 1250 cm .
landscape in film and video exhibition and events, lfmc / air gallery / b2 gallery, london, 1983. curated by michael o' pray and jez welsh .
expanded cinema: film as spectacle, event and performance exhibition, hmkv, dortmund, 10 - 26 sep 2004. curated by mark webber. featured 32 artists .
x - screen: film installations and actions in the 1960s and 1970s, ed. matthias michalka, cologne: walther könig, 2004. kotz' s essay .
nicole brenez ,
improvised notes on french expanded cinema
, trans. franck le gac, millenium film journal 43 / 44 (summer / fall 2005) .
joe carnahan’s latest, stretch, is a snowball of carnage and comedy that reaches deep into the writer / director’s hollywood rolodex for a movie that’s full of entertaining cameos and memorable characters. if you’re familiar with his similar 2006 flick smokin’ aces, you’ll know what sort of debauchery to expect in stretch – but this time around, carnahan was sure to lace his script with bigger ideas than guns and girls, tossing in a heaping dose of heart to boot .
thankfully, carnahan doesn’t spend too much time playing the cameo game, instead using them to establish the reality stretch exists in before heaping the movie entirely upon the shoulders of wilson. a task that the actor is absolutely up for .
stretch hits a dumpster and the driver' s airbag deploys on the limo. he later drives the car. the fuel pumps on most newer cars shut down when the airbag deploys, which would prevent the car from going far .
stretch gets off to such a hectic, abrasive start that many viewers will wish to jump out immediately. stick with [ patrick wilson' s frazzled chauffeur ], though, and his surreal escapades turn out to be surprisingly entertaining .
hard luck limo driver stretch (patrick wilson) is struggling to go straight and pay off a debt to his bookie when he picks up a crazed passenger (chris pine) whose sought - after ledger implicates some seriously dangerous criminals .
with his boss intent on firing him – his ass constantly being saved by dispatcher charlie (jessica alba) – stretch uses his last day on the job to run errands for a bizarro billionaire named karos (chris pine) on the promise of his gambling debts getting paid off. accompanied by the imaginary ghost of suicidal former co - worker karl (ed helms), stretch winds up on a bats * * * crazy adventure that spirals out of control very quickly .
carnahan effortlessly builds the stakes for stretch, though there are points when the character is a little too disconnected from reality for the story’s own good, losing the very thin thread of believability that the whole movie is walking like a tightrope. carnahan falters at points on things like this, but generally speaking he does a fine job of making sure we buy these series of events as plausible, even in the cocaine - and - adrenaline fueled hyperkinetic world that stretch presents .
bach, manuela (1999). “dead men―dead narrators: überlegungen zu erzählern und subjektivität im film. ” w. grünzweig & a. solbach (eds .) .
( beverly hills, calif .) january 30, 2012 –relativity media has partnered with global branded play company hasbro, inc. [ nasdaq - has ] to develop and produce a live - action tent - pole film based on stretch armstrong, the iconic action hero figure launched in the 1970s, it was announced today by relativity’s co - president, tucker tooley and hasbro’s president and ceo, brian goldner .
“stretch armstrong is a great example of hasbro’s rich portfolio of intellectual properties that we are continuing to develop globally, ” said goldner, “we are excited to partner with relativity on this movie as they are a growing and innovative studio. ”
a mile a minute kinda film that exhausts and excites while still following a believable (barely) storyline. some surprising cameos that add a certain goofiness work quite well too .
film as a largely syncretistic, hybrid and multimodal form of aesthetic communication and bears a number of generic characteristics which are tied to the history and capacities of its narrative constituents .
gunning, tom (1986). “the cinema of attraction: early film, its spectator, and the avant - garde. ” ph. rosen (ed .) .
sheldon renan ,
expanded cinema
, ch 6 in renan, an introduction to the american underground film, new york: dutton, 1967, pp 227 - 257 .
stretch was originally intended for a theatrical run, but the studio (universal) spiked it and has kicked it to a vod release. it’s exactly the type of disrespect its lead character would expect and, after a rough road, overcome .
i think it' s as good or better than my best film & say that from the bottom of my heart. this movie will make it to you, trust me .
future cinema: the cinematic imaginary after film exhibition, zkm, karlsruhe, 16 nov 2002 - 30 mar 2003. curated by jeffrey shaw and peter weibel. 635pp catalogue published .
one can' t help but read the film - which was dropped by its studio, and is now available digitally - as an expression of everything carnahan hates about the movie business .
the film' s absurd and often offensive humour will win you over. it' s not big and it' s not clever, but it will raise a smile or two .
the film begins by introducing us to a cocaine - fueled limo driver named stretch (patrick wilson), as he’s t - boned by a car running a red light. he’s promptly sent airborne through his driver side window, landing relatively unharmed on the pavement. he walks to see how the driver of the other vehicle is, which is when he meets the beautiful candice (brooklyn decker) and thus begins a year - long relationship .
hard luck limo driver stretch (patrick wilson) is struggling to go straight and pay off a debt to his bookie when he picks up a crazed passenger (chris pine) whose sought - after ledger implicates some seriously dangerous criminals. ~ jason buchanan, rovi
stretch is the film that had universal second - guessing it' s chances in theaters earlier this year, despite its minuscule budget ($ 5 million). because of this, the small little genre fill was disowned by the studio and dumped onto the vod platform. now i can see why they could have gotten cold feet. the film is full of batshit crazy imagery and situations that most people will just dismiss almost immediately. it' s not your usual studio affair, that' s for sure. but, i feel like this would have easily made back its budget, just with the popularity of its cast alone .
wilson has long since proven himself to be a hell of a utility player; he’s taken on every genre in the last five years or so, but his role as stretch just might be his best yet. he’s crumbling and pathetic without losing the sympathy of the viewer, and you can’t help but root for him once he finally gets himself in order and takes charge of the situation. he plays up the “regular guy in extraordinary circumstances” fantastically, giving stretch an air of humanity that lets us feel every punch he takes .
entertaining action movie starring patrick wilson (who also narrates the film) as stretch, a wannabe actor who' s passing time as a limo driver until he gets his big break. he' s a recovering alcoholic, recovering drug addict and recovering gambling addict. his day turns to shit when he' s told he must pay up his remaining 6 grand gambling debts by midnight. no clue how to come up with the money on time he decides to take a job driving an eccentric millionaire around for the day and when he asks for a few extras not in stretch' s job description he is more than happy to oblige in the hope of receiving a huge tip. the plot of this movie doesn' t really…
stretch (patrick wilson) is a failed, broken - hearted actor - turned - la - limo - driver with a history of addiction and a $ 6, 000 gambling debt that needs paying by midnight before he finds himself with some broken bones, or worse .
carnahan doesn’t skimp on the action either, though he keeps it very small scale and contained. there’s nothing here that’s gratuitous; the movie is so focused on stretch’s story that all of the action is built from that characters’ actions and the movie is better for it .
the five - layer cast stretch film line includes four contracool extruders equipped with pib injection that feed a cloeren feed block and auto die, gloucester said. also included is a casting unit with temperature control unit (tcu) and a 1002 - ds surface - center winder with dual overlapping single turrets. the line is enhanced with resin vacuum loading, loss - in - weight blending, gauging, profile control and a trim reprocessing system all controlled by the extrol 6032 control system .
according to the trade paper, and confirmed by ew, carnahan and his producer jason blum tried shopping the under - $ 5 million movie to other studios looking for a wide release. when none of the other studios bit on the expansive release strategy the producers wanted for the film described as “cool, offbeat and little, ” the film - making team returned to universal where blum houses his production company .
that’s really the biggest bummer associated with “stretch, ” that this movie, as flawed and sometimes patience - straining as it can be, isn’t being shown on the big screen. this is the perfect audience movie, or at least the perfect fantastic fest movie, and for a certain crowd it would have been irresistible. it’s easy to see this blossoming into a cult classic of sorts, especially if it has an actual physical release somewhere down the line (it seems like the kind of movie you physically pass off to an adventurous friend). as it stands now, “stretch” is a truly enjoyable oddity, a movie that was too brash, too weird, too idiosyncratic for a major release, but one that should settle into a nice, long shelf life. “stretch” is a wild ride, and one very much worth going on. [ b + ]
stretch, directed by joe carnahan (the a - team, the grey) on a budget under $ 5 million, was set to be released march 21 in the u. s. but that has been canceled, according to sources, and blum, who has a rich first - look development deal with universal, was permitted to shop the film to other distributors. having failed to strike a deal, the film now has reverted to universal, where a source says the studio and filmmakers will explore
creative
options for releasing it. blum' s low - cost model allows for such decisions when it appears that the expense of releasing a movie theatrically might not be justified by the returns .
kuhn, markus (2009). “film narratology: who tells? who shows? who focalizes? narrative mediation in self - reflexive fiction films. ” p. hühn et al. (eds .) .
the five - layer blown stretch silage film line includes five contracool extruders equipped with pib injection feeding a low profile five - layer ibc die and air ring. also included are a bubble cage, traversanip oscillating primary nip roll with composite roller collapsing frame, secondary nip roll, and a dual turret 1002 - d surface - center winder. the line is enhanced with resin vacuum loading, feed throat gravimetric blending, and a trim reprocessing system all controlled by the extrol 6032 control system, and containerized controls .
underneath all of the zany car chases, drug sniffing, and strip clubs is a familiar story about a regular guy rising above his circumstances as he grasps for something greater. stretch manages to remain endearing on a character level; it never relies on its crassness or surprise cameos to keep you entertained .
peter weibel ,
expanded cinema, video and virtual environments
, in future cinema: the cinematic imaginary after film, eds. jeffrey shaw and peter weibel, mit press, 2003, pp 110 - 124 .
when the golden boy of the limo world (ed helms) sticks a gun in his mouth and blasts his brains all over the rich corinthian leather, we’re unsure if kevin, who goes by the nickname stretch, secretly admires his resolve. he’s certainly spooked that one day he’ll suffer the same fate .
jackie hatfield ,
expanded cinema and narrative: some reasons for a review of the avant - garde debates around narrativity
, millennium film journal 39 - 40 :
hidden currents
, new york, winter 2003 .
joe carnahan ‘s stretch reminds me a lot of michael mann ‘s collateral. the operating word there being “reminds” as in this is the b - movie, bat - shit crazy, balls - to - the - wall red - headed step child of collateral. and i mean that in the nicest way possible .
, limousine driver bruno kirby is relentlessly yapping to the band, offering his literary criticism of sammy davis jr’s autobiography, until the clients in the backseat finally raise the partition window to block out the sound. joe carnahan’s new film
new cinema festival i [ aka
expanded cinema survey
,
expanded cinema festival
], film - makers' cinematheque, new york, 1 - 30 nov 1965. [ 1 ] [ 2 ] [ 3 ]
john g. hanhardt ,
the passion for perceiving: expanded forms of film and video art
, art journal 45 (3) :
video: the reflexive medium
, autumn 1985, pp 213 - 216 .
the movie opens with wilson talking, in voice over, about the nature of fate and destiny and how this really doesn’t apply. like that unforgettable bumper sticker, the central message of “stretch” seems to be “shit happens, ” even while veering into truly insane territory, with crisscrossing narrative threads that intersect at every twist and turn. carnahan may be a cynic, but there’s an element of almost magical realism to the outrageousness housed within the over - inflated bouncy castle of the film. there’s also the whole meta - textual element of “stretch, ” wherein the movie investigates what it means to be an actor. not only is the title character a former thespian, but a number of characters act like they’re someone else and the fact that the movie has a character who is driving a limo through a series of bizarre tableaus bears more than a passing resemblance to leo carax ‘s recent masterpiece “ holy motors. ” this movie isn’t as complex or emotional as that film, but there seems to be a similar attempt to boil down the essence of the human experience into a series of comic vignettes .
the studio is set to distribute the blum - produced, joe carnahan - directed stretch, an action comedy starring patrick wilson. ed helms and chris pine have also signed on in recent weeks, and now brooklyn decker has come aboard as well. get details on her character and the new release date after the jump .
while spacey chit - chatted about all sorts of things, he was there to talk about the film tax credits. he acknowledged the controversy, according to a recording obtained by the post, and asked the lawmakers for their support .
consider the films that qualify as jason blum undead: area 51, from peli, has been in postproduction since 2009 at paramount. at universal, where blum is in the final stretch of a three - year deal, only one film has been released to date, the purge (a hit with a sequel due in june). four films that long have finished shooting are not getting a theatrical release, and no plan is in place to release them on - demand. four more films are in postproduction, two with release dates and two without .
film, in general, is a narrative medium, or, at least, a medium of many narrative capacities. nearly every film, except specific types of experimental films and documentaries, includes at least a few basic narrative structures. this applies especially, but not only, to feature films. if we take the representation of a change of state as a basic necessary condition for narrativity—and thus follow a broad definition of narrativity—moving pictures have at least two basic possibilities of narrative representation: a) to represent motions (and therefore changes) within one shot; b) to confront two (or more) comparable states through the combination of shots into sequences (i. e. the process of editing or montage in terms of classical film theory). both modes of narrative representation have a visual and an auditive dimension, as virtually every sound film has a visual and an auditory channel addressing the spectator’s sense of vision and sense of hearing .
deep beneath the snotty showboating is a funny concept: a black comedy about competing limo drivers and l. a. ’s vanity - driven, liar - loving culture. when stretch wants to have a laugh and mock the shallows of the city of angels, it’s amusing, like a second - tier fx sitcom about dicks .
—a cartoonish action comedy about a hollywood limo driver having the worst day of his life—when it was supposed to come out in theaters back in march. i' m a fan of the film' s writer - director, joe carnahan (
saving the image: art after film, eds. pavel büchler and tanya leighton, glasgow: centre for contemporary arts (cca), and manchester: manchester metropolitan university, 2003, 264 pp. bellour' s essay. [ 10 ]
it’s one of those movies where the night seems to roll into infinity, encapsulated not by the traditional three - act structure, but by a series of comic misadventures. in “stretch” those adventures involve, among other things, hookers dressed in scary halloween costumes, gangsters, weird sex parties, a mysterious briefcase, undercover federal agents (led by
“we are absolutely thrilled to partner with hasbro, a company whose global reach and ability to innovate has made them immensely successful in the arena of brand re - imagination– as evidenced by their legacy of creating such franchises as transformers and g. i. joe, ” said tooley, “we look forward to bringing stretch armstrong to audiences worldwide. ”
we don’t really know what interstellar travel looks like, so all bets are off. if you compare interstellar to gravity, it is a much harder film to make. we know what it is like to be in earth orbit, the mechanics are pretty simple, so gravity could get the physics right with the correct advice. interstellar wants to examine bigger issues, much of the science is unknown and if you stretch it beyond plausibility - as you always do in a movie like this, you are bound to end up with things not supported by current scientific knowledge. it’s just a hard job !
director catherine hardwicke (twilight) also says she enjoyed making her rock - music thriller plush for blumhouse, even though the film only had a desultory opening in theaters in october and took in a paltry $ 3, 000. still, writes hardwicke in an email, she found blum to be
super - enthusiastic and supportive
and takes the film' s disappointing performance in stride :
i' m interested in exploring new release models in the future … new ways to reach an audience .
i registered just to review this underrated film. another reviewer summed this film up so perfectly i have to restate it: the film begins exactly as it should, and continues exactly the way you want it to right to the end. it is the sort of movie that would have been at home in 1985 - - down on his luck protagonist has an increasingly awful night that turns into a rampage through la. it is funny without ever being stupid or gross, which probably explains its ranking. in a time when big name stars are putting out such comedic, big screen
gems
as the bizarrely unfunny toilet - humored
a million ways to die in the west ,
it is a flashback to films that were funny without being dumb .
the film will be produced by relativity’s ceo, ryan kavanaugh (the fighter), hasbro’s goldner (transformers) and bennett schneir, senior vice president and managing director, motion pictures (battleship). tooley (immortals) will serve as executive producer .
in the lobby of the crest theatre, immediately following the closing film. dessert on closing night by mother. open bar: bubbly by barefoot wine & bubbly, water by perrier, café by coffee works. music by dj christophe & the jazz report
the two approaches depend on which scholarly perspective is preferred: either how far narrative principles can be limited to questions of narrativity alone, or whether the affordabilities of the medium have conclusive consequences for its narrative capacities. it is our view that the position most suitable for a narrative theory of film lies in between these approaches. approaches that put their main focus on media - unbound narrative strategies should be confronted with questions of mediality. furthermore, approaches that concentrate overwhelmingly on questions of mediality should match their results with general narrative theories. if, for example, we take established narratological concepts such as focalization, order or diegetic level as a point of departure to develop a systematic model for narratological film analysis, we have to discuss the potentials and limitations of each category in terms of mediality and modify these concepts accordingly (kuhn 2011: 7ff .). consistently, due to the hybrid and multimodal nature of film, an approach that examines narrative in film is per se more complex than a theory of literary narration (9) .
in this case, however, the film in question never will be released in theaters, and there is no plan to release it on - demand. and recently, the bar for reaping a share of profit appears to have gone up: on one project now in postproduction, the pool will not begin to fill unless the movie grosses $ 50 million. it will top out when and if the film grosses $ 70 million. the maximum that can go into the pool remains the same, $ 250, 000 .
carnahan goes big here; the world of stretch is an amplified hollywood. we’re introduced to the limo - driving world as the drivers assist actors like norman reedus, david hassellhoff, and ray liotta with tasks that range from running props back to studio lots to disposing of dead hookers. these guys are all great sports, poking fun of themselves with no regret .
with the exception of the character narrator and the cinematic device of the voice - over, the traces of a narrating agency are virtually invisible, so that the term “film narrator” is employed as hardly more than a metaphor. disagreements over terminology sprung up from the beginnings of film theory. thus the term “film language, ” if not used for a system of signs as was done by the formalists, bore the implication that there must also be a “speaker” of such a language. modeling cinema after literature in this way, however, runs counter to cinema as an independent art form. for this reason, ėjxenbaum transferred the structuring of cinematographic meaning to “new conditions of perceptions”: it is the viewer who moves “to the construction of internal speech” ([ 1926 ] 1973: 123) .
for anyone the least bit familiar with carnahan’s work, stretch will come as no surprise. carnahan could easily be described as a director interested in masculinity. he’s a “tough guy” cinema director, making the movie equivalent to beef jerky. i like beef jerky and i like carnahan’s films. i like the outlandish nature of his movies, the “anything can happen” narratives, and he consistently brings actors along for the ride that are just as willing and excited about starring in something crazy. while his films such as narc and the grey show he can also delve competently into serious cinema, his movies such as smokin’ aces and even the a - team show he knows how to have a little fun, stretch falls comfortably into that latter category .
james badge dale (“the lone ranger”) has joined the cast of universal and blumhouse prods. ’ action - comedy “stretch, ” opposite patrick wilson, ed helms and chris pine. joe carnahan is directing with shooting starting in los angeles on june 30 for “strech, ” which universal will release in north america on march 21. jason blum is producing through [ … ]
lest you believe a sex scene between gorgeous actors is glamorous, this video is here to disabuse you of that notion: a clip from behind the scenes of the upcoming movie stretch shows brooklyn decker and patrick wilson engaging in fictional coitus, and while they quickly snap into character to get it on, the before and after that reveals the uncomfortable reality of filming a sex scene .
in a statement to thr, blum says: “our model is completely transparent - - we keep budgets low to give directors creative freedom and let them take risks. we only make money when the films go wide, but we are proud of every film we do. ”
there’s a nice veneer of mathematics in the film – for example, the equations on the board are textbook general relativity equations, which is nice for a science geek. later on, the script suggests the equations don’t work because scientists don’t understand how gravity and quantum mechanics work together, and that’s fair enough. but the film resolves this by sending a robot down into a black hole to send back “quantum data” - that doesn’t really make any sense. it sounds like something they just made up as a plot device with no physics behind it .
when maryland started its current film tax credit program a few years ago, supporters wanted the state to set aside at least $ 15 million each year to reimburse television and movie producers who choose to film in the state, creating thousands of jobs, pumping money into the local economy and creating a buzz that can attract tourists. they only got $ 7. 5 million per year, so now the state’s movie czars have to come crawling back to annapolis each year to ask for more money. last year they scored $ 25 million. this year they want at least $ 18. 5 million .
like us, nic doesn' t buy it, and he' s impatient with being observed in a locked room while damon rations out information. so he macgyvers himself some escape strategies and starts moving this film away from less - is - more territory, toward something closer to action mode. without giving the story' s sometimes confusing surprises away, one can say that the film breaks free of the hospital, with damon and company chasing nic while he struggles to make sense of what he sees and to understand why his friends, with whom he reconnects, are behaving like whacked - out shadows of themselves .
inside (à l' intérieur, 87 min) 2007 - alexandre bustillo & julien maury saturday, june 28 - 11: 45pm - one screening only! q & a with jason alley, around coffee and pastries follows the screening. (warning! this film contains violent, gory and scary scenes. )
still, universal’s decision to bail on its initial wide - release strategy casts a pall over the film, one carnahan (the a - team and the grey) tried to rectify tuesday evening on twitter. the director declined to comment to ew, as did universal, but you can read carnahan’s twitter rant below.
stretch is a 2014 american comedy crime film written and directed by joe carnahan . the film stars patrick wilson , ed helms , an uncredited chris pine , james badge dale , brooklyn decker , and jessica alba . the film was released on video on demand on october 7 , 2014 by universal pictures . 
stretch is a 2014 american comedy crime film written and directed by joe carnahan. the film stars patrick wilson, ed helms, an uncredited chris pine, james badge dale, brooklyn decker, and jessica alba. the film was released on video on demand on october 7, 2014 by universal pictures.
stretch is a 2014 american comedy crime film written and directed by joe carnahan. the film stars patrick wilson, ed helms, an uncredited chris pine, james badge dale, brooklyn decker, and jessica alba. the film was released on video on demand on october 7, 2014 by universal pictures.