The List of Six: Directors Who Could Tackle a New "Star Wars"

With today's news that Disney has reached an agreement to acquire Lucasfilm Ltd. and its subsidiaries for (roughly) $4.5 billion, Star Wars fans are in a frenzy. It was the simultaneous announcement that a new Star Wars film is being planned for 2015, however, that has created a buzz unlike anything I've seen before.

While the acquisition made new films inevitable (you don't buy a company just to capitalize on its past successes), it is a surprise to find out that the new trilogy of films will be based on Lucas' own story treatments for Episodes VII - IX. As Lucas is officially retiring next year, leaving the day-to-day operations to his Co-Chairman, Kathleen Kennedy, it is Kennedy who will be shepherding these new films to the screen as Executive Producer.

In a video that accompanied the press release, Kennedy and Lucas discussed the future of Star Wars, and revealed that they have been working on this for some time, already in the process of meeting with writers to develop scripts based on Lucas' treatments. Lucas will not direct the new films, but will continue to be involved as a Creative Consultant.

So the real mystery is, who will they get to direct the films? Will it be a different director for each movie, or will they entrust a single person for all three films? Regardless of what they choose to do, I think it's a safe bet that directors who already have a marquee name (Steven Spielberg, James Cameron, David Fincher, J.J. Abrams, Guillermo Del Toro, etc.) won't be involved for a variety of reasons. The Star Wars franchise is the star, for better or worse, and you're going to see a choice that is either an up-and-coming director, or someone from the world of animation, or special effects. Not to mention that with an already looming 2015 release date, the candidate will need to be available very soon. Here are six directors who might be a good fit . . .

Dave Filoni

Qualifications - Showrunner for the current Star Wars: Clone Wars television series

I don't watch the show, but Clone Wars has adamant defenders who say that it's what the prequels should have been. I don't actually see Filoni getting the job, but if you think this guy isn't going to toss his hat into the ring . . . you're crazy. Stranger things have happened too. He's well liked at Lucasfilm and with the Clone Wars coming to a close soon, his schedule should be open.

Thor Freudenthal

Qualifications: Hotel for Dogs, Diary of a Wimpy Kid, the upcoming Percy Jackson: Sea of Monsters

The dark horse on my list is a man named Thor. Other than sharing his name with a member of "Earth's Mightiest Heroes," Mr. Freudenthal is a man who will be on everyone's short list if the new Percy Jackson sequel is any good. Taking over an already-established franchise is never easy and he's going to have that experience under his belt. It will make Kathleen Kennedy look like a genius if she hires this guy and he pulls it off.

Shawn Levy

Qualifications - Night at the Museum, Real Steel

Levy cut his teeth by working on family films and television, and Real Steel is a great example of how the whole can exceed the sum of its parts. He was developing a remake of Fantastic Voyage for James Cameron and 20th Century Fox, but has left that project. His newest film, The Internship, with Owen Wilson and Vince Vaughn, is already in the can, so he should be free to jump into Star Wars if given the chance. Plus, he's a USC graduate, which is Lucas' alma mater, and has rubbed elbows with George socially.

Genndy Tartakovsky

Qualifications: The original Clone Wars animated shorts, Samurai Jack, Hotel Transylvania

If anyone on the list is due for his live-action break, it's Mr. Tartakovsky. For years, he was developing a sequel to The Dark Crystal that never came to fruition. Judging by his work on Samurai Jack, it's evident that he understands how to handle mythology in storytelling, the dynamics between good and evil, and how to tell a story visually -- something that has always been important to the concept of Star Wars. He could be an inspired choice.

Brad Bird

Qualifications: The Iron Giant, The Incredibles, Mission Impossible: Ghost Protocol

Bird has the ability to balance action and story, but he's also proven that he can make a film with soul. Not convinced? Just check out the climactic scene of The Iron Giant.  Plus, he's only got one project that he's attached to at the moment, an earthquake film called 1906. That film is his baby, which means he can put it on hold indefinitely and not lose the rights. There may not be a better choice on the list. If you love Star Wars, Mr. Bird, the fans would like to draft you right away.

Rupert Wyatt

Qualifications: Rise of the Planet of the Apes

Talk about a knock-'em dead surprise hit! No one expected Rise of the Planet of the Apes to be half as good as it was. Wyatt smartly put the story first, but was also able to integrate state-of-the-art character animation seamlessly. He recently exited the Apes sequel and has no future projects listed on IMDB right now. It would certainly be exciting to hear that Wyatt signed on to kick off a new trilogy.

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Obviously, there are other good candidates out there, and some very interesting possibilities. Frank Darabont (The Shawshank Redemption, The Walking Dead) and Joe Johnston (Jurassic Park III, Captain America: The First Avenger) are established directors with ties to Lucasfilm. Rian Johnson (Looper), Duncan Jones (Source Code) and Neill Blomkamp (District 9) all come from a gritty, more independent background, and have made cool science fiction films recently. There's also somebody like Ben Affleck, who was rumored to be courted by Warner Brothers for a Justice League film. His filmography is solid and he's a total Star Wars fan. Chances are, it won't be any of these people, but it's always fun to speculate.

Who would be your top choice to make the next Star Wars? Discuss here on on facebook.

Review: "Dredd"

Fondly or not, many will remember the Sylvester Stallone version of Judge Dredd, but this new Dredd bears little resemblance to its predecessor. Pete Travis (Vantage Point) directs the film from a script by Alex Garland (Sunshine), based on the stories from British comic series "2000 A.D." Keeping things simple and contained, the filmmakers are able to find the right tone for this relaunch of the character, while providing plenty of action and gore. The result is lean, stylish, and solidly entertaining.

Dredd (Karl Urban) is the most famous and feared street judge in Mega-City One, a sprawling post-apocalyptic metropolis that runs from Boston to Washington D.C. He's paired up on a routine homicide call with a young rookie named Anderson (Olivia Thirlby). After arriving at a large high-rise apartment complex called Peach Trees -- which houses 75,000 residents -- and making a successful arrest, the two judges are targeted by Ma-Ma (Lena Headey), the city's most powerful drug kingpin. It turns out that the suspect Dredd has in custody, a man named Kay (Wood Harris), knows too much about Ma-Ma's organization to be taken alive. She shuts the building down and announces to the residents of Peach Trees that no one will be allowed in or out until the judges are dead, sending every gun-happy thug in the place after them.

The plot might seem very familiar to those who have seen the latest Indonesian import, The Raid: Redemption, another pulse-pounding, action film that features the same type of premise: good guys trapped in a high-rise building that is home to a drug lord and tons of unsavory people loyal to him. It's a fair comparison, but no more relevant than noting the similarities between Casablanca and Barb Wire.

Ma-Ma controls the distribution of the newest power-drug, called Slo-Mo, which creates the euphoric sensation that time is passing at one-tenth its normal speed. A lot of emphasis is placed on Slo-Mo in the film, with many scenes showcasing the effects of its use, but its real function is one of style -- a practical reason for the filmmakers to use tons of slow motion -- and if Ma-Ma was a heroin dealer, the story would not change. Dredd mentions to Anderson that he's heard of Slo-Mo, but the judges' are not there for Ma-Ma, nor are they waging a war on drugs. But, once the shooting begins, Dredd and Anderson have no choice but to fight it out, dispensing "justice" to anyone who crosses their path.

Urban, who wears a helmet covering most of his face throughout the entire film, brings Dredd to life through body language and attitude, grumbling through lines like a futuristic "Dirty" Harry Calahan. Dredd is a cold, but effective instrument of the law: seasoned, patient, and deadly. Anderson, on the other hand, is a potential liability in the field. Having not met the minimum requirements to become a judge, she is being given one last shot because of her psychic ability. Thirlby is a bright young actress who is careful to never overplay the young judge's weaknesses, and is given a few nice moments to shine. Headey has played tough characters in the past and does a nice job with the thinly-drawn Ma-Ma. With false teeth and a large scar on her face, she brings a surprising amount of menace to a female character in a testosterone-laden film where shooting someone six times in the chest is one of the tamest ways to die.

"Setting the Frame" Film Grade = B-

Review: "The Master"

Paul Thomas Anderson (There Will Be Blood) doesn't make movies at a high rate of frequency, but when he does, the end result is always a film worth watching, dissecting, and discussing. His new film, The Master, stars Joaquin Phoenix as a struggling WWII veteran named Freddie, who is plagued by alcoholism and ruled by his most basic impulses. He is taken in by Lancaster Dodd, played by Phillip Seymour Hoffman, the charismatic leader of a movement simply known as The Cause. Amy Adams is Dodd's wife, Peggy, a woman who clearly believes in her husband and his teachings, but is wary of his interest in and affection towards Freddie.

It has been much publicized that Dodd and The Cause are loosely based on L. Ron Hubbard and the early days of Scientology. While this is true, and there are some very specific references to the church, Anderson spends little time chronicling the rise of The Cause, instead focusing on these two men, each with his own struggles, coming together at the specific moment when they needed each other most. At least, that's what Anderson would lead you to believe. There is, however, a sense that the events in the film are simply a diversion -- a bump in the road of their personal journeys -- and the audience's satisfaction will vary regarding where the story leaves each man in the end.

The performances are nothing short of amazing though, which is something we've now grown to expect from a P.T. Anderson movie. Phoenix, especially, has taken Anderson's writing and created a shaggy, troubled, and stunted character that is impossible to look away from. The amount of mileage on his face is scary, and I can't imagine a world where he isn't nominated for an Oscar at the end of the year. Hoffman's work as Dodd is equally impressive; he displays a suave nature wrapped around a sometimes explosive rage, lashing out against anyone who would question him. Adams, the good wife, is always there to settle and refocus his energies. Hers is the performance that will garner the least praise, but the women who could keep up with such powerful acting heavyweights are few, and Adams deserves a lot of credit for keeping things interesting towards the end. The rest of the cast is filled with great supporting work from Jesse Plemons, Laura Dern, and Kevin J. O'Connor, among others.

From a technical standpoint, the film is nearly flawless, once again placing Anderson in an elite class of working filmmakers. Shot on large-format film and presented at select theaters in 70mm, The Master is visually breathtaking. Close ups of the actors' faces seem to capture shadow and light in truly remarkable ways, creating rich atmosphere and an almost noir-ish quality. The music by Johnny Greenwood brilliantly captures the edgy, unpredictability of the film, and the costume design and art direction capture the post-war era perfectly.

This is not a film concerned with moving story forward using traditional means. There is no formulaic point "A" to point "B" plot devices for comfort, or chases, guns, and explosions just to keep those with short-attention-spans interested. The Master is the work of a world-class filmmaker who refuses to give the audience any easy answers, challenging them to find meaning from the incidents onscreen. To be honest, I'm not 100% sure how I feel about the story, but ultimately the experience filled me with enough curiosity, emotion, and admiration to know with certainty that I'll be revisiting it very soon.

"Setting the Frame" Film Grade = A-