Tag Archives: Jamie Campbell Bower

SDCC 2013 Interview: The Mortal Instruments’ Jamie Campbell Bower

Jamie_Campbell_BowerIf The Mortal Instruments: City of Bones isn’t on your radar, after Saturday’s Hall H panel, it should be. Screen Gems unveiled an impressively suspenseful and rather brutal sequence from the film that culminates in an ideal payoff – Jamie Campbell Bower’s Jace Wayland nonchalantly stepping in to save the day.

At This Year’s Comic-Con

Just ahead of The Mortal Instruments’ run in Hall H, Bower sat down to talk about his string of good luck with young adult book-to-film adaptations, his issue with “smelly acting,” and loads more. He also dropped a hint about a certain Easter egg that’s worth keeping an eye out for when the film hits theaters on August 21:

“There’s an Easter egg, but I don’t know if I want to ruin it. Listen for somebody’s name who’s involved in the film … but is not a character. That’s all I can say.”

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Review: The Twilight Saga: Breaking Dawn – Part 2

“The Twilight Saga: Breaking Dawn – Part 2” is a seven – on the “Twilight” scale. If you’re comparing it to films that play by the rules, it’s more of a four. But this is a “Twilight” film and after five of them it’s successfully established its own set of rules.

“Breaking Dawn – Part 2” kicks off just days after Bella’s baby bloodshed. Renesmee is already a rather large infant and Bella’s testing the waters of this whole life as a vampire thing. An indiscernible amount of time later, Renesmee turns into a 10-year-old (Mackenzie Foy) and Irina (Maggie Grace) spots Bella and Jacob (Taylor Lautner) enjoying some playtime vampire-style out in the woods. Horrified that Renesmee may be a vicious “immortal child,” Irina tattles to the Volturi. However, Renesmee isn’t immortal. She’s half human, half vampire. The trouble is, the Volturi are pretty stubborn and the only way the Cullens can save their newest family member is by amassing an army of vampires to defend her.

“Breaking Dawn – Part 2”opens with the best part of the movie, the opening credits. And I’m only being semi-sarcastic. The film’s title sequence is really quite mesmerizing. The text either bleeds from red to white or white to red, and plays over a string of vibrant frosty forest shots mixed with a few of a blood red hue. It works especially well, artfully bringing the viewer back into the world with a rousing hypnotic effect. But again, it’s the best part of the movie. Really.

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