Tina Fey and Amy Poehler Show Some Skin in an Exclusive 'Sisters' Clip (NSFW)
Tina Fey and Amy Poehler are letting it all hang out in this exclusive (and NSFW) scene above from their upcoming comedy Sisters. It’s the first time they’ve appeared in a movie together since 2008’s Baby Mama.
The two former SNL Weekend Update co-anchors and frequent Golden Globe hosts play siblings Kate and Maura Ellis, who are planning one last rager at their childhood home after their parents put it up for sale. Wild child Kate (Fey) gets busy pushing her divorcée sis Maura (Poehler) back into the dating scene as the movie builds to its climactic — and totally debaucherous — party. Obviously the sister duo are just a bit clueless: They can’t even figure out how exactly to wear the skin-tight, low-cut, overly fringed dresses they’re trying on during a shopping excursion.
With appearances from Ike Barinholtz, Maya Rudolph, James Brolin, John Leguizamo, Kate McKinnon, Dianne Wiest, and more, Sisters rolls into theaters on Dec. 18
Before George Lucas committed to directing ‘Star Wars: The Phantom Menace’, he offered the job to some of the biggest names in Hollywood including Ron Howard, Robert Zemeckis, and Steven Spielberg - all of whom turned him down.
Howard, whose new film ‘In The Heart of the Sea’ (in UK cinemas on Boxing Day), revealed all on the Happy Sad Confused podcast when the host asked him if Lucas ever offered him the chance to make a ‘Star Wars’ film.
“He did, he did. He didn’t necessarily want to direct them,” Howard explained.
“He told me that he’d talked to [Robert] Zemeckis, he talked to me, he talked to Steven Spielberg and he said we… I was the third one he spoke to, and he said we’d all said the same thing: ‘George, you should just do it.’
“Nobody wanted to follow that act I don’t think at that point. That was an honour but it would have been just too daunting.”
Howard, of course, first worked with Lucas on ‘American Graffiti’ and later directed ‘Willow’ under his watchful eye at Lucasfilm, so it’s no surprise they talked about it when the idea for ‘Phantom Menace’ was percolating.
The thought of a Steven Spielberg-directed ‘Star Wars’ film is a tantalising “what if” scenario though, but he eventually scratched that itch when he helped Lucas co-direct the Mustafar lightsaber duel between Obi Wan and Anakin in ‘Episode III: Revenge of the Sith’.
Either way, we’d love to have seen any of these directors make ‘Phantom Menace’, it can’t have been any worse than the film we eventually got, can it?
Why Sebastian Stan Is Captain America: Civil War’s Not-So-Secret Weapon
Marvel fans are going stone cold loopy for the first ‘Captain America: Civil War’ trailer and not necessarily for the reasons you’d expect.
Sure, It’s jam-packed with heroes and feels more like ‘Avengers 2.5′ than it does ‘Captain America 3′. Yes, It promises an epic showdown between two of the MCU’s most beloved heroes - Cap and Iron Man. And let’s not forget it’s going to introduce two huge new MCU characters in the shape of Black Panther and Spider-Man.
However, the film’s secret weapon - the one thing that’s driving fans wild online - is Sebastian Stan’s Bucky. Amazingly, the online fervour for Sebastian Stan eclipses even the love shown for the film’s leads Chris Evans and Robert Downey Jr.
A quick search on Tumblr after the release of the ‘Civil War’ trailer this morning was quite revealing. Everyone wanted to talk about Sebastian Stan and specifically his relationship with Steve. Online “shippers” even have a name for it - Stucky.
Whatever you do, DON’T Google image search it at work. We learned that the hard way.
People LOVE Sebastian. They love The Winter Soldier. And more than anything they love Bucky. And luckily for his fans, he looks like he’s playing a major part in the new film.
So the crux of “Civil War” is that Cap will fight the entire government and half his friends because he loves Sebastian Stan? Saaaaaame.
When the first ‘Civil War’ footage was revealed at Comic Con (it’s not online yet), the key moment for Bucky fans came during a fight between Chris Evans’ Cap and Frank Grillo’s Crossbones. Crossbones taunts Steve about his former pal who was turned evil and brainwashed by Hydra by saying: “You know, he remembered you. Your pal, your buddy, your Bucky.”
“Your Bucky” has become a rallying cry for his fans, inspiring countless memes, and it shows no sign of abating.
To demonstrate the power the 33-year-old actor wields online, allow me to digress for a second.
Back in August I was leaving the office one night and I spotted Stan in London. He was stood outside Fopp with his girlfriend, looking at a map, and the pair of them looked like any young couple on vacation. I toyed with the idea of giving him a “what’s up?”, but thought better of it. Give them some space I thought.
Anyway, I tweeted about my celeb spot the following day and my Twitter feed blew up.
I saw Sebastian Stan on my way home last night. I was this close to giving him a “Your Bucky”
The post got retweeted over 130 times and I got countless replies from his fans who needed to know more. It’s like i’d been in the presence of One Direction or something, it was crazy.
And that’s generally the sort of reaction he gets everywhere online.
If the marketing bods at Marvel are wise, they’ll push the Stucky angle for everything it’s worth, and who knows - perhaps it could even beat ‘Avengers: Age of Ultron’ at the box office. And it’s all down to Sebastian Stan.
Love Actually’s Tragic Same-Sex Relationship That Was Cut From The Movie
As Hugh Grant’s prime minister so saliently surmised, love was indeed everywhere in ‘Love Actually’.
But sadly when it came to the final cut, a little bit of said love was removed, it has emerged.
In footage from the movie’s DVD release, handily unearthed on Buzzfeed, Richard Curtis reveals that there was a same-sex relationship between Anne Reid’s brusque headmistress and her lover, Frances de la Tour.
But the scenes, in which Reid’s character was caring for her terminally-ill partner, didn’t make it to opening night.
Curtis, who says he was ‘sorry to lose’ the plot strand, adds: “The idea was meant to be that you just casually met this very sort of stern headmistress.
“Later on in the film… we suddenly fell in with the headmistress and you realize no matter how unlikely it seems, that any character you come across in life has their own complicated tale of love.”
As is, all the relationships in the finished movie, with its star-laden cast featuring Bill Nighy, Gregor Fisher, Colin Firth, Liam Neeson, Emma Thompson, Rowan Atkinson, Martine McCutcheon, Chiwetel Ejiofor, Andrew Lincoln and Keira Knightley, were heterosexual.
“I thought [the scene] was worth seeing,” he goes on, “even though it was a little clumsy towards the end.”
The 2003 Christmas-themed rom-com was a third movie smash for Curtis, following 'Four Weddings and a Funeral’ in 1994, and 'Notting Hill’, which he wrote but did not direct, in 1999.
It made a sturdy £165 million at the box office from its modest £30 million budget.
Despite rumours that Will Smith wouldn’t be returning for the new film, she says “Never count Will out,” suggesting the Fresh Prince may still make an appearance.
We’d love to see Big Will return in an Agent Z style role heading up the MIB this time around. We think that’d make for a neat twist on the formula.
The first three ‘Men In Black’ films featuring Will Smith and Tommy Lee Jones as alien-hunting government agents were hugely popular, with the last film taking over £400m at the global box office in 2012, so it’s not surprising Sony is looking to resurrect it.
Walter Parkes, who produced all three films with his wife Laurie MacDonald, describes the new film as a “reinvention” of the franchise, suggesting they want to put some distance between the new film and the old ones.
“We are quite early on in it,“ he said. “We sort of looked at the first three in retrospect as a bit of a trilogy.”
“We tried to tell a story about those two characters and that relationship. It sounds silly because it’s a fun, science fiction comedy but when you work on these things you sort of try to find some thematic basis underneath it.”
“Now we are looking at a reinvention,” Parkes added. “But it’s a wonderful world to get back into.”
The Gore In Leonardo DiCaprio Movie The Revenant Is Causing Walk-Outs
There might be Oscar buzz around Leonardo DiCaprio’s performance in ‘The Revenant’, but there’s also talk of the excessive gore in the survival movie causing walk-outs.
According to The Hollywood Reporter, some viewers at early screenings of ‘Birdman’ director Alejandro G. Inarritu’s new movie have found certain scenes too much to palate.
It’s thought that it’s a scene central to the plot that is causing most upset, in which DiCaprio’s frontiersman and fur-trapper Hugh Glass is mauled viciously by a grizzly bear.
He is then left for dead by those in his party, but somehow miraculously survives his injuries and sets out on the 200 mile trek to the nearest settlement seeking revenge.
The story is based on the real-life accounts of Glass – and the novel also called The Revenant written in 2002 – a frontiersman from Pennsylvania known for his adventurous exploits in the early part of the 19th century.
Glass was attacked by the bear in South Dakota in 1823 during a trapping expedition, and though he managed to kill the creature, he was left terribly injured and unconscious.
A General William Ashley, who was leading the party, requested two volunteers stay with him until he died of his injuries and then bury him.
Claiming that the were interrupted digging Glass’s grave by native American warriors, the two men, Jim Bridger and John Fitzgerald, took all Glass’s equipment, fled the scene and reported to Ashley that Glass had died.
He had not, however, and despite a broken leg, festering wounds, and gouges on his ribs down to the bone, he wrapped himself in the bear’s carcass and began the 200 mile journey to Fort Kiowa on the Missouri river.
In the movie, the drama is ratcheted up by Tom Hardy’s antagonist Fitzgerald, a criminal on the run who is the ring-leader in robbing Glass and leaving him to die.
There’s plenty of potential gore in the real-life accounts, and while some have hailed the movie as DiCaprio’s most likely shot at an Oscar (he’s lost out five before now), others have found its brutality difficult to reconcile.
One source told THR that the movie was 'Long. Brutal. No clear eco message. Violent and pointless. Revenge in the wilderness’.
Others, however, have dubbed it 'a masterpiece’, and a 'slam dunk’ for a Best Picture Oscar nomination.
DiCaprio has called the shoot ‘agonising’.
He told Yahoo Movies in October: “I can name 30 or 40 sequences that were some of the most difficult things I’ve ever had to do.
“Whether it’s going in and out of frozen rivers or sleeping in animal carcasses or what I ate on set. [I was] enduring freezing cold and possible hypothermia constantly.
“I certainly don’t eat raw bison liver on a regular basis,” he continued. “When you see the movie, you’ll see my reaction to it because Alejandro kept it in. It says it all. It was an instinctive reaction."
Check out the breathless trailer below…
Also starring Domhnall Gleeson, Will Poulter and Lukas Hass, it’s due out in the UK on January 15.
The epic first ‘Captain America: Civil War’ trailer was unveiled overnight (watch it here) and now, on top of that, we’ve got not one but THREE new posters for the movie too. All three teaser posters highlight the divide that threatens to tear the Avengers apart, pitting Captain America against Iron Man.
Check them out below.
The last poster showing Cap keeping Iron Man at bay with his shield is a neat nod to the cover of ‘Civil War - Issue 7′, the comic book arc that inspired the new Marvel movie.
‘Captain America: Civil War’ looks set to have the biggest roster of Marvel superheroes on screen than any film they’ve made so far. Alongside Cap and Iron Man, ‘Civil War’ features - Black Widow, The Winter Soldier, Falcon, The Vision, Hawkeye, War Machine, Scarlet Witch, and Ant-Man.
‘Captain America: Civil War’ is coming to cinemas in 2016.
Michael Caine Reveals The Movie That Stopped Him Quitting Acting
Michael Caine has revealed the movie that stopped him quitting acting, after her realised he was no longer being considered for leading man roles.
The 82-year-old knight of the realm said that he went off to Miami to take stock once he realised that he was no longer ‘getting the girl’.
“I was 62, 63 and one day I got a script and I read it and I sent it back to the producer with a letter saying the part was too small,” he told Shortlist.
“He sent me a letter back saying, ‘I didn’t want you to read the lover, I wanted you to read the father’. And I went 'oops’.
“That was a turning point for me. I suddenly realised, getting the girl was all over.
“I gave up and I went and lived in Miami. I was having loads of fun, and then Jack Nicholson got a script and said, 'Why don’t you do this movie Blood and Wine with me?’. So I started off again.
“Then I did 'Little Voice’ and a whole series of movies I really enjoyed. I won Academy Awards, BAFTAs and Golden Globes all over the place. 'Little Voice’ got me going again.”
Caine scored himself the Golden Globe for Best Actor for his role in 1998′s 'Little Voice’, opposite Jane Horrocks.
He now thinks that 'Youth’, his latest movie with Harvey Keitel, Rachel Weisz, Paul Dano and Jane Fonda is his best ever role
“I had this whole era when I was a movie star and got the girl,” he added.
“Then I became a movie actor, where I didn’t get the girl, I got the part. But now I look for the most difficult.
“'Youth’, to me, is one of the best things I ever did, because you cannot see me, you only see the person, you cannot see the acting. 'Youth’ is probably the performance I’m happiest with. That I ever did.”
Amazon Pulls Nazi Ad Campaign From New York Subway
Amazon has got itself into a spot of bother over an advertising campaign which replaced New York subway seats with those adorned with the Nazi Iron Eagle.
The Mayor of New York City Bill deBlasio has even waded in to call the ads ‘irresponsible and offensive’.
The stunt was to market its new series, ‘The Man In The High Castle’, the adaptation of the Philip K. Dick novel which proffers an alternate future in which the Allies lost the war and the US is occupied by Nazi and Japanese forces.
The subway seating was plastered with the US flag featuring the Iron Eagle, and also Japanese-American flags - Japan occupies the west coast in the series, while the Nazis occupy the east coast.
While the ads stopped short of displaying the Nazi swastika, subway riders were quick to question whether the campaign was in good taste.
The ads have now been pulled, according to Variety.
“Amazon has just decided to pull the ads,” Kevin Ortiz, a rep for New York City Transit and the Metropolitan Transportation Authority told the magazine.
So far Amazon has not commented on the matter, but according to the MTA, the ads broke no rules.
“The ads do not violate our content-neutral ad standards and thus we have no grounds to reject them,” Ortiz added.
“The MTA is a government agency and can’t accept or reject ads based on how we feel about them; we have to follow the standards approved by our board.”
So far Amazon has not commented on the ads, or their removal.
The series, which is streaming now on Amazon’s Prime service, stars Alexa Davalos, Rupert Friend and Rufus Sewell.
After decades of big and small screen success, actor Kevin Bacon is about to do something he’s never done before - star in a sequel to one of his hits.
Yes, as hard as it is to believe Bacon has never reprised a role before (unless we count those EE adverts), but he’s now set to do just that with a return to one of his best-loved movies: giant monster romp ‘Tremors.’
Entertainment Weekly tells us Bacon is on board as actor and executive producer on a new small screen spin-off of the 1990 cult classic from Universal Cable Productions and Blumhouse Productions.
Many well-loved horror movie properties of the 1980s and ‘90s have enjoyed small screen revivals of late, including ’From Dusk Till Dawn,’ ‘Scream’ and ‘The Evil Dead.’
The 57-year old star will reprise his role as Valentine McKee, a small town handyman-turned-accidental hero who helps save the townsfolk of Perfection, Nevada from the hideous subterranean beasts they label ‘Graboids’ in the original movie.
This announcement comes not long after Bacon hinted he might be up for a return to Tremors, having told IGN earlier this year he’d “love to do something else with Tremors and revisit the character 25 years later,” and calling director Ron Underwood’s film “a cool accomplishment.”
‘Tremors’ did spawn a slew of direct to video sequels, but Bacon did not return for any of them. However, his co-lead Fred Ward returned for ‘Tremors 2.’
Otherwise, the real series stalwart has been Michael Gross, who has reprised the role of gun nut Burt Gummer in every incarnation of ‘Tremors,’ including most recent sequel ‘Tremors 5: Bloodlines,’ released direct to DVD earlier this year.
There was also a previous short-lived TV series, again starring Gross, on the Sci-Fi Channel (or SyFy as it is now known) in 2003. EW hint that SyFy may be a potential home for the series but stress no network has picked it up yet.
This small screen role for Bacon comes hot on the heels of his lead role in recently completed series ‘The Following.’
Captain America: Civil War’s First Trailer Is Here
Marvel has dropped a major surprise, releasing the first trailer for ‘Captain America: Civil War’ online without any build-up, giving us our first substantial look at next year’s Marvel offering.
This is a full trailer and not a tease, giving us a glimpse of the action, the story and Chadwick Boseman’s new superhero Black Panther. Sadly, there’s no hint yet of Tom Holland’s Spider-Man. Check it out above.
The trailer opens with and focuses on Chris Evans’ Captain America and Sebastian Stan’s Bucky Barnes, who appears to have put his murky past as The Winter Soldier behind him.
We transition to William Hurt’s General ‘Thunderbolt’ Ross setting up the basic plot, telling Cap that some of the world sees him and his ilk as heroes, but others see them as vigilantes. “You’ve operated with unlimited power and no supervision, and that’s something the world can no longer tolerate.”
He also hands him a stack of papers with “The Sokovia Accords” written across it and the United Nations symbol beneath that. This is likely setting out the new way of things Cap opposes and Robert Downey Jr’s Iron Man supports.
We then hear Scarlett Johansson’s Black Widow warning Cap before Downey Jr makes his first appearance, telling Rogers: “Sometimes I want to punch you in your perfect teeth.”
We then see some action and glimpses of Black Panther, Jeremy Renner’s Hawkeye, Elizabeth Olsen’s Scarlet Witch Don Cheadle’s War Machine before some final dialogue. Cap says: “Sorry Tony, you know I wouldn’t do this if I didn’t have a choice, but he’s my friend.”
“So was I,” replies Stark.
The trailer does not show us Paul Rudd’s Ant-Man, Paul Bettany’s Vision, Emily VanCamp’s Sharon Carter or villains Crossbones, played by Frank Grillo, or Baron Zemo, played by Daniel Bruhl. As mentioned, there’s no sign of Spider-Man either.
Still plenty of time though between now and the 29 April 2016, when Anthony and Joe Russo finally release their anticipated sequel.
Seems Universal are not aiming low with their planned reboot of their monster movie universe. First we hear they want Scarlett Johansson to star in their ‘Creature From the Black Lagoon’ remake, next we hear they’re pursuing Angelina Jolie Pitt for ‘The Bride of Frankenstein’ - and now this.
To take the lead in their 2017 reboot of ‘The Mummy,’ the film intended to kickstart their new monster franchise, they’re entering talks with none other than Tom Cruise, according to Variety.
A fresh take on the franchise which began in the 1930s, and not related to the more recent Brendan Fraser movies, this reboot of ‘The Mummy’ is to be directed by Alex Kurtzman.
It will be set in the present day, and is rumoured to centre on US soldiers (presumably Cruise among them) in the Middle East who inadvertently awaken an evil mummy - who, again according to rumour, may be female this time.
We might note that this is not the first time Tom Cruise has been linked to a monstrous property at Universal. Years back, he and director Guillermo del Toro were attached to the studio’s ambitious project ‘Van Helsing,’ before Stephen Sommers and Hugh Jackman wound up making it (to lukewarm results).
Then in 2012, the long-standing screen veteran was attached to another del Toro project, HP Lovecraft’s ‘At The Mountains of Madness,’ before the studio cancelled that film - and in recent years he has again been linked to the planned ‘Van Helsing’ reboot.
Given that the new Universal monster movies are intended to overlap and share characters, this has led to speculation that Cruise may indeed be playing Van Helsing or some variation thereon in ‘The Mummy,’ and will return to fight more monsters in future films - although there is nothing to support that claim at present.
‘The Mummy’ is scheduled to hit cinemas on 24 March 24 2017, and Universal have another, as-yet unnamed monster movie set to follow it in March 2018.
How Carl Weathers Insulted Sly Stallone During 'Rocky' Audition
Sylvester Stallone will forever be associated with perennial underdog Rocky Balboa, a storyline that is seeing new life in the form of Ryan Coogler’s Creed. But long before Michael B. Jordan’s Adonis Creed, there was Carl Weathers’s portrayal of Balboa’s antagonist: Apollo Creed. Surprisingly, Weathers was not the first choice for the role, as Stallone told Stephen Colbert on The Late Show. The part was originally intended for boxer Ken Norton, who changed his mind several days before filming began.
That’s where Carl Weathers comes in. He flew in last-minute for an audition with Stallone and Rocky director John G. Avildsen. During the meeting, while fake sparring to see how Weathers moved, Carl roughed up Stallone and was a bit more aggressive than what the mood called for. When reading the scene afterward, Weathers said to Avildsen, “Tell you the truth, I could do a lot better if you gave me a real actor to work with,” not realizing Stallone was the star of the film. He unknowingly bolstered his image as the pompous World Heavyweight Champion by dissing Stallone’s acting ability, and the rest is history.
Watch the cast of Creed describe their perfect Philly cheesesteak.
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We Ranked All 23 Ron Howard Movies, from Worst to First
Ron Howard began his career as a child actor on The Andy Griffith Show, and then hit it even bigger as a teen star in American Graffiti and TV’s Happy Days. Yet it’s behind the camera that the has made his most indelible mark. Over the past three decades, Howard’s been behind a string of beloved critical and commercial hits that span a wide range to winning ends, from biopics (A Beautiful Mind) to sentimental fantasies (Splash, Cocoon) to grown-up comedies (Parenthood) to rugged Westerns (The Missing) and out-of-this-world adventures (Apollo 13). Howard has carved out a niche as one of mainstream American cinema’s foremost purveyors of touching stories about flawed individuals striving for prizes just out of reach — be they love, loved ones, sanity, eternal life, ancient mysteries, or the heavens themselves.
Throughout his career, the 61-year-old Howard has stretched himself by working in a variety of genres, as if, like one of his protagonists — including Chris Hemsworth’s whale-hunting sailor in this December’s In the Heart of the Sea — he too is in search of ever-more-exciting new challenges. Where that Moby Dick-origin story will fit into Howard’s canon remains unknown, but in anticipation of its awards-season release, we seek to bring order to the director’s filmography by delineating the masterpieces from the missteps — an endeavor that’s resulted in this, our definitive ranking of his 23 directorial features. (All photos by Everett Collection.)
23) How the Grinch Stole Christmas (2000)
The biggest box-office hit of Howard’s career (a whopping $260 million domestic haul), this adaptation of Dr. Seuss’s beloved holiday book is the blockbuster that everyone saw and virtually nobody liked. Drowning in whimsical Seussian production decor that suffocates any and all life in the proceedings, and led by a Jim Carrey performance that’s full of belligerent mugging, Howard’s Grinch is an assault on one’s eyes and ears. By pitching its action as so doggedly cartoonish, the film undercuts the Grinch’s real nastiness and, consequently, sabotages the poignancy of his eventual transformation. Even worse, it misguidedly expands upon its source material, replete with flashbacks to the villain’s traumatic childhood that reveal the oh-so-empathy-inducing reasons for the Grinch’s anti-Christmas behavior. Grinch ultimately drowns in such saccharine sentimentality — and is hampered even further by garish costumes, candy-colored set designs, and hideous makeup effects for everyone’s exaggerated upturned-snout noses.
22) Made in America (2013)
One can hardly tell that Howard is the man behind the camera for Made in America, a documentary about the 2012 Philadelphia music festival that was organized by Jay Z and sponsored by Budweiser. A personality-free affair that plays like a TV special expanded to feature length, this nonfiction effort is a conventional concert trifle through and through, moving back and forth between performance footage and interviews with the rock, soul, hip-hop, and pop stars appearing at the event (including Pearl Jam, the Hives, Run-DMC, and Janelle Monáe). Alas, there’s no real dynamism to the various clips of musicians doing their thing to adoring crowds — all of which are shot with technical skill but very little in the way of flair. It’s a depressingly disposable work-for-hire effort from Howard.
21) The Dilemma (2011)
The Dilemma’s release was plagued by controversy, courtesy of a line in its trailer that many — including GLADD — deemed homophobic, and which was eventually cut from subsequent promotions. That contentious advance buzz turned out to be more noteworthy than the film itself, a shaky blend of character-based drama and slapstick humor that never seems to know where it wants to go, who it wants its characters to be, or what it’s trying to say about anything. The titular dilemma in question involves Vince Vaughn’s auto-design businessman, who spies the wife of his best friend and partner (Kevin James) kissing another man, and then struggles to decide whether or not to reveal this infidelity. It’s hardly the sort of inventive quandary around which to base an entire film, and Howard never manages to generate much comedic energy from the various shenanigans that ensue from his premise. Spotty and lethargic, it plays like a first draft rushed into production.
20) Far and Away (1992)
Far and Away is best remembered for being the project on which Tom Cruise and Nicole Kidman fell in love, and that’s with good reason — an overblown melodrama that misses no opportunity to indulge in contrivances, Far is a leaden slog. That’s a shame, considering that it was beautifully shot in 70 mm. Nonetheless, no amount of widescreen visual splendor can make up for the tired absurdities peddled by its story, about a working-class Irishman (Cruise) who, along with a proper young lass (Kidman), flees to America, and after much bickering during their trip out West, falls in love with the woman. From time spent in a brothel to Cruise’s character making ends meet through bare-knuckle boxing, the film functions as a series of increasingly nonsensical developments. Howard’s cinematography aims to imbue this material with epic romantic import, but such efforts are undermined by a script (and performances) that prove to be painfully simplistic.
19) The Da Vinci Code (2006)
Dan Brown’s best-selling novel The Da Vinci Code is an inert piece of historical mystery fiction, and thus it’s little surprise that Howard’s adaptation (which made $218 million) is similarly stilted and preposterous in equal measure. Saddled with a story that vacillates between faux-erudite conversations about feminine religious and artistic symbolism and frantic car chases meant to provide some energy to the otherwise dialogue-heavy narrative, Howard dully tries to gussy things up with lots of cinematographic fancifulness. His camera pans, tracks, soars, and swoops with reckless abandon in a vain attempt to energize symbologist Robert Langdon’s (Tom Hanks) quest to beat a murder rap and find the Holy Grail. While Sir Ian McKellen delivers an animated supporting turn as one of many figures involved in the central conspiracy, Hanks’s performance is mainly defined by his goofy long hair, and his wholesale lack of romantic chemistry with Audrey Tautou’s cryptologist. Code is a tailspin of dull anagram puzzles and dreary religious philosophizing.
Howard on the set of ‘Gung Ho’ with Michael Keaton.
18) Gung Ho (1986)
With Japanese automakers making enormous inroads in America, 1986’s Gung Ho seemed like a potentially timely clash-of-cultures comedy. Instead, Howard’s film plays like the lamest of foreigners-are-different disasters, its tone almost as ungainly as its plotting is ridiculous. As its one saving grace, Michael Keaton — reuniting with Howard after 1982’s far superior Night Shift — brings so much manic energy to the proceedings that, even when his auto-plant bigwig is making an ass of himself in front of Japanese businessmen, he’s a likably off-kilter protagonist. However, the story, about Keaton’s attempts to revitalize his Pennsylvania auto factory by partnering with a Japanese car corporation, results in dismal one-note humor in which the Japanese are presented as efficient robots and Americans are portrayed as fun-loving brothers-in-arms. It’s a labor-related clunker full of excruciating stereotypes that are now as outdated as the cars its characters aim to produce.
17) Willow (1988)
A fantasy epic born from a story by George Lucas (which he apparently first dreamed up before Star Wars), Willow proved an uncomfortable fit for its director. Handling his fantastical swords-and-sorcery action in such a dull, straightforward manner that he fails to come up with a single truly memorable image or set piece, Howard’s stewardship drags the film down into bland, ordinary territory — a significant problem, given that its tale is merely a whimsical hodgepodge of countless science-fiction and fantasy predecessors. Mixing and matching elements from Mad Max, The Lord of the Rings, Peter Pan, Snow White, and others, Willow plays like a larger-than-life photocopy of a photocopy. Moreover, Warwick Davis’s pint-sized Willow is a rather ho-hum hero who never infuses the material with the sort of rip-roaring attitude that might enliven its plot about a motley crew’s mission to protect a chosen-one baby from an evil sorceress. Val Kilmer’s dashing-rogue routine remains the best thing about Willow, even if he eventually comes across as merely a secondhand Han Solo stuck in a lame wannabe-Star Wars saga.
16) Angels & Demons (2009)
A sequel to 2006’s The Da Vinci Code (albeit one that’s based on a Dan Brown novel that was originally a prequel), Howard’s Angels & Demons reunited him with favorite leading man Hanks, here sleepily reprising his role as sleuthing symbologist Robert Langdon. That it features a less absurd plot than its predecessor is about the nicest thing one can say about this dreary adventure, in which Langdon is again tasked with solving all sorts of intricate history-based puzzles — feats he accomplishes with such ease that it destroys any measure of suspense. As Langdon attempts to prevent a secret cabal known as the Illuminati from blowing up the metropolis using an antimatter bomb, Howard stages numerous lame car chases around the Vatican City, as well as turgid debates about science and religion. Like his star, Howard’s direction is woefully sluggish, and the result is a film that barely seems motivated to even pretend that its mysteries and action are of any significance at all.
15) Grand Theft Auto (1977)
Howard made this, his directorial debut, when he was just 23 years old, and it exudes the sort of unpretentious slam-bang energy of his acting work in Roger Corman’s Eat My Dust (made the previous year). Little more than a litany of car chases that invariably conclude with vehicles crashing and burning in extravagant ways, Grand Theft Auto isn’t about storytelling but about automotive destruction, and in that respect, it’s a mildly successful entry in that disreputable B-grade subgenre. Unfortunately, its demolition-derby set pieces are barely inventive or exciting enough to sustain even its brief 84-minute runtime — a problem exacerbated by the fact that its tale, about two young lovers (Howard and Nancy Morgan) fleeing her disapproving parents to Vegas, where they plan to get married, is just a flimsy pretext for getting its protagonists out on the open road. As far as disposable novelty indies from the era go, it’s perfectly passable cartoon-pulp entertainment, but it barely hints at Howard’s future A-list directorial potential.
14) Cinderella Man (2005)
Howard’s second pairing with Russell Crowe (after their Oscar-feted A Beautiful Mind) is this egregiously syrupy fairy tale about James J. Braddock, a down-on-his-luck boxer who, while enduring considerable hardship during the Great Depression, got a second chance at triumph, and the title, in the mid-1930s. No musty trope goes untouched by Howard in this fanciful ode to American can-do perseverance, as the director drenches his based-on-real-events story in gauzily lit sepia-toned visuals that give the film a cornball archival-movie quality. More frustrating, Howard excessively seeks to amplify his material’s poignancy through overblown imagery — lone figures in spotlights, menacing villains in close-up — that are so bludgeoningly over-the-top, they decimate any chance at legitimate emotional engagement with this redemption tale. The centerpiece pugilistic bouts are staged with concussive electricity, and Crowe does his best to counter the movie’s hagiographic tendencies by lacing Braddock’s nobility with anger and frustration. Still, the film’s mawkishness is so insistent that it renders everything and everyone phony — including, most notably, the cutie-pie performance of Renée Zellweger as Braddock’s wife.
13) Frost/Nixon (2008)
With screenwriter Peter Morgan (The Queen) adapting his own overpraised play of the same name, Frost/Nixon finds Howard floundering in his attempt to marry his big-budget style to a small-scale story about playboy TV interviewer David Frost’s memorable 1977 interviews with shamed U.S. president Richard Nixon. Casting its tale in a simplistic David-vs.-Goliath mold, Howard’s film is perhaps the most painfully unsubtle work of his career, full of ill-advised sweeping camerawork that doesn’t mesh with his intimate drama, as well as countless scenes in which his characters bluntly articulate the very ideas and developments already addressed by the action at hand. As such, the superficial Frost and disgraced Nixon’s battle, in which they both seek the respectability denied to them by their peers, is a classic example of telling instead of showing — and then telling some more, just in case anyone missed it the first five times. Frank Langella’s soul-deep performance as Tricky Dick is so magnetic that it occasionally counteracts the material’s gracelessness, though there’s ultimately no saving the film from its own wrongheaded desire to hold its audience’s hands along every twist and turn of its underdog-makes-good tale.
12) Backdraft (1991)
There are some nifty special effects in Backdraft involving fire, which plumes, explodes, and rages with terrifying ferocity throughout this saga of Chicago firemen on the trail of a serial arsonist. In its centerpiece sequences, Howard’s direction boasts a fleet, fierce dexterity that’s only been sporadically present in his work, and it does much to enliven what’s otherwise little more than a rote procedural marked by one clichéd narrative strand after another. From the rivalry between two firefighter brothers (Kurt Russell and William Baldwin) to the investigation by those men alongside a fire inspector (Robert De Niro) into a series of incendiary crimes, the film’s story is built upon a rickety foundation of clichés that are handled with formulaic competence by the all-star cast (also including the late, great J.T. Walsh). Worse, the identity of the villain is so painfully telegraphed from the story’s outset that any modicum of suspense is negated and puts the focus more squarely on tedious sibling- and romance-related minidramas. If ultimately too hokey to resonate as a compelling story, it nonetheless delivers enough adrenalized action to make it a passable multistrand thriller.
11) Edtv (1999)
Howard’s Edtv was sabotaged, in large part, by timing — specifically, by the fact that it was released less than a year after the similar, critically hailed The Truman Show. Time, however, has been kind to Howard’s 1999 satire, about a goofy everyman named Ed (Matthew McConaughey) who’s selected to headline a show about his every waking moment. Persistently followed around by cameras, Ed’s life becomes an unholy mess, full of romances that wax and wane according to the participants’ celebrity (and popularity), and family revelations that — foreshadowing our present Kardashian-saturated TV landscape — are tailor-made for prime time. The film’s portrait of people willingly exploiting themselves for media attention is hardly a groundbreaking conceit, but Edtv’s everything-recorded-in-real-time plot still resonates forcefully today and is bolstered by underrated comedic turns by McConaughey and the supporting cast, including Woody Harrelson and Jenna Elfman. Moreover, it captures, with wry cynicism, both our national appetite for building up, and then tearing down, those in the spotlight.
Russell Crowe and Howard on the set of ‘A Beautiful Mind’
10) A Beautiful Mind (2001)
The complicated life, and mental state, of Nobel Prize-winning mathematician John Nash is given the treacly triumph-of-the-will Hollywood treatment in A Beautiful Mind, the film that nabbed Ron Howard a Best Directing Oscar even though, at every turn, his work exposes his mushiest impulses. With his camera spinning around his protagonist to suggest his tumultuous headspace, and with CG effects making plain the way in which his fractured psyche teases out solutions to complex academic problems, Howard’s direction is heavy on gloss, light on substance. That’s also true of Akiva Goldsman’s script, which — with almost no adherence to factual accuracy — recounts Nash’s studies at Princeton, professorship at M.I.T., marriage, and collaboration with the government to break supposed Communist codes. Crowe’s deserving Oscar-winning performance captures the tangled madness of this brilliant but troubled man, and Jennifer Connelly is immensely moving as his loyal, long-suffering wife. But Howard persists on pulling at his audience’s heartstrings with a fairy-tale version of Nash’s victory over his problems, resulting in an occasionally affecting film that’s like a feel-good fantasy version of a thorny real life.
9) Night Shift (1982)
After following up his 1977 directorial debut Grand Theft Auto with a trio of TV movies, Howard returned to feature filmmaking with this rollicking 1982 comedy about two late-night morgue workers who set up a prostitution ring at their place of employment. Helping keep such a ludicrous premise alive are the film’s two standout lead performances by Henry Winkler and Michael Keaton, the latter in his first starring role, as clowns who decide to facilitate the sex-for-money business of Shelley Long’s lady of the night,. With Winkler underplaying his character’s nobility and Keaton letting loose with hyper energy as a wacko with one outlandish idea after another (the best: feeding mayonnaise to tuna, in order to save a step on their path to becoming human food), Night Shift has comedic energy to burn, and Howard handles his rambunctious material with suitable liveliness. While a sentimental second half neuters some of the movie’s gonzo vigorousness, Keaton’s gangbusters turn is so infectiously off-the-wall that, even 33 years later, it remains one of the director’s most purely funny offerings.
8) The Missing (2003)
An overt riff on John Ford’s The Searchers and the many antiheroes-rescuing-a-young-kidnapped-girl-from-savages movies that followed it (including Taxi Driver and Hardcore), Howard’s 2003 Western is never quite convincing on a narrative level but boasts a raw ugliness that makes it a welcome detour from his usual comfort zone. A frontier tale of rescue, the film (based on Thomas Eidson’s 2005 novel The Last Ride) concerns the efforts of a single mother (Cate Blanchett) to reclaim her snatched daughter from the clutches of Indians with the help of her long-absent father (Tommy Lee Jones), who’s spent years living among, and learning from, the American natives. While that setup leads to action sequences that primarily resonate as forced and false (especially when Blanchett’s plot-device younger daughter winds up in danger), and even though the Indians’ mystical “witch” leader borders on an offensive stereotype, the director’s portrait of life on the range has a cold, chilling nastiness that’s bracing.
7) Cocoon (1985)
Arguably the most Spielbergian of Howard’s many directorial efforts, 1985’s Cocoon charts the sweetly uplifting adventure undertaken by a group of senior citizens after they take a swim in their retirement community’s pool, and — thanks to the alien cocoons nestled beneath the water — find themselves magically rejuvenated. Howard’s depiction of the ravages of old age, and the fantasy of turning back the hands of time, is characterized by soft-focus lighting, gentle comedy, and considerable sentimentality. Although one wishes his sillier instincts trumped his sappier ones, there’s charming amusement to be had from the sight of Don Ameche (in an Oscar-winning supporting role) using his newfound vitality to break dance. Howard can’t quite stick his landing, which involves a mixture of fuzzy science fiction and even fuzzier religiosity, but he wisely keeps his material’s emphasis not on his younger characters (includingSteve Guttenberg) but his over-70 players, including Ameche and Maureen Stapleton, who bring genuine pathos to this portrait of the simultaneously scary and exciting process of navigating life’s home stretch.
6) Rush (2013)
Again teaming with screenwriter Peter Morgan (Frost/Nixon) for a real-life story of two opposing rivals facing off in the spotlight, Howard delivers a conventional but electric high-speed sports saga with Rush. Fixating on the 1976 Formula One racing season, Howard’s breathlessly paced film charts the competition between hunky English racer James Hunt (Thor’s Chris Hemsworth) and calculating Austrian pro Niki Lauda (Daniel Brühl). Their clash of personalities is the skeleton upon which Howard fleshes out a captivating snapshot of the era’s mixture of glamorousness and danger, the latter always hanging over his characters’ heads. At each other’s throats both on and off the track, the two protagonists engage in a duel that, narratively speaking, affords few surprises — especially if you know how things turned out for both of them. Yet Howard’s direction is consistently energetic, with his camera attaching itself to steering wheels and squealing tires, and peering out of racers’ visors, to convey the heady ecstasy of this most perilous of professions. It’s some of Howard’s most purely exhilarating filmmaking.
5) Splash (1984)
There’s nothing particularly revolutionary about Splash, Ron Howard’s 1984 hit about a young boy who encounters a mermaid and, years later as an adult (Tom Hanks), falls in love with that very same mythical creature (Daryl Hannah), who’s transformed into a human in order to find him in NYC. And there’s no escaping that Howard’s direction is, at this early stage of his career, still beholden to stiff sitcom rhythms. Still, there’s much to cherish about this old-school romantic fable, from Hanks’s endearing cheeriness to Hannah’s fish-out-of-water innocence to John Candy’s womanizing comedic relief as Hanks’s lothario brother. The film offers frequent hijinks via a subplot involving a scientist (Eugene Levy) intent on proving that Madison is a tailed nymph, and it affords a humorously canny portrait of modern materialism as the means by which people define themselves — a notion made plain by the mermaid’s decision to adopt the name Madison (after the Avenue), and by the fact that her first word is “Bloomingdale’s.” It’s a throwback that rests on the shoulders of its three leads, and on Howard’s deft balance of saccharine amour and slapsticky craziness.
4) Ransom (1996)
Based on a 1956 Glen Ford film, Ransom operates on the surface as a traditional kidnapping thriller about a successful businessman (Mel Gibson) who’s forced to make difficult choices to recover his son after the boy is snatched by Gary Sinise’s crooked cop. Howard handles these familiar genre proceedings with rugged tautness, keeping the pace brisk and the energy high. Yet far more interesting about his 1996 hit is the way in which it revels in the uglier aspects of its nominal hero and the moral dilemmas he faces. A man under investigation for bribery, Gibson’s protagonist is targeted specifically because of his shadiness (that is, he’s apt to pay his problems away), and the actor seems simultaneously most dubious — and interesting — after deciding not to give in to the criminals’ demands, but instead to find them so he can mete out some violent justice. As such, Ransom is not only vigorous and violent but also somewhat dark and twisted as well, and it’s to Howard’s credit that he doesn’t shy away from the nastiness of his tale — on the contrary, he allows it to flourish.
3) The Paper (1994)
Few films have ever captured the rush of daily journalism like The Paper, a breakneck film that covers a 24-hour period in the life of many reporters at a fictional New York City newspaper. Led by a superbly obsessive Michael Keaton as an editor willing to do anything — harm his reputation, squander a better job opportunity, abandon his pregnant wife — in order to nail down a big story, Howard’s superior 1994 film gets both the passion and mania of writers’ committing their every fiber to their latest assignment. Humming with fanatical life, Howard’s film concentrates on Keaton and his comrades’ investigation into the arrest of two African-American teenagers for the murder of out-of-town businessmen — apprehensions that Keaton believes are mistakes, and the result of a police coverup. With a cast that also includes Robert Duvall, Glenn Close, Marisa Tomei, and Randy Quaid, the film boasts a raft of nuanced characters whose various foibles, hang-ups, and traits are convincingly messy, and it has a fast-and-furious desperation that’s in tune with newspaper reporting’s break-it-before-your-rivals-do spirit. No matter its overly feel-good ending, The Paper is one of the finest films ever made about the media.
2) Apollo 13 (1995)
Resembling something like a John Ford film set in space, Apollo 13 delivers a stirring portrait of heroism through its expert retelling of the failed 1970 Apollo 13 lunar mission. Howard delivers both superlative white-knuckle excitement and inspirational drama with this historical thriller, in which Tom Hanks’s astronaut is tasked with getting himself, his craft, and his crew back to Earth in one piece after their trip to the moon goes awry. Hanks’s excellent good-guy performance is the axis around which the rest of the equally strong supporting turns orbit (the stellar cast includes Kevin Bacon, Bill Paxton, Kathleen Quinlan, Gary Sinise, and Ed Harris). Howard skillfully interweaves all of the characters’ strands into his main tale, all while fondly re-creating the period with exacting, nostalgic precision. Evoking both the wonder and horror of interplanetary travel, as well as the courage and sacrifice required to embark upon such journeys, Apollo 13’s realism extends from its rocket-related science to its three-dimensional characterizations. Helmed keenly by Howard, who always keeps his eye less on the stars than on his quietly valiant protagonists, it’s an ode to American daring and resourcefulness that stands as one of the decade’s most purely rousing hits.
1) Parenthood (1989)
Few modern American comedies have so accurately tapped into the multifaceted dynamics of becoming a parent — and having to deal with your elders — as Parenthood, a film that, 26 years after its initial release, stands as Howard’s ultimate triumph. Rich in character detail and wise about the imperfections of grown-ups and kids alike, it flip-flops between a number of interlocking narratives concerning the various members of a four-generation clan, with Howard seamlessly nailing the thrill of poop jokes and the terror of watching one’s progeny go down an ill-advised road. Led by Steve Martin, Mary Steenburgen, Jason Robards, Dianne Wiest, Tom Hulce, Martha Plimpton, Rick Moranis, and a young Keanu Reeves, the film nimbly locates the way in which day-to-day family life can be so tough, complicated, and nerve-racking as to border on the absurd. Parenthood recognizes the simultaneously funny and fearsome task of trying to live up to parents’ expectations while also setting an example for future generations — a push-pull that’s grounded in the script’s astute recognition of the fact that all adults are also kids. More than in any of his other works, Howard here exhibits a gift for getting at universal human truths with a sharp visual touch, and via an incisive blend of the humorous and the heartfelt.
Watch the trailer for ‘In the Heart of the Sea’ below:
The biggest mystery in ‘Guardians of the Galaxy’ might just
have been solved – the identity of Star-Lord’s galaxy-hopping father.
According to Umberto Gonzalez of Heroic
Hollywood, inside sources have revealed the identity of Star-Lord’s dad…
and it’s not who you might think.
“Off the bat, let me tell you that it ain’t Thanos, Loki,
Star-Fox, Adam Warlock, Yondu or The Collector,” he said. “According to four of
my individual sources, in fact four individuals who do not know each other,
tell me that Peter Quill’s father is none other than Captain Marvel.”
Of course James Gunn has already fervently denied that
Captain Marvel would appear in ‘Guardians of the Galaxy Vol. 2’… but it might
be a bit of a cop out.
“He’s correct,” said Gonzalez. “Because he’s talking about
Carol Danvers… I’m talking about Silver Age Captain Marvel, the original
Captain Marvel, aka Mar-Vell – the Kree super-soldier sent to examine Earth’s
missile and advanced technologies programs.”
First appearing in the comic books in ‘Marvel Super-Heroes
#12’, Captain Marvel was created by Stan Lee and Gene Colan… and eventually
allies himself with Earth upon learning the malign plans of his Kree superiors.
Adopting the mantle of Captain Marvel, the alien known as
Mar-Vell became one of the more unique Marvel heroes… and went on to inspire a
number of heroes to follow in his footsteps – including Carol Danvers.
But could he really be Star-Lord’s father?
As an alien entity sent to Earth, it certainly makes sense
that he may have interacted with the locals… and perhaps fallen in love with
Peter Quill’s mother. And let’s face it – it would be a rather neat way of
tying the Captain Marvel legacy into the wider Cinematic Universe.
After all, Carol was originally given her powers by Mar-Vell
“Captain Marvel’s mortal enemy, Colonel Yon-Rogg kidnapped
Carol, using her as bait in his conflict with Mar-Vell,” says the official Marvel
wiki. “In the course of the battle, Carol and Mar-Vell were caught in the
explosion of a Kree Psyche-Magneton device. [This] somehow caused Carol’s
genetic structure to be melded with Mar-Vell’s.”
Although Mar-Vell was apparently unaltered by the event,
Carol Danvers became a perfect Kree/Human hybrid – inheriting all of Mar-Vell’s
powers, Kree knowledge and training.
Will this prove to be Carol’s origin in the Marvel Cinematic
For now, we’ll have to wait and see… but it could well tie these upcoming Marvel movies together.
‘Guardians of the Galaxy Vol. 2’ heads to cinemas on 5 May
Black Panther Needs A Black Director, According To Ryan Coogler
Even though ‘Black Panther’s’ release date is now just under two-and-a-half years away we’re still not sure who is actually going to be directing the Marvel blockbuster.
Chadwick Boseman was confirmed as T’Challa last year, and while many filmmakers have been linked to the ‘Black Panther’ director’s chair Marvel still can’t quite decide who they want.
One of these directors was Ryan Coogler, who is currently promoting ‘Creed’, the ‘Rocky’ spin-off and his sophomore film after the critically acclaimed ‘Fruitvale Station.’
From the sound of things Coogler hasn’t landed the gig. But that doesn’t mean that he doesn’t have a strong opinion on who should. And while chatting to Screen Rant Coogler talked about the importance of ‘Black Panther’s’ director’s ethnicity mirroring that of the character.
“I think that there is a potential for a greater truth when a filmmaker comes from a particular culture that they’re dealing with,” Coogler explained.
“That’s not to say that a filmmaker can’t work outside his or her cultural space. But I do believe that the opportunity for the film to have more nuance will come when you are looking at filmmakers that bring a little bit of that from their personal experience.”
With this in mind Ryan Coogler also insisted that if/when a film female led superhero film is greenlit it should be overseen by a woman too.
The fact that Marvel have only ever used white, male directors means that there has been a huge call for them to hire a black filmmaker to bring the most famous black superhero of all time to life.
Alongside Coogler, the likes of ‘Selma’s’ Ava DuVernay and ‘Straight Outta Compton’s’ F. Gary Gray have also been touted as potential ‘Black Panther’ directors. But at the moment we’re still really none the wiser about who is the front-runner.
But with ‘Thor: Ragnarok’s’ director confirmed as Taiki Waititi last month, and ‘Black Panther’ due out just a few months after on February 16, 2018, we can expect an answer on whose in charge sooner rather than later.
Chris Hemsworth Wants More Humour In Thor: Ragnarok
Thor actor Chris Hemsworth is hoping the god of thunder’s third solo outing will have a little more mirth and merriment than we’ve seen from him of late.
Speaking to Cinema Blend about his hopes for third movie ‘Thor: Ragnarok,’ the 32-year old actor says he thinks the film “needs to be injected with that sort of smart wit and unexpected kind of humor, kind of what James Gunn came in and did with ‘Guardians [Of The Galaxy].’
“It was like off center and unpredictable, and I think we can definitely use a dose of that, you know?”
It seems generally agreed now that 2013′s ‘Thor: the Dark World’ is among the most underwhelming of the MCU movies, more notable for its well-publicised behind the scenes controversies - the dismissal of original director Patty Jenkins (now at the helm of ‘Wonder Woman’ for rivals Warner Bros/DC),and the struggles of her replacement Alan Taylor - than anything in the movie itself.
Whilst ‘The Dark World’ did attempt to balance out its overriding grimness (dark by name, dark by nature) with slapstick-ish humour, Hemsworth acknowledges this didn’t really work:
“I feel we had less of the sort of the naivety or fun or humor that the first [Thor] might have had. I wish we had more of that in the second [movie].”
As such, the actor appears hugely optimistic at the appointment of Taika Waititi - best known for TV’s ‘Flight of the Conchords’ and vampire comedy ‘What We Do in the Shadows’ - as director of ‘Thor’s third solo movie.
“We’ve done regal. We’ve done Shakespeare, and we’ve shown that. I think now it’s time to go, ‘Ok, cool. Let’s try something different,’ and Taika just had such a brilliant sort of take and funny kind of ideas about where we could [go], how we could do that.”
Given the apocalyptic title and early rumours that it could be the darkest MCU movie yet, ‘Thor: Ragnarok’ might not seem the most likely place for a bit of light humour - but if it is, Waititi is surely the right director to pull it off.
And if it winds up anywhere near as funny as ‘What We Do In The Shadows,’ we’re in luck.
Confirmed to co-star Mark Ruffalo as Bruce Banner/the Hulk, with Tom Hiddleston’s Loki and Jaimie Alexander’s Lady Sif expected to return, ‘Thor: Raganrok’ goes into production next year and is set to hit UK cinemas on 27 October 2017.
8 Reasons GoldenEye Is One Of The Best James Bond Films EVER
‘GoldenEye’ was released 20 years ago this week. After a 6-year hiatus – the longest gap in Bond history – 007 was back with a bang, and Pierce Brosnan’s debut effort is still rightly considered one of the best Bond movies of all time.
Here are 8 reasons why ‘GoldenEye’ stood the test of time.
‘GoldenEye’ was originally conceived as a vehicle for Timothy Dalton who still had one film left to go in a three-movie deal. However, after the production was delayed numerous times Dalton turned the film down paving way for Brosnan to assume the lead.
It’s easy to dismiss Brosnan’s later, cartoonish efforts but he was the perfect man to play the slick new 90s James Bond in ‘GoldenEye’.
As well as a new actor for Bond, the whole franchise was given a refresh to keep him relevant in the post-Cold War era. As a nod to MI6’s Stella Rimington, we got a new female M, quick to call Bond a “sexist, misogynist dinosaur” and a “relic of the Cold War”, and we even see 007 working with the Russians to track down the Goldeneye weapon, albeit briefly.
The casting of ‘GoldenEye’ is superb from top to bottom. Sean Bean is the perfect foil for Brosnan as lead villain Alec Trevelyan, Judi Dench and Samanatha Bond made memorable Bond debuts as M and Moneypenny, and the Bond girls Izabella Scorupco and Famke Janssen ably went toe-to-toe (and cheek-to-cheek) with 007. Let’s not forget Robbie Coltrane, Alan Cumming, and Joe Don Baker who all made the most of their limited screen time.
Introducing a new James Bond on screen is a tricky job, but ‘GoldenEye’ nails it with style to spare. Brosnan’s secret agent bungee jumps off the top of an impossibly high dam, clad in all black, in an eerily silent sequence that echoes Roger Moore’s freefall from the top of a mountain in ‘The Spy Who Loved Me’. There’s no Union Jack parachute here though, that’s much too crass for the cool new 007.
Following Bond’s death-defying leap, the opening continues at a phenomenal pace, culminating in Bond riding a motorcycle off a cliff, leaping off it, and somehow commandeering a plane just in the nick of time. And this was before the credits even rolled. A 6-minute tank chase sequence in St Petersburg is the film’s action centerpiece though, which to my mind, was never bettered in Brosnan’s era.
A Great Villain
Legend has it that Sean Bean actually auditioned to play Bond himself, but we think he’s much better suited as Alec Trevelyan aka 006. Bond’s friend-turned-foe plans to electronically rob the Bank of England (how delightfully 90s!) before erasing its financial records, bankrupting the UK in the process. He has a facial scar, a penchant for scathing putdowns, and an epic lair - what more could you want from a Bond villain?
Two years after ‘GoldenEye’ tore up the box office records for the franchise, 007 conquered a whole new medium – the Nintendo 64. The tie in game developed by Rare was superb fun, particularly on 4-players split screen, and it’s still recognised as one of the best movie to game adaptations ever made.
We had a near escape on this one. Ace of Base originally recorded a theme song for ‘GoldenEye’ (listen here) but their record label pulled it over fears that if the film flopped, it would reflect badly on the Swedish pop group. The final theme song, written by Bono and The Edge and performed by Tina Turner, is still one of the best Bond songs to date. Ace of Base eventually released their version as ‘The Juvenile’ if you want a taste of what could have been.
“I was in the Bahamas, working on a movie called ‘After The Sunset’ and my agents called me up and said, ‘Negotiations have stopped. [Producers Barbara Broccoli and Michael Wilson] are not quite sure what they want to do,” the actor shared.
“I sat in Richard Harris’s house in the Bahamas, and Barbara and Michael were on the line —‘we’re so sorry.’ She was crying, Michael was stoic and he said, ‘You were a great James Bond. Thank you very much,’ and I said, ‘Thank you very much. Goodbye.’ That was it. I was utterly shocked and just kicked to the curb with the way it went down.”
This does sound rather cold, especially after having given seven years to the series and beginning strongly with the classic ‘GoldenEye’. Obviously after his departure it was Daniel Craig’s turn to step into the famous tux, and the rest, as they say, is history with both ‘Skyfall’ and ‘SPECTRE’ having broken box office records.
As with any actor playing Bond, each has a shelf life (unless you’re Sean Connery, that is.) But the way its producers went about the revamp could have perhaps been a little more tactful, regardless of their desire to reboot and reinvigorate the character.
Others have taken the dimensions of the plank, added in some other data like the combined weight of Winslet and DiCaprio’s characters, the density of the wood and suchlike, and put the equations to the test.
Hosts Adam and Jamie – with help from Cameron himself – determined that a little lateral thinking (easy to come by when you’re not freezing to death, of course), might well have saved them both (see below).
Simply strapping Rose’s life-preserver to the bottom of the plank would have affording it significantly more buoyancy, and thus allowed Jack to climb aboard for the 63 minutes it would have taken to be saved by dashing Ioan Gruffudd in his lifeboat.
Hindsight is a wonderful thing, of course.
However, having the last word, Cameron told the pair: “I think you guys are missing the point here. The script says Jack died. He has to die.
“So maybe we screwed up and the board should have been a little tiny bit smaller, but the dude’s goin’ down.”
It appears that 20th Century Fox has removed the planned sequel to this year’s critically and commercially disastrous ‘Fantastic Four’ reboot from its future release schedule.
The move has sparked further speculation that Fox may let the rights slip away in 2022, opening up for the first family of superheroes to return to Marvel Studios and the Marvel Cinematic Universe (MCU).
News of the film’s removal comes from the BoxOffice.com Twitter account, which states plainly: “Fox has removed ‘Fantastic Four 2’ from their release schedule.”
The film had been pencilled in for June 2017. It is believed that Fox needs to have a new film in production by seven years following the release of the last film, as part of their rolling deal for the rights to the heroes and their foes.
This previously meant that Fox would have lost the rights this year, prior to the production and release of the reboot, and means Fox has until 2022 to make a new film - should they even want to.
Financially it wouldn’t make sense given the poor performance of all three films so far and particularly the performance of the most recent movie. However, Fox may not want to relinquish the series to Marvel knowing they would likely capitalise on what it offers to them and their series.
Fox could certainly take the hit though, as they still hold the 'X-Men’ license and likely will for a very long time to come. A return to Marvel would also delight fans, not because of The Thing or Mr Fantastic, but because of Doctor Doom.
We’re still not letting go of our dream of Mads Mikkelsen playing Doom, and we never will.
The cartoon character with the weirdest-shaped head of them all is getting the movie treatment.
Nickelodeon is working on a feature-length jaunt of ‘Hey Arnold!’, that will pick up where the final series of the show ended.
The show ran from 1996 up to 2004, following nine-year-old school kid Arnold, who lived at his grandparents’ boarding house in the fictional city of Hillwood, and his exploits with chums Gerald and Helga.
According to Variety, the movie, which will be made for TV, will resolve various issues around the show’s plot, among them what happened to Arnold’s parents.
“Kids who grew up on these characters are now of the age that they are having kids and families themselves,” said Nickelodeon president of content development Russell Hicks.
“Our library has come to fruition and it’s time for it to start coming back to life.”
There’s plenty of back story and characters to go on – the series ran through five seasons and 99 episodes, and featured Homer Simpson voice actor Dan Castellaneta as Arnold’s granddad Phil, and fellow Simpsons alumnus Tress MacNellie (aka Agnes Skinner, Cookie Kwan) as his grandma Gertrude.
There was also a movie, ‘Hey Arnold! The Movie’, released back in 2002.
Whether the one of the original voices of Arnold will return, Lane Toran (formerly known as Toran Caudell and who also voiced the bully Wolfgang), is not known.
However, it is perhaps rather less than likely considering he’s now a 33-year-old musician and looks like this, with 87,000 followers on Instagram obsessing over his vast beard and matinee idol looks.
Plus he only voiced Arnold for the first two seasons.
It’s thought that Nickelodeon could also potentially bring back other properties including ‘Ren & Stimpy’, following recent long-form successes with the likes of 'Spongebob Squarepants’.
Star Wars 7’s Carrie Fisher Discusses How Leia Has Changed
It’s no secret that Leia will return in ‘Star Wars: The Force Awakens’… just don’t call her ‘Princess’.
During an interview with Time Magazine, the 59-year-old ‘Star Wars’ star explained how things have changed for the hero we now know as General Leia.
“Oh, my God, she got so much older,” she said. “I tried to stop her, but apparently that includes death so that didn’t seem like a good solution. Along with aging comes life experience, so in every way that is consistent with even being human Leia has changed.”
Of course, we all remember Princess Leia’s stint in the gold bikini… but now Disney seems to be pushing the character in a far more modern direction.
Taking a position of great power within the Resistance, General Leia is a force to be reckoned with… and that means far less makeup.
“I’ve seen pictures of myself with makeup on and I look like those women who look like they’re wearing makeup so they can look young, and I don’t think that’s good,” she said. “They have all these products now called — wait, what’s it called, it’s my favorite — youth suppressant, or age go away, they don’t work.”
“I didn’t wear a lot of makeup to begin with and I was always; you have to be very careful with that stuff. It really annoys me that I’m vain but, unfortunately, I haven’t been able to discard that tendency.”
It certainly sounds as though a lot has changed for Leia Organa since the original ‘Star Wars’ trilogy… and with hints that ‘The Force Awakens’ provides a touching reunion between her and Han Solo, she may have had to go it alone all this time.
But is Carrie Fisher happy to be back? You bet…
“I’m a female and in Hollywood it’s difficult to get work after 30; maybe it’s getting to be 40 now,” she added. “I long ago accepted that I am Princess Leia. I have that as a large part of the association with my identity. There wasn’t a lot of hesitation.”
‘Star Wars: The Force Awakens’ heads to cinemas on 17 December 2015.
Toys based on ‘Jurassic World’ and ‘Teenage Mutant Ninja Turtles’ have made a shortlist of the most dangerous toys for kids in 2015.
The ‘Jurassic World Velociraptor Claws’ were singled out for potential eye and facial injuries because “No warnings or cautions are provided regarding the potential for eye and facial injuries” while ‘Leonardo’s Electronics Stealth Sword’ was considered dangerous and likely to cause “blunt force injuries”.
Other toys named include ‘Poo-Dough’ (dangerous for those with allergies), a trampoline (potential for injury), and a foam dart gun (too realistic looking).
The list of the “10 worst toys” was released by World Against Toys Causing Harm, Inc. (W.A.T.C.H.), a non-profit to industry watchdog that seeks to “raise awareness about unsafe children’s products”.
The offending items have been made public in time for the Christmas period in a bid to make parents aware of the “dangers associated with online purchases of potentially harmful toys.”
W.A.T.C.H. also advises parents to exercise caution when buying toys online urging them to not “compromise safety for convenience”. They also warn about the dangers of buying retro, second-hand toys for franchises like ‘Jurassic Park’ and ‘Star Wars’.
Of course, the alternative argument is that if you’re keeping a close eye on your kids and teach them to play responsibly, they probably won’t end up clawing their own eyes out with fake raptor hands.
The Original 'Villain' Woody From Toy Story Looks Real Mean
Back when ‘Toy Story’ was being formulated, well over 20 years ago now, Tom Hanks’s Woody was going to the movie’s villain.
And this is what he looked like.
On display at the Pixar Living Archive in Emeryville, California, this early iteration of the highly-strung cowboy is all hooded eyelids, long of nose and with a bit of a mean-looking chin/nose combination.
The model is now kept in a humidity and temperature-controlled environment at the facility, which boasts vast amounts of Pixar-based art, sculpture and assorted ephemera.
In the end, Woody became a good guy, and the picture below shows a sculpture more like the sheriff we now know and love.
Seemingly his eyes were digitally added.
Speaking to Den of Geek, head archivist Christine Freeman said: “Everyone thinks it’s all digital. But we have boxes and boxes of art.”
The story of the evolution of Woody and Buzz, ‘Toy Story’s linchpin protagonists, is a fascinating and much-documented one.
Pixar’s now chief creative officer John Lasseter, who directed the first two 'Toy Story’ movies and has executive produced every Pixar movie since - and will be helming 'Toy Story 4’ - originally wrote a short called 'Tin Toy’ in 1988, about a toy soldier trying to escape the clutches of a rough-playing baby (early echoes of ‘Toy Story 3′ there).
A planned Christmas one-off animation never came off, but from here, the genus of Buzz and Woody grew, with Woody originally a ventriloquist’s dummy – which the studio bosses disliked – and latterly an antagonist, a sarcastic bully who causes a rebellion among the other toys.
This arc wasn’t popular with the studio either, so he became the sheriff and benevolent leader of the toys instead.
Buzz, meanwhile, wasn’t always Buzz.
He evolved from a character called Lunar Larry, and continued to change while 'Toy Story’ was being developed, with original plots making him aware that he was part of a TV show, rather than entirely unaware, which provided much of the humour for the movie’s first instalment.
The first movie was released back in 1995, and was the highest-grossing movie of the year, making £373 million, accounting for inflation.
Although we’re still yet to see Luke Skywalker in ‘Star Wars: The Force Awakens’, he’s finally opened up about his return to the galaxy far, far away.
During an interview with Famous Monsters of Filmland, the 64-year-old Jedi finally spoke about ‘Star Wars: The Force Awakens’… and gave us a hint of what to expect.
“It is about setting up the next generation of heroes and villains,” he said. “But the fact that half a dozen cast members from the originals can be there to place it in some sort of context, to be there for the historical side of things, I think it’s wonderful.”
‘Star Wars: The Force Awakens’ has already introduced us to the next generation of heroes, with John Boyega’s Finn and Daisy Ridley’s Rey taking up arms against the First Order.
But how do the original heroes fit into this?
“Young people can see the progression of the characters,” he added. “I’m old enough to be Luke’s grandfather now, and that’s a healthy, natural thing for people to see.”
Of course, this doesn’t exactly give much away when it comes to the fate of Luke Skywalker – who has not been showcased in any of the trailers and is rumoured to be in exile following the events of ‘Return of the Jedi’.
But Hamill does mention that he’s old enough to be their grandfather…
Could this mean a direct family connection to any of the new ‘Star Wars’ heroes?
Spotted sporting a decidedly Jedi-looking beard during the filming of ‘Star Wars 7’, it seems that Skywalker may now find himself in the role of mentor, similar to how Sir Alec Guinness taught him the ways of the Force.
But while ‘The Force Awakens’ may draw from the original trilogy, Hamill teases that the new movie will be “every bit as exciting for the audience, [but] it’s not going to be like it was then, when we’re rattling around in the Death Star, and exchanging quips, and jockeying for the affections of the princess.”
“It’s going to be age appropriate,” he added. “The story has moved on, and our purpose in the story is different than it was then.”
‘Star Wars: The Force Awakens’ heads to cinemas on 17 December 2015.
Will Smith Reveals Why He Turned Down Tarantino's Django Unchained
Will Smith has revealed why he turned down the lead role in Quentin Tarantino’s slave-era drama ‘Django Unchained’.
The star was talking at The Hollywood Reporter’s Actor’s Roundtable discussion when he explained his issues with the movie.
The lead role of Django, a black slave searching for his wife, who has been taken by a psychotic plantation owner, eventually went to Jamie Foxx.
“It was about the creative direction of the story,” Smith said, sitting opposite Samuel L. Jackson, who took a main role in the movie as Stephen, the overseer of the plantation slaves.
“To me, it’s as perfect a story as you could ever want: a guy that learns how to kill to retrieve his wife that has been taken as a slave. That idea is perfect. And it was just that Quentin and I couldn’t see [eye to eye].
“I wanted to make that movie so badly, but I felt the only way was, it had to be a love story, not a vengeance story.
“We can’t look at what happens in Paris [the terrorist attacks] and want to f**k somebody up for that. Violence begets violence.
“I just couldn’t connect to violence being the answer. Love had to be the answer.”
Smith also spoke about how he ‘fell out of love’ with acting around four years ago, but rekindled it thanks to his daughter Willow.
The star took something of a hiatus between 'Hancock’ and 'Seven Pounds’ in 2008 and 'Men In Black 3’ in 2012.
“In retrospect, I realise I had hit a ceiling in my talent. I had a great run that I thought was fantastic, and I realized that I had done everything that I could do with the 'me’ that I had,” he said, adding that he went into a period of reflection, when he realised he’d become 'product orientated’.
“I really dived into me, and then all of a sudden it was like, 'Oh!’ And I found the connection. Your work can never really be better than you are, you know? Your work can’t be deeper than you are.
“I have a 15-year-old daughter, and she got me and shifted my focus from product to people.
“It took a couple of years, but as soon as I got knocked off of product and started shifting to people, the whole world opened up for me again, and acting opened up in a whole new way - to not go into day one of a movie trying to figure out what everybody has to do so we win, versus opening up and every person is a whole new world.
“It was a pathology that broke for me a couple of years ago and I fell in love and then I couldn’t imagine what else I could do that could add so much to my life other than acting.”
Smith will be courting an Oscar nomination in his next movie, playing Nigerian forensic pathologist Dr. Bennet Omalu, who brought attention to the effects of head trauma injuries in the NFL.
It’s out in the UK on February 12. Check out the trailer below.
Will Smith talks racism in Hollywood and why he turned down Django Unchained
Will Smith has revealed he has “absolutely” experienced racism and prejudice during his glittering career.
The Fresh Prince Of Bel Air star said racism is rare but when he comes into contact with it he gets away from those people as fast as possible.
Will sat down with Sir Michael Caine, Joel Edgerton, Samuel L Jackson, Benicio Del Toro and Mark Ruffalo for The Hollywood Reporter’s actor roundtable and said he had recently discussed the topic of prejudice with his wife Jada Pinkett Smith.
He said: “My wife and I were just having this conversation, and we were going to the dictionary for “prejudice” versus “racism”. Everybody is prejudiced. Everybody has their life experiences that make them prefer one thing over another — it makes them prefer blonde hair over a brunette; if you see somebody with dark skin walking down the street, you have a different reaction than you have [with] someone who is 5′ 1″ and white.
“But there is a connotation with racism of superiority – you feel that your race generally is superior. And I have to say, I live with constant prejudice, but racism is actually rare — someone who thinks their race is superior. I don’t want to work for them. I don’t want to work at that company. And the times I have come in contact with it, you get away from those people.”
Will Smith and wife Jada Pinkett Smith (Al Powers/Invision)
Asked if he had come in contact with it, he said: “Oh, God, yes. Yeah, absolutely.”
However, Will said he felt he comes from a position of strength when it comes to squashing hate.
“As actors we have the ultimate power. Historically, story combined with imagery moves humanity forward. What we do — not that it’s a responsibility, but it is the ultimate forum for changing people’s hearts and minds. So when I’m choosing a movie, I understand the global power of being able to send imagery around the world.
“A large part of the way that America is viewed globally is from the historical imagery that we have sent around the world through cinema. Any time I put something in the world, I am always connecting to an idea. I’m always asking, ‘Why am I making this?’.”
Will also opened up about why he turned down a role in Quentin Tarantino’s Oscar-winning film Django Unchained.
Asked if he was offered the film, Will replied: “I was trying to avoid that [topic]. It was about the creative direction of the story. To me, it’s as perfect a story as you could ever want – a guy that learns how to kill to retrieve his wife that has been taken as a slave. That idea is perfect.
“And it was just that Quentin and I couldn’t see [eye to eye]. I wanted to make the greatest love story that African-Americans had ever seen.”
Django Unchained director Quentin Tarantino (Alexandre Meneghini/AP)
He added: “We talked, we met, we sat for hours and hours about it. I wanted to make that movie so badly, but I felt the only way was, it had to be a love story, not a vengeance story. I don’t believe in violence as the reaction to violence. So when I’m looking at that, it’s like: ‘No, no, no. It has to be for love.’
“We can’t look at what happens in Paris [the terrorist attacks] and want to f*** somebody up for that. Violence begets violence. So I just couldn’t connect to violence being the answer. Love had to be the answer.”
Will’s new movie Concussion arrives in UK cinemas on January 29, 2016.
This New Clip From Disney’s Zootropolis Is Hilarious
Disney’s ‘Zootropolis’ isn’t out for six months, but a new clip featuring Flash the sloth has been released online, and it’s rather funny. Watch it above.
Having already been introduced to a majority of the supporting cast, including Idris Elba’s Chief Bogo and JK Simmons as Mayor Lionheart, it was Flash the sloth that caught our eye, and it seems for very good reason.
The new clip centres around Nick (Jason Bateman) and Judy (Ginnifer Goodwin) visiting Flash at work, which results in a rather amusing exchange.
After its initial teaser there was plenty of reason to get our hopes up for this one, but this extended clip should get Disney fans even more enthused because it’s got that quirky, comedic tone synonymous with Pixar.
Named ‘Zootopia’ in the US, the UK name change won’t mean anything in the film changes and still follows Nick Wilde (Bateman) who goes on the run after he’s framed for a crime he didn’t commit. Hot on his heels is police officer Judy Hopps (Goodwin), as she vows to get to the bottom of the mystery.
We’ve a good feeling about this one, especially having now seen some great footage and the excellent cast involved, this could prove to be Disney’s surprise hit of 2016.
Because of the critical acclaim that has greeted Pixar’s releases in the past each new film from the studio is anticipated with a rabid fervour.
Sure, the likes of ‘Cars’, ‘Cars 2’, ‘Brave’ and ‘Monsters University’ didn’t quite match the heights of Pixar’s most beloved output. But ‘Inside Out’, the studio’s most recent effort, proved that they were just as integral and impressive as ever.
And even though the imminent release of ‘The Good Dinosaur’ is set to be followed by ‘Finding Dory’, ‘The Incredibles 2’, ‘Cars 3’, and ‘Coco’ over the next four years there is one film in particular that has moviegoers of all ages counting down the days until it hits cinemas: ‘Toy Story 4’.
What can we expect from ‘Toy Story 4’ though? Well, according to Ed Catmull, one of Pixar’s founders who is currently president of both Pixar Animation Studios and Disney Animation Studios, something completely different.
Catmull explained to The Hollywood Reporter that because the original ‘Toy Story 3’ trilogy was just so perfect they felt the need to branch out and take the fourth instalment to a completely new area.
“In the case of ‘Toy Story’, we had basically the perfect trilogy,” Catmull remarked. “So, in this case, it’s not like, ‘OK, you can go on to the next step.’ We really wrapped that one up. At this point, you’ve got to go in a very different direction. This is a different kind of exploration.”
As anyone who watched the end to ‘Toy Story 3’ can attest, the film emotionally and downright perfectly brought an end to the trilogy while at the same time being a rousing, funny, and thrilling film in its own right. Cinema doesn’t get any better than when the gang prepare for their deaths in the incinerator.
Where does that leave ‘Toy Story 4’ to go then? In a more romantic angle. Director Jon Lasseter has previously confirmed that it will follow Woody’s attempt to find Bo Peep, who, despite being Woody’s beau, was heartbreakingly omitted from ‘Toy Story 3’.
But since ‘Toy Story 4’s’ release date was pushed back all the way back to June 15, 2018, we’re going to have to wait a little bit longer than we thought to have our reunion with Buzz, Woody, et al. Fingers crossed it will be worth it. Because if it’s not there will probably be a riot in Emeryville.
Just when Sir Ridley Scott’s ‘Alien: Covenant’ has been gathering momentum and dominating the ‘Alien’ franchise headlines, Michael Biehn’s only gone and revealed some juicy details on the plot for ‘Alien 5′.
Biehn, the actor who played Corporal Hicks in James Cameron’s ‘Aliens’, had a lot to say regarding ‘Alien 5′ (as per its working title), declaring it was still very much happening.
Firstly, all the ‘Alien: Covenant’ headlines looked set to put Blomkamp’s venture on hold indefinitely, but he reassured fans that things were still progressing even though Fox were “putting the brakes on Neill’s movie just for a little while.”
However, he went on to drop a massive piece of plot news: Newt, the small girl that featured in ‘Aliens’, will be in Blomkamp’s flick. Not only does this, as he previously specified, ignore ‘Alien 3′ and ‘Alien: Resurrection’, but it plays out a very different timeline whereby both Hicks and Newt survive the crash-landing in David Fincher’s ‘Alien 3′.
Biehn describes how Newt would fit into the story, revealing that “at this point Newt will be around 27-years-old. I know that every actress in Hollywood is going to want to play this one, it’s really a passing of the torch between Sigourney and this younger actress who would play Newt. It would keep the franchise alive and the studios would make money, because that’s what the bottom line is now: money.”
He also explains that Scott is on board to produce ‘Alien 5′, and needs to finish one before starting the other. “I’m really looking forward to that. I know that Ridley’s focus is on the second ‘Prometheus’ and I’m sure that he and Fox both don’t want that and Neill’s movie to come out right next to each other.”
It makes obvious sense that not only could Scott not juggle the two (arguably) very similar projects, but having them released near one another wouldn’t be a good move financially.
So it seems all is not lost with Alien 5′s’ future, then. Depending on how Sir Ridley’s ‘Alien: Covenant’ is critically received and performs will determine anticipation levels and shape the budget Blomkamp will have at his disposal. So far his ideas for the film - including the notion of bringing back Sigourney Weaver as Ripley - certainly has everyone’s full attention.
The report claims that the studio backed Jolie Pitt’s recent directorial project ‘By The Sea’ as a quid pro quo, leaving the actress-turned-director “amendable” to starring in either a new take on the horror classic, or a sequel to the actress’s 2008 action hit ‘Wanted.’
Given that ‘By the Sea’ - in which Jolie also stars with husband Brad Pitt - has proven a notorious critical and commercial failure, it seems fair to assume that Jolie Pitt will be left in a position where she may be more obliged to bend to the studio’s will.
Not that ‘The Bride of Frankenstein’ should not be considered a prestige project. The 1935 film from director James Whale, the first sequel to his original 1931 ‘Frankenstein,’ has long been regarded the finest horror film made by Universal in their golden age, and still one of the greatest films ever made in the genre to this day.
Boris Karloff gave his finest performance as the troubled Creature, whilst Colin Clive’s Frankenstein teams up with Ernest Thesiger’s eccentric Dr Pretorious to create the monster’s mate.
Though Elsa Lanchester appears as the Bride for only a few minutes, she remains one of the most instantly recognisable movie monsters of all time.
A new take on ‘The Bride of Frankenstein’ has long been expected, as part of Universal’s ongoing plans to relaunch their monsters in a shared cinematic universe (much as the studio did back in their heyday with such films as ‘Frankenstein Meets the Wolf Man,’ ‘House of Frankenstein’ and ‘House of Dracula’).
While this contemporary monster universe was ostensibly started by last year’s ‘Dracula Untold,’ it is set to really begin with the 2017 reboot of ‘The Mummy.’
‘The Creature From The Black Lagoon’ is also to be remade, with Scarlet Johansson said to be the studio’s favourite for the female lead. A new take on ‘Van Helsing’ is also known to be in the works.
However, beyond ‘The Mummy’ (due 24 March 2017) no release dates have been announced to date, so we do not yet have any indication as to when we could expect any of these new Universal monster movies, let alone a new ‘Bride of Frankenstein.’
In the meantime, fans of vintage horror wait with bated breath to see if these new films from Universal do the source material justice. The prominent involvement of writer-producer Alex Kurtzman (‘Transformers,’ ‘The Amazing Spider-Man 2,′ also set to direct ‘The Mummy’) hasn’t inspired huge confidence from many - nor have hints that the films will be aiming for a PG-13 action adventure tone.
Still, if Universal do indeed get the tone right and bring their monsters back with real style, is there anyone better suited to the Bride of Frankenstein than Jolie Pitt? And might she also be a possibility as director?
Leonardo DiCaprio Oscar Buzz Grows After First Screening Of The Revenant
Could this be Leo’s year?
Leonardo DiCaprio hasn’t yet won an Oscar despite being nominated five times, but his performance in new film ‘The Revenant’ is being tipped to end his losing streak.
The film, from ‘Birdman’ director Alejandro González Iñárritu, screened in the US over the weekend. Despite an official review embargo, Leo has been earning plaudits on twitter from those who were at the screening.
The most high profile attendee was film director Mark Romanek, who tweeted:
Influential indie producer Cassian Elwes was also impressed:
As were many others who were lucky enough to catch the screening:
The film stars DiCaprio as a frontiersman who embarks on a journey of revenge against those who left him for dead after a bear mauling. Tom Hardy is the villain.
In the Q&A after the screening Leo said it was the hardest film he’s ever made because of Iñárritu’s attention to detail.
The shoot was described as a “living hell” by The Hollywood Reporter earlier this year thanks to the huge turnover of crew, adverse weather conditions and the director’s perfectionism (he would only shoot in natural light for example).
But these early reactions could mean it was all have been worth it. Fingers crossed this could happen…
‘The Revenant’ is released in the UK on 16 January 2016.
An eagle-eyed fan has pointed out a rather special gag hidden is this week’s episode of ‘Doctor Who’ that’s so awesomely nerdy, it threatens to tear the very fabric of time and space in two - did you spot it?
This screengrab from the emotional ‘Face The Raven’ shows some odd writing on the wall in the secret street. As Radio Times has pointed out, the letters are in Aurebesh, the official language of the ‘Star Wars’ films, and if you translate the writing using the Aurebesh alphabet (see below)…
You can see that the writing translates as Delorean, AKA the car Doc Brown uses to travel through time in ‘Back To The Future’.
This is outrageously nerdy and we totally approve.
New Kevin Smith & Rob Zombie Horror Movies To Premiere At Sundance Film Festival
Two of the most anticipated new horror movies of 2016 from two of the most prominent American cult directors of our time are set to enjoy their premiere screenings at the next Sundance Film Festival.
Variety have announced the line-up for Sundance’s Midnight thread, a section dedicated to the more macabre end of independent filmmaking - and among them are the latest cinematic offerings from Kevin Smith and Rob Zombie.
Kevin Smith made his name at Sundance with his ultra-low budget debut ‘Clerks’ back in 1994. After pursuing comedy for most of his career, his last two films ‘Red State’ and ‘Tusk’ have seen him tread a more sinister path.
Smith’s next, ‘Yoga Hosers,’ is a ‘Tusk’ spin-off centred on the two Canadian convenience store clerks (see a pattern yet?) played by the writer-director’s daughter Harley Quinn Smith, and Johnny Depp’s daughter Lily-Rose Depp.
‘Yoga Hosers’ reported sees the teens inadvertently release an ‘ancient evil,’ which they must somehow draw on their yoga skills to defeat. Sounds ridiculous, yes, but then ‘Tusk’ was about a man who gets transformed into a walrus.
Depp Sr will also reprise his ‘Tusk’ role as an eccentric detective.
As for rocker-turned-filmmaker Rob Zombie, his new movie ‘31′ takes its name from October 31st - meaning, yes, Zombie is once again tackling the holiday which was already the basis for three of his movies (’House of 1000 Corpses’ and his two ‘Halloween’ reboot movies).
Set in a deranged theme park called Murder World, a group of friends are thrown into a lethal cat-and-mouse game with 12 hours to escape from a killer clown troupe. Zombie regulars Malcolm McDowell and Sheri Moon Zombie will appear.
Other films set to premiere in Sundance’s Midnight thread are director Danny Perez’s ‘Antibirth,’ Rich Fox’s ‘The Blackout Experiments,’ Mickey Keating’s ‘Carnage Park,’ Jim Hosking’s ‘The Greasy Strangler,’ JT Mollner’s ‘Outlaws and Angels,’ Richard Bates Jr’s ‘Trash Fire,’ and Babak Anvari’s ‘Under The Shadow.’
The Sundance Film Festival runs in Utah from 21-31 January 2016.
JJ Abrams Has Finished Star Wars: The Force Awakens And It’s Already Been Screened
We’re now less than a month away from the release of ‘Star Wars: The Force Awakens’ and director JJ Abrams has confirmed that he’s finally finished the film.
There are also reports creeping out that the film has been screened in private in the US, but more on that in a minute.
Abrams revealed that the film had been locked off at a charity fundraiser for the Montclair Film Festival telling host Stephen Colbert that he’d finished the final sound mix on the film at 2:38am on 21 November. He also added that he’s kept one of his trademark visual tics to a minimum for the seventh film in the ‘Star Wars’ saga.
Above: Stephen Colbert and J.J. Abrams in New Jersey on Saturday night (Photo by Paul Zimmerman/Getty Images for Montclair Film Festival)
“As you’ll see, I’ve allowed lens flares to take a backseat,” said Abrams. “Every time there could be a flare, Roger [Guyett, ILM visual effects supervisor] would tell me, ‘These are not the flares you are looking for.’”
As we mentioned earlier, it seems like Disney may have already started screening the film as UK critic Marshall Julius tweeted that his brother had seen ‘The Force Awakens’ at a “private, exclusive screening” in the US, where he described the finished product as “AMAZING”.
My brother just saw a private, exclusive screening of #TheForceAwakens. Signed an NDA but let it slip it’s “AMAZING” and he “LOVED IT!”
It’s previously been reported that Disney wouldn’t be screening the film for press ahead of its release on 17 December (UK) to avoid spoilers, but studios often hold internal screenings for key stakeholders, analysts, and brand partners so this news shouldn’t come as any surprise.
‘Star Wars’ creator George Lucas reveals how much input he had in ‘The Force Awakens’…
During an interview with CBS This Morning, the 71-year-old ‘Star Wars’ creator explained that while he provided Disney plans for a new trilogy, they ultimately canned his ideas before they began working on ‘Episode VII’.
“The issue was, ultimately, they looked at the stories and they said, ‘We want to make something for the fans,’” he explained. “So, I said, all I want to do is tell a story of what happened – it started here and went there. It’s all about generations, and issues of fathers and sons and grandfathers. It’s a family soap opera.”
Of course, the ‘Star Wars’ saga has been all about the Skywalkers… and that could well continue. After all, we still don’t know the surnames of various ‘Star Wars 7’ characters.
And I can’t help thinking there’s a good reason for that.
But despite this family connection, it seems that Disney and Lucasfilm were keen to distance themselves from the man behind the galaxy far, far away.
“They decided they didn’t want to use those stories, they decided they were gonna go do their own thing,” he said. “They weren’t that keen to have me involved anyway. But at the same time, I said if I get in there I’m just going to cause trouble. Because they’re not going to do what I want them to do. And I don’t have the control to do that anymore. All I would do is muck everything up. So I said, ‘Okay, I will go my way, and I’ll let them go their way’.”
George Lucas may have created the ‘Star Wars’ we know and love, but he was also savaged by fans and critics alike over the way he handled the ‘Star Wars’ prequels.
And perhaps that’s why he found it so easy to walk away.
“When you break up with somebody, the first rule is no phone calls,” he said. “The second rule, you don’t go over to their house and drive by to see what they’re doing. The third one is you don’t show up at their coffee shop and say you are going to burn it… You just say ‘Nope, gone, history, I’m moving forward’.”
Either way, it sounds as though George Lucas will still get credit where credit is due… as ‘The Force Awakens’ director J.J. Abrams revealed that the upcoming sequel will honour the original films.
“Before I showed up, it was already something that Disney had decided they wanted to go a different way with,” he told Entertainment Weekly. “But the spirit of what he wrote, both in those pages and prior, is everything that this movie is built upon.”
‘Star Wars: The Force Awakens’ heads to cinemas on 17 December 2015.
The first footage from ‘War for the Planet of the Apes’ has been revealed and - fittingly for the film’s title - it shows a woodland battle raging between men and (presumably) apes.
Released by 20th Century Fox to announce a contest where one lucky fan will win the chance to appear in the film as an ape, the clip gives us our first behind the scenes look at the 2017 movie.
An exchange of gunfire and explosions can be seen and we catch a glimpse of an army of heavily armed human soldiers, who are tooled up to take on the simian army. We also see performance capture king Andy Serkis in his mo-cap suit reprising the role of Caesar, the leader of the apes.
‘War of the Planet of the Apes’ is the third part in the ‘Planet of the Apes’ reboot that began with ‘Rise’ in 2011, and was following by the hugely successful ‘Dawn’ in 2014. Director Matt Reeves says the new movie will focus on the rise of Caesar in the world that will eventually lead us to the events of the 1968 ‘Planet of the Apes’.
“This is going to be the story that is going to cement his status as a seminal figure in ape history, and sort of leads to an almost biblical status.” Reeves told JoBlo, “He is going to become like a mythic ape figure, like Moses.”
The new film is currently shooting in Vancouver and will be released into cinemas July 2017.
Petition Launched Calling For Boycott of 'Transphobic' Zoolander 2
A petition has been launched condemning ‘Zoolander 2’ for being transphobic and calling for the movie to be boycotted.
The ire has been caused by Benedict Cumberbatch’s character, as unveiled in the first trailer for the sequel, released last week.
It featured a barely recognisable Cumberbatch playing an androgynous model called All.
During the snippet, Owen Wilson’s character Hansel asks whether the model has ‘a hot dog or a bun’.
In the online petition, creator Sarah Rose writes: “Cumberbatch’s character is clearly portrayed as an over-the-top, cartoonish mockery of androgyne/trans/non-binary individuals.
“This is the modern equivalent of using blackface to represent a minority.
“If the producers and screenwriters of Zoolander wanted to provide social commentary on the presence of trans/androgyne individuals in the fashion industry, they could have approached models like Andreja Pejic to be in the film.
“By hiring a cis actor [meaning a person who is happy living with their birth gender] to play a non-binary individual in a clearly negative way, they film endorses harmful and dangerous perceptions of the queer community at large.
“Tell Paramount Pictures, Ben Stiller, and Benedict Cumberbatch that mocking transgender/androgyne/gender fluid individuals is not okay - sign this petition to pledge to boycott the film!”
At the time of writing, the petition had received nearly all of its 9000 signature target from supporters all around the world.
So far neither Stiller nor Paramount Pictures has commented on the petition.
Anger Over Daniel Radcliffe HIV Joke In Sacha Baron Cohen's Grimsby Movie
There’s a storm brewing over a joke in Sacha Baron Cohen’s forthcoming movie ‘The Brothers Grimsby’ about Daniel Radcliffe contracting HIV.
According to The Sun, one scene in the movie features an actor resembling Radcliffe swallowing splattered blood, followed by a news report using a real shot of Radcliffe saying that he’s contracted the virus.
Then later on in the movie, the Radcliffe character reportedly returns to the action and infects the Queen.
A source said to be ‘close to Radcliffe’ told the paper: “This sounds outrageous.
“We will speak to Sony Pictures and don’t be surprised if this scene or any reference to Daniel does not make the final edit.”
A spokesperson for the Harry Potter star added in a statement: “Daniel is not involved in this production.”
So far, the movie, which isn’t even out until March next year, has caused controversy among the residents of Grimsby, depicting it as a squalid, litter-strewn town populated by beer-swilling children and binge drinkers.
Matthew Brown, a councillor for North East Lincolnshire, said that he was 'disappointed’ in the portrayal of the town.
“It is using the town’s name in potentially a poor light,” he said.
“What also worries me is that there is no benefit to the local economy which is carrying the town’s name. Anything that you associate with football hooliganism is going to be negative, but I hope people will be open-minded when they watch the film.”
The movie stars Mark Strong as a celebrated MI6 agent, and his idiot brother Nobby, played by Baron Cohen, a feckless football hooligan living in their hometown of Grimsby.
The pair, previously estranged, join together to help save the world. You can check out the trailer below.
It’s far from the first time that Baron Cohen has courted controversy with his characters.
Residents of the village of Glod in Romania, which was used as a stand-in for his Kazakhstani reporter Borat’s home, filed a lawsuit against the production, saying they were lied to about being portrayed as ignorant and incestuous.
They tried to sue for £25 million in damages, but the case was eventually thrown out.
The European Center for Antiziganism Research also filed a complaint against the movie for its defamatory remarks towards Romani people, claiming it could 'incite violence against an ethnic group’.
The Anti-Defamation League in the US also objected to Borat’s character’s anti-semitism, despite the fact that Baron Cohen himself is Jewish.
They argued that some people may be unaware of the parody and such jokes might 'reinforce their bigotry’.
The logo was spotted on some officially branded Wonder Woman T-shirts from Graphitti Designs - and curiously, though these designs were revealed over a month ago at New York Comic Con, no one (ourselves included, shamefully) realised until now that they were the first merchandise to display the superheroine’s iconic WW motif.
Like the cinematic interpretations of Superman’s S and Batman’s bat symbol before it, this seems true to the comic books whilst also adding a modern spin.
Few images of Gadot as Wonder Woman have made the logo’s placement on her costume clear, but judging by the image used on the cover of a recent Total Film, it doesn’t appear to be quite identical:
The design of Wonder Woman’s logo and its placement on her costume has varied with the many different designs of the character over the decades.
It may be hard not to also draw comparisons to the old 1980s emblem of the World Wrestling Federation (before they were renamed World Wrestling Entertainment), and that of rock band Weezer - though in fairness, DC’s superheroine rocked the Ws long before either of them came around.
Now shooting in London, ‘Wonder Woman’ is directed by Patty Jenkins and will star Gal Gadot in the title role alongside Chris Pine, Robin Wright, Danny Huston, David Thewlis, Ewen Bremner, Saïd Taghmaoui, Elena Anaya and Lucy Davis. The movie is due in July 2017.
Before that, Gadot will make her debut as the Amazon warrior princess in ‘Batman V Superman: Dawn of Justice,’ opening 25 March 2016.
The time of year where chocolate becomes a viable breakfast option and alcohol becomes part of your daily routine.
It’s also the only time of year it’s OK to listen to Slade un-ironically, but most excitingly, it’s the time of year we get to revisit our favourite festive films for the millionth time.
Here to help you watch your favourite Christmas films in a whole new light is some of our favourite festive film trivia…
There’s a popular theory online that Elvis Presley – who died in 1977 – appears as an extra in ‘Home Alone’ that came out in 1990. He’s apparently the bearded guy stood behind Kevin’s mother while she berates the airline staff. What do you think?
The 12-second belch in ‘Elf’ is real and was performed by voice actor Maurice LaMarche. Will Ferrell lip-synced to the recording for the final film.
Above: Hanks playing three roles at once
Tom Hanks plays SIX different roles in ‘The Polar Express’ through the magic of performance capture – Hero Boy, Hero Boy’s father, the Conductor, the Hobo, Santa Claus, and the Narrator.
Tim Burton didn’t direct ‘Tim Burton’s Nightmare Before Christmas’, Henry Selick did. It’s a common misconception as the film is based on a poem by Burton and he helped produce the animated film.
‘Gremlins’ and ‘Ghostbusters’ were released on the same day in the UK – 7 December 1984. What a time to be alive!
Jim Carrey’s makeup in ‘How The Grinch Stole Christmas’ was so uncomfortable the actor was taught torture resistance techniques by a Navy SEAL to prepare.
Early posters for ‘Scrooged’ featured the tagline “Bill Murray is back amongst the ghosts. Only this time, there’s no-one to call” in reference to his earlier hit ‘Ghostsbusters’.
‘Bad Santa’ holds the record for the most profanities in a Christmas film with the unrated version using the f-word 170 times.
Despite what you think, Aled Jones didn’t actually sing ‘Walking In The Air’ in ‘The Snowman’, Peter Auty did. Aled Jones’ version, which was recorded for a toy store advert, was actually released three years after the film.
‘It’s a Wonderful Life’ was a flop at the box office when it was first released in 1946. When the copyright expired on the film in 1975 it was played in heavy rotation on a number of TV stations and became recognised as a true classic.
Macauley Culkin was reportedly paid $4.5m for ‘Home Alone 2: Lost In New York’ making him one of the highest-paid child stars ever. The first two ‘Home Alone’ films are the two highest-grossing Christmas films ever.
20th Century Fox was contractually obligated to offer the role of John McLaine in ‘Die Hard’ to Frank Sinatra as the film is based on the book ‘Nothing Lasts Forever’, which itself was a sequel to a book which had already been adapted into ‘The Detective’ starring Sinatra. He turned it down because he was 73.
The house next door to the Griswolds in ‘Christmas Vacation’ is the same house that Murtagh lives in in ‘Lethal Weapon’. The whole street is part of the Warner Brothers Studios back lot.
As any Pixar enthusiast will tell you, it’s been 20 years since ‘Toy Story’ first hit cinemas, and hasn’t time just flown by. In the two decades since, John Lasseter and his team have made over a dozen features, nabbing numerous Oscars and accolades along the way to global domination.
So what better way to celebrate the anniversary than to uncover some of the awesome facts about the film itself.
The production was a world-first
‘Toy Story’ was actually the first fully CGI animated, feature length movie ever made, and opened up a whole world for talented, imaginative animators.
It was made on a shoestring
‘Toy Story’ was made for just $30 million, with 110 staff on board. Compare this to ‘The Lion King’ that came out a year earlier which spent $45 million and used 800 workers, Pixar achieved a heckuva lot.
Tim Allen wasn’t the first choice for Buzz
In fact, the budget for ‘Toy Story’ so so small, they couldn’t afford their original choice for Buzz Lightyear, which was Jim Carrey. But it turns out Tim Allen more that sufficed as the space ranger! Bill Murray was also considered.
Billy Crystal turned it down
Billy Crystal was offered the role of Buzz but turned it down. After seeing how amazing the film was, he’s since cited it as the biggest mistake of his career. When approached to be the voice for Mike Wazowski in ‘Monsters Inc.’, he didn’t make the same mistake twice.
It wasn’t intended to be called Toy Story
Originally, ‘Toy Story’ was going to be called ‘You Are A Toy’ - a line Woody famously bellows at Buzz when he still believes he’s a real space ranger out to save the world.
The alien voices were inventively achieved
The actors portraying the three-eyed aliens inhaled helium before delivering their iconic lines such as “the claaaaaaw”, to generate the out-of-this-world-sounding voices.
An early draft was deemed so bad it shut down production
An early draft of ‘Toy Story’ was declared unwatchable and, due to Woody being a bit of a sarcastic, unlikeable bully, the production was immediately shut down. A week later, after re-writing the character, the project began to move forward again. Phew!
There’s a nod to a famous Stanley Kubrick film
Because the film’s editor was a huge ‘The Shining’ fan, there was a nod to the Stanley Kubrick horror included. We see it when Woody and Buzz are trapped in Sid’s house, in the form of the distinctive carpet design.
Hasbro wouldn’t play ball
Hasbro didn’t allow Pixar to use G.I. Joe when they knew it was going to be blown up. They invented a Combat Carl character (based on the green plastic army men we see) to use instead when Sid ‘experiments’ in his back yard.
Did you spot the detail on the aliens?
The three-eyed green aliens have a pepperoni and mushroom pizza logo on their outfits. Bet you hadn’t noticed that before.
Fourth Riddick Film & TV Spin-Off In The Works, Says Vin Diesel
On the off chance that Vin Diesel didn’t seem busy enough keeping his signature franchises alive. the gravel-throated superstar has revealed plans for another sequel to another of his hits.
Taking to Instagram - the same platform he chose to announce plans for a third ‘XXX’ movie, reportedly set to start shooting in December - Diesel told followers that the ball is about to get rolling on a fourth ‘Riddick’ movie - as well as a spin-off TV series.
Posting a photo of himself alongside Judi Dench in 2004′s ‘The Chronicles of Riddick,’ Diesel told his Instagram followers, “Last night Our company had a party to launch Our TV division. Very exciting. MERC CITY is a show that will follow the Mercs and Bounty Hunters of the Riddick Universe.
“Next Month, DT [David Twohy] begins writing the next Chapter in the Chronicles of Riddick… FURIA.”
You have to admire Diesel’s tenacity, given the somewhat chequered history of the Riddick series.
The intergalactic anti-hero with night vision eyes was introduced in 2000′s ‘Pitch Black,’ a mid-budget sci-fi creature feature from writer-director David Twohy, which proved an unexpectedly big hit, and gave Diesel his breakthrough role.
However, when Diesel and Twohy reunited on ‘The Chronicles of Riddick,’ an ambitious space opera which vastly upped the scale (and budget) but significantly toned down the violence for a PG-13 rating, audience reactions were mixed at best, and the film proved a box office disappointment.
Afterward, a third film in the series proved very hard for Diesel and Twohy to get off the ground. (Fun fact - Diesel agreed to his cameo at the end of ‘The Fast and the Furious: Tokyo Drift’ in exchange for the rights to the Riddick series.)
Ultimately third film ‘Riddick’ was produced independently, Diesel taking a significant pay cut to help financing, and ‘Riddick’ was finally released in 2013 to fairly positive reviews and reasonable box office success, thanks to its return to the smaller scale and R-rating of ‘Pitch Black.’
As to what we should expect from fourth film ‘Furia’ - obviously it’s hard to say, although we would have to wonder if Diesel’s choice of a ‘Chronicles of Riddick’ image to announce the film implies a return to that more operatic scale.
All we can say is that the title refers to Riddick’s home planet, which once housed a mighty warrior race of Furyans of which Riddick is said to be the last survivor. But if this fourth film sees him go back there, does this mean he definitely is the last of his kind…?
No indication has been given yet as to when we can expect to see this next Riddick movie, but in the meantime the year ahead will see Diesel kept busy reprising Xander Cage for the first time in the third ‘XXX,’ as well as playing Dominic Torretto for the seventh time in ‘Furious 8.’
On top of which, we’d wager he’ll be saying “I Am Groot” a few more times in ‘Guardians of the Galaxy Vol. 2,’ also going into production in 2016.
We already know that ‘Wonder Woman’ is filming in London…
and judging from the brief glimpse of Big Ben in the background, it looks as
though the UK capital is going to feature heavily within the film itself.
And what’s that robe all about?
At the moment, this image raises many more questions about
the film itself… especially since we still don’t have an official synopsis.
Rumoured to take place across a number of different time periods, it’ll be
interesting to see how this develops.
After all, we’ve already seen co-stars Chris Pine and Saïd
Taghmaoui sporting period clothes.
Of course, Wonder Woman made her comic book debut way back
in 1942… but has since remained unseen on the big screen. At least, until now.
Due to appear in the upcoming DC blockbuster ‘Batman V
Superman: Dawn of Justice’, the Amazonian superheroine will finally get her own
solo film in 2017 – 75 years after her comic book debut.
Gal Gadot stars as Diana Prince (aka Wonder Woman), with
Chris Pine taking the role of Captain Steve Trevor. And they’ll be joined by Robin
Wright, Danny Huston, David Thewlis, Ewen Bremner, Saïd Taghmaoui, Elena Anaya and
Taken by photographer Mark Rogers, the pictures show off a more traditional costume than the one Gal Gadot will wear in next year’s ‘Batman v Superman: Dawn of Justice’ (pictured below).
Gale isn’t a name many in the UK and US will have heard of. She’s best known as a model and presenter on Australian TV, but did appear in George Miller’s 'Mad Max: Fury Road’ earlier this year.
'Justice League: Mortal’ as Miller’s project was to be known, is a famous film that never was and was on the verge of starting its shoot in 2008.
The film was going to star Armie Hammer as Batman, DJ Cotrona as Superman, Megan Gale as Wonder Woman, Common as Green Lantern, Adam Brody as Flash, Santiago Cabrera as Aquaman, Hugh Keays-Byrne as Martian Manhunter and Jay Baruchel as Maxwell Lord.
Writer’s strikes and a change in taxation laws in Australia - where filming was set to take place - eventually killed the film. A documentary is currently being made looking into what happened and what the film might have been.
As it is Wonder Woman and the Justice League will be heading to the big screen in 2017 when Zack Snyder’s 'Justice League - Part 1’ hits cinemas with Gadot as the iconic hero alongside Henry Cavill’s Superman and Ben Affleck’s Batman.