Podcast: Talking BLOODSHOT, THE HUNT, And That’s It Because Coronavirus Ruins Everything

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March 15, 2020

On this week’s show, we’re basically talking about the only major flicks that’ll be out for a few weeks. Why? Coronavirus. That’s why. So we’ve got Vin Diesel’s superhero movie BLOODSHOT, and the controversial action-comedy THE HUNT. Was the political firestorm this movie created really necessary? Was it?

Plus, we’ll talk about the impact the coronavirus has had on the movie industry, with all of the major releases delayed because of the global outbreak. Is 2020 just a lost year for Hollywood? Or can it bounce back?

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‘The Batman’, ‘Jurassic World: Dominion’, ‘Loki’, And More Shut Down
You Already Know The Reason Why

By
Travis Hopson
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March 15, 2020

Bruce Wayne has decided to sit out this Coronavirus thing in his Batcave. Don’t disturb him. Matt Reeves’ The Batman is just the latest blockbuster film to be delayed over the outbreak of COVID-19. According to THR, production on the Robert Pattinson-led Bat-film has been suspended for two weeks, ahead of a move to Liverpool. “The studio will continue to monitor the situation closely”, Warner Bros. said in a statement. They’ve kept moving forward on The Matrix 4 and the latest Fantastic Beasts, however.

Meanwhile, it turns out the thing to finally shut down Jurassic Park is the coronavirus, not rampaging dinosaurs. Production on Jurassic World: Dominion, which just started shooting a couple of weeks ago, has been shutdown by Universal. This shouldn’t be a surprise given their recent year-long delay of F9. The studio will determine a new course of action “in the coming weeks.”

Netflix isn’t immune to the outbreak’s effects, either. According to Deadline, production has stopped on the fourth season of Stranger Things, as well as the Dwayne Johns/Gal Gadot/Ryan Reynolds film Red Notice. That’s a helluva lot of star power to keep on the bench. Curious to see how that could impact future scheduling.

Marvel’s Falcon and the Winter Soldier was just the first Disney+ show to be put on the blocks because of coronavirus. Loki and WandaVision are also on ice, according to Variety. Whether this will impact their eventual release is unclear, but the MCU is all connected so if one thing moves the rest may be forced to follow.

Box Office: ‘I Still Believe’ Tops ‘Bloodshot’ And ‘The Hunt’ As Coronavirus Fears Take Hold
The Numbers Hit A Two-Decade Low

By
Travis Hopson
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March 15, 2020

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Onward– $12.5M/$62.2M

With the Coronavirus forcing major theater chains to either shut down outright or limit capacity, this weekend’s box office looks to be a two-decade low. Effected most were the holdovers, including Pixar’s Onward, which opened soft last weekend and tumbled 68% this week for just $12.5M. That drop is a record for the studio, and with everything going on we are probably looking at the lowest-grossing Pixar movie yet.

2. I Still Believe (review)- $10.9M

Surprisingly, the top new film of the week was I Still Believe, the biopic on Christian rocker Jeremy Camp (Riverdale‘s KJ Apa) and his relationship with his terminally-ill first wife (Britt Robertson. We’ve seen a number of faith-based dramas perform well opposite major blockbuster releases, and this one has even been playing in some IMAX theaters since Wednesday. Perhaps with everything going on in the world, the few audiences that ventured out wanted something wholesome and uplifting, rather than the violence and cynicism of Bloodshot and The Hunt.

3. Bloodshot (review)- $9.3M

As I said in my review of Sony’s Bloodshot, it’s likely to come, go, and be praised only by Vin Diesel’s hardcore audience. The superhero film, based on Valiant comic, was projected to earn about $10M so its $9.3M debut isn’t too steep of a disappointment. That said, Sony will be hard-pressed to turn this into the cinematic universe they’d been staging for years. This wouldn’t have been such a big deal if the overseas markets had held, but virtually all of them are on lockdown. Much like the Resident Evil and Underworld films, Bloodshot was going to lean very hard on the international haul and that’s just gone.

4. The Invisible Man– $6.2M/$64.6M

The 59% drop for The Invisible Man is the best hold of the week, which goes to show hard the box office was hit.

5. The Hunt (review)- $5.7M

The red-hot debate over The Hunt ends with a whimper. After the controversial film became part of a political firestorm when its “liberals hunt deplorables for sport) premise was revealed, it brought in a pathetic $5.7M. I’m sure there will be some who will cheer this on as an owning of the libs, but those people are stupid and clearly didn’t see the movie. The problem is nobody else did, either. I guess that’s one thing liberals and conservatives could agree on is that neither wanted to leave the house for The Hunt.

6. Sonic the Hedgehog– $2.7M/$145.9M

7. The Way Back– $2.5M/$13.6M

8. The Call of the Wild– $2.4M/$62.2M

9. EMMA.– $1.3M/$10M

10. Bad Boys for Life– $1.1M/$204.3M

The Trailer For ‘Beastie Boys Story’ Promises A Deep Look Into The Fight For Your Right, To Party

By

John Nolan

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March 15, 2020

Ad-Rock, MCA, and Mike D, aka The Beastie Boys, without a doubt one of the most unique trio’s in hip-hop is finally getting a biopic reviewing their illustrious career almost 40 years after their bombastic debut on the scene. So, if you’re going to have a biopic for a music group, who better then to direct then the man who created their memory-searing music videos…which were as much a part of their rise in the social conscience as their beats and lyrics. No one, that’s who would be better, thankfully they got that too, so Spike Jonez has been tapped to direct the biopic Beastie Boys Story for Apple TV+. The trailer for the film seen below feels like a time machine to youth and hard smack of reality all at the same time. The trio, which is down to a duo after the untimely death of Adam Yauch, shows their age in the footage we see but seem to still have that indelible spirit that popularized them in the first place. The unique biopic, which is being touted as a “live documentary” hits Apple TV+ on April 24th.

Review: ‘Lost Transmissions’
Simon Pegg Exceeds All Expectations Portraying A Schizophrenic Record Producer

By
Jake Sokolsky
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Lost Transmissions explores the oft stigmatized world of mental health through the eyes of a talented record producer and a songwriter trying to get him back on his meds. Theo Ross (Simon Pegg) is usually the life of the party. Quick-witted, intelligent, and musically gifted – he loves to host get-togethers and encourages others to share their musical talents. At one of these parties Theo convinces Hannah (Juno Temple) to sing a song while he accompanies on piano. Theo is drawn to Hannah’s voice and believe that she has a special talent.

Hannah joins Theo in his studio the next day and tries to convince her to stop holding back. Theo wants her to really find her voice. Hannah suffers from depression and has been taking anti-depressants for years. The anti-depressants do affect her singing by shutting a part of her off – but she would rather feel numb than what she was feeling. Theo expresses his disdain for medication and believes they cause one to “live life with a filter over it.”

Theo arranges for Hannah to meet some executives at a record studio as well as a diva popstar Dana Lee (Alexandra Daddario). Hannah gets her big break when Dana Lee agrees to let her write songs for her to perform. Hannah has trouble tracking Theo down to tell him the good news, which is the first sign of trouble. Finally getting ahold of Theo, Hannah sees a completely different side of him. Theo is forgetful, can’t concentrate, startled by commonplace noises, and looks distressed.

Upon reaching out to Theo’s friends, Hannah learns that he took dosed drugs decades ago causing a schizophrenic break. Ever since then, Theo has never been the same. His medication luckily helps, but there are times when he just stops taking it – leading to recurring schizophrenic episodes. Hannah tries to convince Theo to take his medication, which he refuses. As Theo continues to spiral, Hannah attempts to get him the help he needs – only to find that the healthcare system cares more about moving Theo quickly through their facilities instead of truly trying to stabilize him.

Lost Transmissions is a powerful film that not only explores living and coping with serious mental illnesses, but sheds light on the state of the healthcare system today. Lost Transmissions is the first full length feature from Katharine O’Brien, who wrote and directed the film. The cinematic choices O’Brien makes throughout – the handheld cam work, the way she manages to portray sunny LA as a dreary and gloomy place, the noises from all around that invade Theo’s mind – are all delivered perfectly. The original score by Hugo Nicolson is masterful as well. The music draws you into the scenes, making you feel like you are a part of what is happening. On top of it all, Pegg and Temple deliver amazing performances. Lost Transmissions is a rare foray into the dramatic world for Pegg, and he shines in a truly difficult role.

O’Brien takes time to focus on the strain that Theo’s condition is causing his friends and family. They come together in a sort of intervention, trying to help him get his life back on track. During this intervention it is clear the toll that taking care of Theo has had on them. Ultimately, Theo is lucky to have Hannah in his life. There are many people suffering with mental illness that don’t have someone there for them – their lives spiral out of control, they don’t have access to the care they need, and they end up jobless and homeless. The impact of mental illness is not felt only by the person suffering, but also by those close to them as well.

Lost Transmissions is inspired by a true story and while there are some specific aspects to it that make it unique to Theo’s story, the ideas behind it can be applied to countless people suffering from mental illness across the globe. Lost Transmissions is not only a well-made film, but an informative one as well. Give it a watch, it does not disappoint.

‘Koko-di Koko-da’ Trailer: Bizarre Sundance Horror Features A Very Creepy Children’s Song

By

Travis Hopson

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March 13, 2020

I must confess to not remembering Koko-di Koko-da when it played at last year’s Sundance. There are only so many hours in the day and far too many offbeat horrors to choose from. But perhaps I should’ve paid more attention because this looks like the kind of film that could make camping terrifying again.

If you’re wondering about the unusual title, the trailer answers that question throughout, as a grieving married couple is stalked by a bizarre stranger singing a creepy children’s song. To make matters worse, the couple is camping for the first time since a prior tragedy, only to find themselves reliving the same nightmare.

The film is directed and written by Johannes Nyholm, with Danish singer Peter Belli putting his voice to frightening effect.

Koko-di Koko-da opens on March 27th.

SYNOPSIS: Elin and Tobias are a happily married couple who regularly vacation with their young daughter. The family is on a dreamy holiday when an innocuous case of food poisoning derails their plans and forever alters the course of their lives. Three years later, the once loving couple is on the road again to go camping, looking for one last chance to go back to the way things used to be. But what once was is lost, and our characters instead find themselves having to relive the same nightmarish events, as that day and the horrors it brings repeat themselves infinitely. Together, they must overcome their trauma, reconcile with their past and fight for their lives. Over, and over, and over again.

Interview: ‘Onward’ Head Of Story Kelsey Mann On Creating Pixar’s First True Fantasy World

By

Travis Hopson

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March 13, 2020

What exactly does a “Head of Story” do? Especially at a place like Pixar which is legendary for its deep, enriching, and imaginative stories that take audiences deep into the sea, inside the mind of an adolescent girl, or into the lives of our favorite toys. That daunting job title belonged to Kelsey Mann as he worked on Pixar’s latest film, the magical roadtrip adventure Onward, and he spoke with me and RogerEbert.com’s Nell Minow all about it.

Onward features the voices of Marvel vets Tom Holland and Chris Pratt as elf brothers Ian and Barley, who live in a world where magic has disappeared due to modern technological conveniences. The siblings embark on a dangerous journey to finish a magic spell that will let them reunite with their deceased father, who is along on the trip…sorta. The film was directed by Dan Scanlon, who Mann previously worked with on Monsters University.

Mann goes in-depth on what a movie production at Pixar is really like, how they came up with the D&D-inspired magical rules for Ian and Barley’s world, and much more. You can listen to our interview with Mann below, and find my review of Onward here!

*NOTE: I apologize for some of the audio issues and will make sure to get them sorted out in the future. Thanks for understanding!

Review: ‘The Postcard Killings’
A Forgettable Thriller That Never Delivers

By
Jake Sokolsky
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Jacob (Jeffrey Dean Morgan) and Valerie Kanon’s (Famke Janssen) worst nightmares have come true in the latest James Patterson adaption that he cowrote with Liza Marklund, The Postcard Killings (a slight variation from Patterson and Marklund’s title – The Postcard Killers). Kimberly (Maryam Grace), Jacob and Valerie’s daughter, and her husband are brutally murdered while on their honeymoon in London. On top of that, the crime seems to be part of a series of ruthless murders across Europe.

The victim’s bodies are arranged in a specific way, including mutilations and limbs placed to recreate famous works of art. Whoever is responsible for this has been going from city to city finding young married couples as their victims. When they arrive in a new city, they send (I bet you already know) a postcard to a local reporter days before they commit their heinous crimes, forewarning what is about to come. It is safe to say that whoever killed Kimberly made a bad choice murdering a New York police detective’s daughter.

Jacob will stop at nothing to find who is responsible for this. While hunting down his daughter’s killer won’t bring her back, it will make sure that no one else must suffer the same fate. After the London police treat him as a civilian and get in his way, Jacob decides to take matters into his own hands. Jacob crosses paths with a Swedish journalist Dessie Leonard (Cush Jumbo). Dessie is one of the lucky recipients of the killer’s postcards. With Dessie’s help and the help of his stereotypical crime solving board, Jacob goes on a quest to stop any more killings from happening.

The concept of The Postcard Killings is an interesting one. It’s a cat-and-mouse game that we have seen many times before, but there is always room for another interesting serial killer flick to grace our screens. Unfortunately, The Postcard Killings is not interesting enough to set it apart. The film isn’t bad, but it isn’t good either. The twists are few and far between, and some of the illogical decisions literally leave you scratching your head. Even Morgan – who is solid for much of the film – struggles at times. In his defense, parts of the script did not give him any help in certain scenes.

The Postcard Killings seemed to squander a great premise. There is a lack of tension and suspense for most of the film, not a good sign for a thriller. The film’s weather and settings mirror Jacob’s state of being. We see a majority of the film cloaked in grays, shadows, and rain. Sad and slow melodic music, typically comprised of simple piano notes, match the dreary surroundings. There is a lack of energy throughout the film that is apparent early on. Director Danis Tanovic tries to mix in some interesting shots and flashbacks to spice things up, but it is too little too late. When the dust settles, The Postcard Killings is a disappointing “thriller” that did not live up to it’s potential.

Interview: FIRST COW Director Kelly Reichardt On Her 19th-Century Western
And Taming Bessie The Cow

By
Travis Hopson
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March 13, 2020

Nobody makes movies about the Pacific Northwest quite like Kelly Reichardt. Far from the Portland-centric comedies we’ve seen in recent years, Reichardt tells moving, sobering, naturalistic dramas that cover a wide spectrum of genre and emotion. Films such as Old Joy, Wendy & Lucy, Meek’s Cutoff, and Night Moves almost serve as a prelude to her latest, First Cow, a tale of friendship, ambition, and greed set in the frontiers of 19th-century Oregon.

Reichardt once again teams with Portland-based writer Jonathan Raymond, whose novel The Half-Life informs the central story within First Cow. In my interview with her, Reichardt talks about her decision to pair down Raymond’s novel, which covers multiple time periods including the present and focus solely on the friendship between wayward chef Cookie (John Magaro) and enterprising Chinese ex-pat King Lu (Orion Lee).

My interview with Kelly Reichardt can be heard in full below, and my review can be found here. First Cow is in theaters now!

Review: ‘I Still Believe’
Jeremy Camp’s Story Of Love, Music, And Faith

By
Jake Sokolsky
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I Still Believe tells the true story of Christian singer Jeremy Camp (K.J. Apa) and his first wife Melissa Henning (Britt Robertson). In September of 1999 Jeremy was about to make his trip across the country to Calvary Chapel Bible College in California. Jeremy’s family all piled into the car to drop him off at the local bus station. Before sending their son off to college Tom (Gary Sinise) and Teri (Shania Twain) gift Jeremy with a beautiful guitar. Along with the guitar is the message to go write his story. With those words echoing in his head, that is exactly what Jeremy set out to do.

Jeremy wastes no time. Immediately he finds his way backstage at a popular Christian band’s concert and in good graces with their lead singer Jean-Luc (Nathan Dean). It was at this concert that Jeremy first sees Melissa. Jeremy would go on to say that was love at first sight. Melissa is incredibly religious and loves music – so Jeremy and Jean-Luc’s Christian songs are a perfect combination for her. Before long Jeremy and Melissa begin spending more and more time together just as Jean-Luc is helping Jeremy get his music career off the ground. John-Luc gives Jeremy opportunities to play at his concerts and time in the recording studio.

In December of that same year Melissa gets sick and a large tumor is removed from her stomach. After the surgery, she receives the terrible news that cancer has spread to her liver. Jeremy doesn’t let this dissuade him from being with the women he loves. He immediately proposes to her and stays by her side, trying to nurse her back to health all while continuing his music career. During concerts and radio interviews, Jeremy asks people listening to pray for Melissa and for her to get better. Jeremy tells his fans, “I’ll do the playing, you do the praying.” With love and faith guiding them, Jeremy and Melissa do all they can to overcome her cancer so they can try and live out the lives they dreamed of together.

I still Believe is an emotional roller coaster. The audience encounters the highest of highs and lowest of lows along with Jeremy and Melissa. Apa and Robertson deliver strong performances that drive the film forward. We experience a wide range of emotions from both and their chemistry on screen is undeniable. Another force behind I Still Believe is music itself. Whenever possible director Andrew and Jon Erwin give us at least some melodic music in the background of scenes. That spliced with Jeremy’s concert performances and song writing, music is virtually crammed into every possible crevice in the film.

There are some questionable moments and I Still Believe is far from perfect. However, the film is a straightforward religious romance drama and if that is what you are looking for, it delivers. I don’t see the film setting itself apart in any way or having any truly memorable moments, but that doesn’t mean it isn’t worth a watch. That being said, it is one that you can wait and catch on Netflix, just make sure to keep the tissues nearby.