With Lucasfilm really struggling to crack a story idea for Indiana Jones 5, perhaps we should’ve guessed all was not right with the film? Perhaps the reason we assumed the best was because of the steady presence of Harrison Ford and Steven Spielberg, who have been there from the franchise’s beginning. Well, now you can forget that, because for the first time ever Spielberg will not be directing a new Indiana Jones adventure.
Variety reports that Spielberg has decided to step down from directing Indiana Jones 5, a film he has been talking about for quite a while. He thinks now is a good time to pass the torch, and reportedly in talks to replace him is none other than James Mangold.
It’s hard to argue with that choice. Mangold is coming off his Oscar-nominee Ford v Ferrari, but is also beloved by fans for films including Logan, 3:10 to Yuma, Walk the Line, and The Wolverine. He’s among the most consistent directors around and could bring the sense of fun that an Indiana Jones movie should have.
Ford recently talked about Indiana Jones 5 not moving forward unless they could assure it would be great, but did he know this move was coming? Had he already factored Mangold into that equation? Given Mangold’s accomplished screenwriting chops, I wouldn’t be surprised if he takes over the screenplay from David Koepp, prompting a delay in production.
For now, Indiana Jones 5 is set to arrive on July 9th 2021. That seems like a longshot to me.
Creed 3 is happening, which we shouldn’t be surprised by if it truly wants to follow in the footsteps of its predecessor, the long-lived Rocky franchise. Although to this point we hadn’t heard of any movement on the sequel to Ryan Coogler and Steven Caple Jr.’s films, THR reports writer Zach Baylin has been hired to pen a script for the boxing drama.
MGM has tapped Baylin, whose King Richard screenplay found its way on the 2018 Black List, to write the script for Creed 3. If you don’t know what King Richard is, that’s the movie about Richard Williams, father to tennis greats Vanessa and Serena Williams, and how he helped motivate them to be the champions they are. The film is currently in production with Will Smith in the lead role and Reinaldo Marcus Green (Monsters & Men) directing.
So that makes him something of a perfect choice to write a movie about Adonis Creed, the hot-headed boxer and son to legendary champ, Apollo Creed. What we don’t know if who will direct, and how much involvement Sylvester Stallone will be involved. That could tell us a lot about the direction the movie goes.
For us non-religious folk, a day like Ash Wednesday could easily slip by without us knowing, unless we run into someone with an ashy cross-shaped mark on their forehead. But A24 isn’t one to miss a trick, and have used today as the perfect time to drop the trailer for their Roman Catholic horror, Saint Maud.
Starring Morfydd Clark (of Amazon’s Lord of the Rings series) and Jennifer Ehle, the film centers on a trouble Roman Catholic hospice nurse who fears she has been possessed by a demonic force as she becomes infatuated with an ailing ex-dancer. The film marks the directorial debut of Rose Glass, who was mentioned by Parasite director Bong Joon-ho as a filmmaker to watch.
SYNOPSIS: The debut film from writer-director Rose Glass, Saint Maud is a chilling and boldly original vision of faith, madness, and salvation in a fallen world. Maud, a newly devout hospice nurse, becomes obsessed with saving her dying patient’s soul — but sinister forces, and her own sinful past, threaten to put an end to her holy calling.
St. Maud hits theaters on April 3rd, and given the success A24 has had with Hereditary, Midsommar, The Lighthouse, The Witch, and others, you might want to mark down that date.
The buildup to WrestleMania is here and it’s real, but for two of the WWE superstars who are guaranteed to be somewhere in the main event, that road has taken an unusual detour. Roman Reigns and Raw Women’s Champ Becky “The Man” Lynch are two of the featured voices in Rumble, an animated collaboration between Paramount and WWE Studios that takes sports entertainment to a monstrous new level.
“Let’s Get Ready to Rumble!”, the voice of Michael Buffer introduces us to the first trailer for Rumble, which is set in a world where monsters compete in the sport of professional wrestling, becoming global superstars in the process. The trailer features current champ, Tentacularis (voiced by Terry Crews), a glow-in-the-dark tentacled shark-like creature with legions of adoring fans and an unbeatable track record. But one human girl, Winnie (Geraldine Viswanathan), hopes to change that by training the unimpressive monster Steve (Will Arnett) into a champion.
The film is directed by Hamish Grieve in his directorial debut, from a script co-written by Tropic Thunder‘s Etan Cohen. Besides Reigns and Lynch, other voices include Tony Danza, Sonic the Hedgehog‘s Ben Schwartz, and Stephen A. Smith.
For the uninitiated, in the world of My Hero Academia (the insanely popular manga and anime series) 80% of the world’s people are born with “quirks,” basically superpowers, which leads the population to be full of heroes and villains alike. Industries and education in centered on the idea of people becoming heroes to face off against those who would use their quirks for evil deeds. Our hero is a young boy named Izuku “Deku” Midoriya, who although was one of the 20% of the population that doesn’t have a quirk, he has dedicated his life to becoming a hero. His often selfless acts of heroism (think skinny Steve Rogers before he got the super-soldier serum) gained him the attention of the most famous hero in the world, All Might, who takes him under his wing to learn to become a hero. Slowly but surely, we learn that All Might has a specialized quirk called “One For All,” which can be passed down from person to person, and Deku is gifted with One For All and helps him enroll at U.A. High School, a school that specializes in training heroes.
Usually while at U.A. High, the students would face off against each other in competitions (especially between Deku and childhood “frenemy” Katsuki Bakugo) and occasionally against other supervillains, but they always had help from All Might and the faculty of U.A. High School. However, in My Hero Academia: Heroes Rising, they are out on their own as they are on assignment stationed on the peaceful island of Nabu. For the most part, it’s pretty lax. The heroes in training are helping old ladies walk across the street, working as lifeguards at the beach, find missing animals, and other pretty mundane tasks. That all changes when a group of supervillains led by a new bad guy named Nine arrives on the island. Nine’s quirk is unique to many others in the My Hero Academia world as he has the ability to not only steal other people’s quirks (rendering them powerless), but he can also then use their quirks himself. While we don’t get to see him using nine quirks, his name suggests that that’s his capacity. Using these quirks at length drains him of his strength, so he has his sights on a young child with the quirk of a regenerative healing factor ala Wolverine. Think of him as Sylar from NBC’s Heroes, and the child in the cheerleader whose power he needs to be unstoppable. But not if Deku, Katsuki, and the rest of the U.A. High heroes in training have anything to say about it! Unfortunately for them, Nine and his gang of villains are more than a match for them, and without the help of the grownups, they will have to fend for themselves.
Even though My Hero Academia: Heroes Uprising begins with the usual intro from the anime, the film is quite confusing, even for those who are up to date on the anime (I myself am a few seasons behind) as all these events of My Hero Academia: Heroes Rising takes place after the current season of the show. Fans of the manga will probably have a better time understanding where everything is timeline-wise. For example, Hawk is a character that’s barely been in the anime, but he plays a role in how things shape up in the movie. That doesn’t mean the self-contained story isn’t a great deal of fun, entertaining, and exciting fan service. Plenty of fan-favorites get a chance to shine as the young high schoolers step up to keep the island safe from the invaders, and fight as a team X-Men-style very effectively.
Just like the anime, the movie is at its best when it pits Deku against Bakugo. They continue their bromance as Deku wants to be the best hero to help people, a Bakugo wants to be the best hero for glory, and as always, Bakugo is ever so competitive. Towards the end of the film, the duo has to once again put differences aside and work together to face off against Nine and his compatriots. Speaking of the battle, it was beyond epic. No big spoilers here, but it was very satisfying as every member of the U.A. High school class gets a chance to use their quirks to their fullest capacity and work dynamically as a team to defeat Nine’s gang and they prove that they are no longer little kids, but ready for the big time. Speaking of his gang, the supporting bad guys’ powers were just as interesting as Nines. One has the ability to make everything get wrapped in cloth and then he can control it as drones (as long as it wasn’t living), another is basically Marvel’s Medusa, but her hair is razor-sharp like knives, and the final guy is basically the most over-powered Fenris ever and it takes pretty much all of the class to try and take him down. As stated before, the action is epic and very well done!
While My Hero Academia: Heroes Rising took about a half-hour to really get going, it never feels “long” as there isn’t really any time to lull down. Even after a big battle, the U.A. students still need to do other things, planning, saving people, and getting ready for the next showdown. The battle scene make excellent use of animation and are never confusing on what’s going on in the action, and there’s plenty of action, no staring at each other for 15 minutes, just getting straight to the nitty-gritty. Fans of the manga and anime will love it, and neophytes like myself will once again get hooked and have to tune in now to continue seeing this expertly made world, whether you watch it in the English-dub or with subtitles!
If only Universal’s failed Dark Universe plan had begun with Leigh Whannell’s terrifically nervy and audacious The Invisible Man. A loose reimagining of H.G. Wells’ classic book, the film could’ve given the studio’s dud of a cinematic universe the spark it needed to thrive, driven by pinpoint direction and a modern spin that evokes “Me Too”, privacy concerns, and gaslighting. Whannell’s third solo directing gig after Insidious 3 and the wildly underrated Upgrade (a superior version of Venom), this edgy psychological horror frays the senses as intensely as anything experienced in A Quiet Place.
That tension begins to churn at our gut during a killer slow burn of an escape sequence, as Cecilia Kass (Elisabeth Moss, unhinged and lovin’ it) slowly creeps out of the gigantic, isolated home of her abusive boyfriend, Adrian Griffin (Oliver Jackson-Cohen), a tech mogul with a very specific specialty. The next few minutes are a masterclass in the use of sound and darkness to create fear, every step Cecilia takes is nearly silent, but made to feel heavy as a drumbeat. By the time she scales the walls and races out into a lonely, dark street to await the arrival of her confused sister Alice (Harriet Dyer), our skin is crawling.
What emerges is that Cecilia has been living under the violent specter of Adrian for so long, and yet nobody seems to have realized it. Alice had no idea, and the same goes for her cop friend James (Aldis Hodge) or his college-bound daughter Sydney (Storm Reid). Adrian has controlled every aspect of her life, which explains why the promising architect has done nothing with her career, and why she’s afraid to leave James’ home even to check the mailbox. Even when Cecilia, or “C” as her friends annoyingly call her, begins to think herself safe following news Adrian has killed himself, she doesn’t seem to fully trust it.
Of course, Cecilia’s instincts prove to be spot-on, and before long she’s the victim of unseen attacks. Actually, that’s overstating it. She becomes the victim of an annoying, manipulative pest who starts out by silently moving things around the kitchen, causing her to burn breakfast, then quickly builds up to isolating Cecilia from her friends and family. The way this is done is so surgical, so cruel, we can see the patterns in the way real-life abusive men drive their victims away from the people they rely on for support. The more Cecilia screams that Adrian is alive, the more broken from reality everyone thinks her to be, because who could possibly believe such a story? What is he? A ghost? Somehow he faked his death? The gaslighting going on here is truly epic stuff, and far more terrifying than the invisible stalker’s footprints or their hot breath emerging out of nowhere on a cold night. Whannell, who has been freaking folks out since he and James Wan launched the Saw franchise, knows there are limits and keeps Cecilia’s confrontations with her unseen foe to a minimum. He flips the tables (literally, at one point) at just the right moment so things don’t get repetitive, and we stay on board with Cecilia’s attempts to prove she isn’t crazy.
One of the few drawbacks is so much of the movie’s second half was given away in trailers. Not all of it, mind you, there are a few red herrings and bloody plot twists (one death scene is a real jaw-dropper) that throw a monkeywrench into our expectations. But nearly everything directly involving Cecilia is out there, and that’s a shame. Eventually, The Invisible Man lives up to its title and the big question becomes “how” as much as “who”, and the reveal is pretty weak even if it makes some logical sense. When you’re talking about classic movie monsters, satisfying is probably a better way to go than logical, and this just comes across as an easy answer to a pesky plot point that might’ve been left unanswered.
We can probably leave it unsaid that Moss is great, once again, at playing a woman on the edge. Her performance carries Cecilia through maddeningly unstable to in a desperate fight, not just for survival but to prove her own sanity. While definitely a “showy” role, what Moss delivers actually mirrors Whannell’s approach to the film, which is to keep its themes and Cecilia’s backstory of abuse as understated as possible. Trusting the audience to engage with these aspects is one of the most visible reasons why The Invisible Man is a big win for Universal and Blumhouse as they redefine what it means to be “monster” in today’s world.
Just when we thought cries of “Release the Snyder Cut” had died, Ben Affleck goes and stirs shit up again. Speaking recently with Cinemablend, Affleck once again said that Zack Snyder’s cut of Justice League should be made available to the public.
“Zack was like, ‘Hey, they are doing this thing.’ And I said, ‘Zack, I love you, and I support you. However I can help you,’” Affleck recalled.
“I do think Zack’s cut should be available.”
Justice League was initially directed by Snyder, but as we all know, a family tragedy saw him leave the project and be replaced by Joss Whedon. Whedon oversaw extensive rewrites and reshoots that created a movie far afield from Snyder’s original plan. Dissatisfied fans have been clamoring, with the encouragement of a very-vocal Snyder, to see what his movie would’ve looked like if nothing had changed. Affleck agrees…
“I do think that movie, you know, having two directors is a very weird thing. And for Justice League, the director had a family tragedy… and so you have a kind of cow’s body with a horse’s head a little bit with two directors a lot of times, for better or for worse.”
Affleck’s support aside, Warner Bros. has no plans to release Snyder’s cut of Justice League. That won’t stop Snyder from riling up his fanbase on social media, though.
Affleck can be seen right now in Dee Rees’ The Last Thing He Wanted, and next week in sports drama The Way Back.
In a move that we knew was coming, but arrived a bit sooner than expected, Disney’s Bob Iger has stepped down as CEO, effective immediately. Stepping in to fill his shoes is Bob Chapek, who had been acting as Chairman of Disney Parks, Experiences and Products. Iger will remain on board as executive chairman through the end of 2021, maintaining a creative role within the company.
Since he became CEO in 2005, Iger has overseen a tremendous period of growth and expansion at Disney. They had been a powerhouse studio in Hollywood, but with the acquisitions of Lucasfilm, Marvel, Pixar, and eventually Fox, Disney became the dominant creative force in the movie and television industry. They routinely pump out movies that earn $1B box office, a feat that used to be nearly unheard of.
Iger said in a statement, “With the successful launch of Disney’s direct-to-consumer businesses and the integration of Twenty-First Century Fox well underway, I believe this is the optimal time to transition to a new CEO. I have the utmost confidence in Bob and look forward to working closely with him over the next 22 months as he assumes this new role and delves deeper into Disney’s multifaceted global businesses and operations, while I continue to focus on the Company’s creative endeavors.”
He continued, “Bob will be the seventh CEO in Disney’s nearly 100-year history, and he has proven himself exceptionally qualified to lead the Company into its next century. Throughout his career, Bob has led with integrity and conviction, always respecting Disney’s rich legacy while at the same time taking smart, innovative risks for the future. His success over the past 27 years reflects his visionary leadership and the strong business growth and stellar results he has consistently achieved in his roles at Parks, Consumer Products and the Studio. Under Bob’s leadership as CEO, our portfolio of great businesses and our amazing and talented people will continue to serve the Company and its shareholders well for years to come.”
Chapek has been with Disney since 1993, and was one of a few studio execs eyeing the CEO role. Iger noted that Chapek had been selected as his successor some time ago. It remains to be seen how Chapek will differ from Iger in terms of approach, and if this will have a ripple effect on any upcoming projects. Chapek has quite the shadow to try and step out of, that’s for sure.
Chapek stated, “I am incredibly honored and humbled to assume the role of CEO of what I truly believe is the greatest company in the world, and to lead our exceptionally talented and dedicated cast members and employees. Bob Iger has built Disney into the most admired and successful media and entertainment company, and I have been lucky to enjoy a front-row seat as a member of his leadership team. I share his commitment to creative excellence, technological innovation and international expansion, and I will continue to embrace these same strategic pillars going forward. Everything we have achieved thus far serves as a solid foundation for further creative storytelling, bold innovation and thoughtful risk-taking.”
Production has officially kicked off on Jurassic World 3, and over the last few weeks a flurry of casting news, along with Chris Pratt’s comparison of it to Avengers: Endgame, has ramped up anticipation. So director Colin Trevorrow has decided to start by giving fans something brand new, like the movie’s title.
Trevorrow tweeted an image of the movie’s slate, revealing the title to be Jurassic World: Dominion. While that isn’t anything special, it does possibly give us an idea of what to expect. To have dominion is to have sovereignty or control, to dominate. So are the dinosaurs dominating over humans, or are we able to assert authority over the creatures? I’m guessing it won’t be the latter and that a lot of people will end up as Tyrannosaurus Rex dinner.
Chris Pratt, Bryce Dallas Howard, and Justice Smith are all expected back, along with Jurassic Park’s Sam Neill, Laura Dern, and Jeff Goldblum. Other newcomers and vets of the long-running franchise are on board, as well, making for quite the potential human smorgasbord.
When Cary Joji Fukunaga replaced Danny Boye on the 25th James Bond film, No Time to Die, it was clear this couldn’t be just another chapter in the long-running franchise. Fukunaga isn’t that type of filmmaker to just repeat what someone else has done before. There would need to be new ground set, and in a new featurette Fukunaga explains what his big idea is, and what it means for Daniel Craig’s final time as 007.
Fukunaga says this film will be a complete reexamination of what it means to be James Bond in the modern world. The story picks up after he’s been in retirement for five years, only to be forced back into action by a new threat, but does the world even need 007 right now?
“For me as a writer and a director, it was essential to rediscover Bond. Where is he? After five years of retirement, who has he become?”, Cary said.
He continued, “He is sort of a wounded animal, struggling with his role as a 00. The world has changed, the rules of engagement aren’t what they used to be, the rules of espionage are darker in this era of asymmetric warfare.”
Fukunaga also talked about the villain, Safin, played by Oscar-winner Rami Malek…
‘The people close to Bond, those he considers to be family, are at great risk and now there is someone new out there, more dangerous than anyone he has ever encountered, and whoever they are is smarter and stronger than Spectre. ‘From the moment he’s called to action to the end of the film is a race, not only to save the world but their lives. ‘
I don’t know if Fukunaga was taking a direct dig at Spectre, but I’m going to take it as such because the last movie was so bad.
While the threat is global and all-encompassing, it’s clear Fukunaga is also looking to tell a story that personally affects Bond and sets him up for the future.
‘No Time To Die is a culmination of all that Bond has become, it’s all that he’s seen, all the trauma, the loss.
Lastly, Fukunaga confirms once again that this will be the “final chapter” for Daniel Craig as James Bond. It’ll be sad to see him go, and he’s leaving younger than some other actors have, but Craig has played a more physical version of the character, in productions that were bigger and took more of a toll. Let’s just hope he gets to go out on top.
