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Josh Trank Opens Up About ‘Fantastic Four’ Anxieties, His ‘Boba Fett’ Departure, And Much More

Also Talks His Exit From 'Venom' And Why He Derailed 'Chronicle 2'

Mandatory credit: TM & copyright 20th Century Fox No Merchandising. Editorial Use Only No Book or TV usage without prior permission Mandatory Credit: Photo by REX USA (919858s) CHRONICLE director Josh Trank on set Chronicle - 2012

Josh Trank seems to have his career back in swing with the Tom Hardy drama, Capone, but his past problems are VERY well-documented. Once a rising star after his debut film, Chronicle, Trank hit an epic downward spiral that saw his Fantastic Four movie bomb like few superhero movies ever; followed by his public exit from a Star Wars spinoff featuring Boba Fett. And there were other projects he was part of that blew up for reasons that, honestly, have a lot to do with Trank’s attitude and inability to handle pressure.

In an insanely good Polygon interview conducted over four years, Trank talks about making it big with the found-footage superhero movie Chronicle, then watching everything he built after that crumble. The troubles faced by Trank’s movies have been written about repeatedly, but this is the first time we’ve heard the filmmaker talk about the anxiety he was under at the time, and it all starts with Fantastic Four. The 2014 movie will go down as one of the biggest flops ever, inconceivable when one thinks of the popular Marvel Comics team. The first bold move Trank made was to cast his Chronicle star, Michael B. Jordan, as Johnny Storm, and fans weren’t happy. Like, dangerously unhappy, to the point that Trank had to protect himself by keeping a .38 Special on him…

“I was getting threats on IMDb message boards saying they were going to shoot me,” Trank said.

“I was so fucking paranoid during that shoot,” said Trank. “If someone came into my house, I would have ended their f*cking life. When you’re in a head space where people want to get you, you think, ‘I’m going to defend myself.’”

The problems didn’t end there. Fantastic Four saw multiple rewrites and reshoots to try and fix Trank’s strange, somber, incomplete comic book movie. It was all out of the director’s hands at that point, with producers taking over creative control…

“It was like being castrated,” Trank says. “You’re standing there, and you’re basically watching producers blocking out scenes, five minutes ahead of when you get there, having [editors hired] by the studio deciding the sequence of shots that are going to construct whatever is going on, and what it is that they need.”

At the same time he was working on that, Trank was also involved in a Star Wars spinoff movie that would feature Boba Fett. If you recall, Trank’s battles with Fox over Fantastic Four made their way to Lucasfilm, who grew antsy about keeping him as director. They even dismissed him from Star Wars Celebration where he was supposed to officially announced the movie. It wasn’t long after that he was relieved of his duties, or at least that was the public story. Trank says he actually quit to save Lucasfilm the trouble of firing him…

“I quit because I knew I was going to be fired if I didn’t quit,” he revealed.

Those are the two biggest projects Trank has been attached to that ran into troubles, but there were others. There was the Shadow of the Colossus adaptation that never happened, and…oh yeah, there was that time he was going to direct Venom. Remember that? It was back during Sony’s The Amazing Spider-Man years, long before Tom Hardy would take the antihero to blockbuster glory.

So what happened to Trank’s shelved Spidey spinoff? It was a case of Trank, who was riding high after Chronicle, being unwilling to compromise his creative vision…

“I didn’t like how [‘Venom’ producer] Matt Tolmach was coming at me in that situation, because it felt very kind of authoritative,” the filmmaker explained. “Well, if you don’t like what I’m doing, and you’re telling me that I have to do something along the lines of what you want, and you’re going to tell it to me in this way — sorry, but I have other things I can be doing.”

And that was pretty much it. This would become a pattern for Trank, this unwillingness to do what the studios expect of him. The same goes for a planned Chronicle sequel, which Trank never wanted to see happen and thus did everything in his power to derail it…

“I made it difficult for them to set up meetings,” said Trank. “I was dodgy about stuff. I did a lot of shitty things. Because I really didn’t ever want to see ‘Chronicle 2’ happen. That was my worst nightmare. First of all, I’m not doing it. Second, if somebody else does it, then you know it’s gonna be a piece of shit.”

I can’t stress enough how good of a read this interview is. There’s a lot more in there of interest about Trank and the issues he’s had. Check it out in full here. Trank’s next movie, Capone, opens on May 12th.

 

Review: ‘Clementine’

Same-Sex Drama Brings Plenty Of Tension, But Lacks Passion

There’s nothing quite so unsettling, as world-altering, as coming to a place you consider home and finding the locks changed. It throws a person off-balance, and in Lara Jean Gallagher’s mildly salacious lesbian drama Clementine sends one woman hurtling into a dangerous liaison with a much younger woman. But don’t get too jazzed for anything as steamy as the plot suggests; this one delivers more teases than actual payoffs.

Gallagher starts us off with a calming moment, a romantic wake-up call of sweet-nothings whispered in the ear of Karen (Otmara Marrero) by her lover, D. The older woman coos, “You’re so young. You’re going to break my heart”, but then Gallagher thrusts us forward in time and that is definitely not what happened.

Karen is left reeling after a bad breakup, one initiated by D, and decides to take the passive-aggressive route to vengeance by breaking into D’s lakehouse and making herself at home. Gallagher effectively plays into the temporary insanity that comes with a traumatic split, with Karen taking out her petty grievances in every way she can think of. When she finds the door to the lakehouse is locked, she breaks the windows to get in, tries to reclaim their pet dog, and basically makes herself a silent nuisance. Get some sun, swim in the lake, eat all of D’s food, sleep in the big bed.

There’s temptation everywhere for Karen. The temptation to do real damage to D, or to herself. And then, suddenly, the temptation of Lana (The Handmaid Tale‘s Sydney Sweeney), a mysterious, seductive girl who says she’s 19 but…is she really? The confidence she carries is seductive, but her Hollywood dreams of being an actress? Naive, immature at best. She says a number of things that sound like lies, but turn out to be true. Karen’s smart enough to recognize something isn’t right about her, but the temptation…

Clementine is all about shifting power dynamics among women who are exploring their sexuality. Karen knows who she is, but she’s keen on finding out what it’s like to be the older woman in a relationship for once. While D is very rarely seen, her presence looms over the entire film. She knows where Karen is, and delights in keeping tabs on her with incendiary phone calls. D pushes Karen to take risks she perhaps wouldn’t have, like with a girl she maybe just met?

But who is zoomin’ who here? Karen regards Lana with curiosity like she’s a novelty to be played with. And Lana…well, she’s telling strangely unerotic stories about clementines, while playing with a clementine, then tossing said clementine into the lake uneaten. It’s all a bit weird and unsubtle, like someone writing about something they’ve heard about from but never experienced for themselves. The relationship between Karen and Lana, whatever it may be, works better as a game of cat and mouse. The actresses, both excellent but with extra nods to Sweeney, keep their emotions at bay like con-artists running a shell game.

Clementine isn’t a bad movie, it’s actually quite good just not at what Gallagher intended. Hitchcockian thriller elements are far superior to anything arousing, aided by Katy Jarzebowski’s hypnotic score and Sweeney’s femme fatale performance. Clementine recalls Francois Orzon’s terrific 2003 noir, Swimming Pool, but is too shallow to generate any real heat.

 

Chris Pratt Action-Thriller Series ‘The Terminal List’ Heads To Amazon

Just days after joining his Parks and Recreation pals for a reunion special, Chris Pratt is planning a much longer return to the world of TV. THR reports Pratt will star in The Terminal List, a thriller series recently acquired by Amazon in a hotly-contested bidding war. The show will mark a reunion between Pratt and Magnificent Seven director Antoine Fuqua, who will helm the series and exec-produce.

Pratt took the lead on this one himself, picking up the rights to Carr’s book and bringing Fuqua on board. The novel centers on a Navy SEAL who finds himself in the middle of a conspiracy when his team is ambushed during a covert mission. The plan is to set up the series for multiple seasons, with Pratt in the lead.

Amazon is clearly following the Jack Ryan model here, and given the response to John Krasinski in that Tom Clancy series, it’s easy to see why. As for Pratt, this is different from the silly comedic roles he’s most recognized for. But we should remember he can play tough when called on, such as in Zero Dark Thirty. And just as that film prided itself on being as authentic as possible, Pratt is bringing in military vets to ensure The Terminal List is the same.

Here’s the book synopsis: On deployment in Afghanistan, Lieutenant Commander James Reece’s entire team is killed in a catastrophic ambush. But the deaths don’t stop there, and Reece soon discovers that this was not an act of war by a foreign enemy but a conspiracy that runs to the highest levels of government.

With nothing left to lose, Reece directs the lessons that he’s learned in over a decade of constant warfare towards revenge, ruthlessly targeting his enemies without regard for the laws of combat or the rule of law.

‘The Right Stuff’ First Look: Disney+ Shoots For The Stars With NatGeo Astronaut Drama

Left row front to back: Micah Stock as Deke Slayton, XX, Michael Trotter as Gus Grissom, Aaron Staton as Wally Schirra. Right row front to back: Patrick J. Adams as John Glenn, Jake McDorman as Alan Shepard, Colin O’Donoghue as Gordon Cooper and James Lafferty as Scott Carpenter in National Geographic’s THE RIGHT STUFF on Disney+. (National Geographic/Gene Page)

While Star Wars, Marvel, and original programming for kids get all of the attention, quietly among the best shows Disney+ has is The World According to Jeff Goldblum. The educational series was originally a National Geographic Channel exclusive before heading over to the Disney streamer, and given that show’s success it’s no wonder they want to try again. This time with NatGeo series The Right Stuff.

Deadline reports that NatGeo series The Right Stuff, about the early days of NASA’s space program and the astronauts of Mercury 7, will instead be a Disney+ exclusive. The series is produced by Leonardo Dicaprio and has Mark Lafferty (Halt & Catch Fire) as showrunner. Tom Wolfe’s bestselling book serves as the basis.

The 8-episode period drama stars  Patrick J. Adams as John Glenn and Jake McDorman as Alan Shepard, both accomplished test pilots who became instant celebrities as America tuned in to follow the space race with Russia.

“This true story of scientific innovation and human perseverance could not be more timely,” said Courteney Monroe, president, National Geographic Global Television Networks. “National Geographic’s The Right Stuff is an aspirational story about exploration, ambition, determination and resilience and reminds us that human beings can achieve the extraordinary when united by a common purpose. This series provides a compelling behind-the-scenes look at the flawed, but heroic Mercury 7 astronauts and we are thrilled that it has found its perfect home on Disney+.”

The Right Stuff will debut this fall, but you can check out a behind-the-scenes look below.

 

Disney Also Planning To Reevaluate Theatrical Release Strategy

A minor war of words broke out last week between Universal and the major theater chains when the studio was boastful about its streaming successes. While that was dialed down a little bit just days later, Disney might be about to ratchet things up again.

Disney CEO Bob Chapek essentially said the same thing as Universal in a recent conference call (via Variety), explaining that distribution for certain projects will have to be reevaluated. The suggestion is that we could see more films like Artemis Fowl heading straight to digital…

“We very much believe in the value of the theatrical experience overall for large blockbuster movies,” Chapek said. “We also realize that either because of changing and evolving consumer dynamics or because of certain situations like COVID, we may have to make some changes to that overall strategy just because theaters aren’t open or aren’t open to the extent that anyone needs to be financially viable.”

“We’re going to evaluate each one of our movies on a case-by-case situation’, he added.

Chapek makes a clear distinction between “blockbuster movies” and others on the Disney slate. It’s unlikely that we’ll see anything from Marvel Studios skip theatrical when there’s so much money on the line. But others that might be a little more risky, such as Artemis Fowl, may find a better fit with a VOD or Disney+ release.

Sundance Award Winner ‘Charm City Kings’ Heads To HBO Max

Warner Bros. just picked up Sundance Award winner, and my favorite film from the festival, Charm City Kings, to be part of their HBO Max lineup. The streaming service is set to launch on May 27th, and now it will have one of the most buzzed-about movies of the year.

The deal was struck between Warner Bros. and Sony Pictures, who had planned on releasing Charm City Kings under their Sony Pictures Classics banner. After it won a Special Jury Prize at Sundance, the Baltimore motorcycle drama was to be part of the SXSW lineup before the event was canceled due to the coronavirus. An April release date was pulled for the same reason, and the film rescheduled for this August.

It’s unclear when we’ll see an HBO Max premiere, but it will be later this year.

Charm City Kings takes place in the little-known black motorcycle gang culture in Baltimore. 14-year-old Mouse (Di’Allo Winston) desperately wants to join The Midnight Clique, the toughest biker gang in town, and finds a willing mentor in Blax (a revelatory Meek Mill), who tries to steer him out of the path of criminality and violence. The film was directed by Angel Manuel Soto.

Some will be disappointed to see Charm City Kings head to a streaming platform, but to me it’s just not that important anymore. Chances are more people will see it now than if it had gone theatrical, and that’s really all that matters. Other than one extraordinary chase scene there’s nothing that demands it be seen on a big screen. The performances,  the authenticity of time and place are what hook you, and that’s going to be the case no matter what. [THR]

 

Rumor: Disney Eyeing Karen Gillan For ‘Pirates Of The Caribbean’ Reboot

It’s been a while since we’ve heard anything solid about Disney’s Pirates of the Caribbean reboot, the one they’ve apparently dumped Johnny Depp overboard for. The latest rumor should be taken with enough salt water to sink the Black Pearl, but The DisInsider says Guardians of the Galaxy and Jumanji star Karen Gillan is being eyed for the lead role.

Disney’s plan is reportedly to relaunch the franchise with a female lead, and Karen Gillan their top choice although it’s unclear if any discussions have taken place. There’s also the possibility Disney is looking to cast a woman of color. Another possible suggestion is the story, which is being penned by Chernobyl writer Craig Mazin, could center on Redd, the female pirate who is a greeter at the Disney theme park attraction. That sounds REALLY unlikely, but hey, it’s out there so who knows?

It’s tough to argue with Gillan if that’s the direction they go. She’s been on the verge of a legit breakout for a while, and has kicked plenty of ass as Nebula in Guardians of the Galaxy and Avengers: Endgame. But most impressive, and relevant to this, are her scene-stealing performances in the Jumanji sequels, showing she’s got the physically demanding action and comedy down to a science.

For now, Gillan is busy prepping for her third Jumanji film, and she recently landed twin roles in sci-fi film Dual.

 

Paramount Picks Up Orwellian Sci-Fi Film ‘2084’ From ‘The Batman’ Writer

The times we’re living in have a lot of people throwing around the word “Orwellian” to describe them. The next time some political stooge babbles a bunch of nonsense and double-speak, George Orwell’s dystopian 1984 gets a well-deserved nod. But now The Batman writer Mattson Tomlin is looking to pay homage with a new film titled 2084, and Paramount is all-in for it.

THR reports Tomlin will write futuristic sci-fi movie 2084, which Paramount just acquired. Details on the plot are being held secret, but it’s being described as a “spiritual sister” to 1984 with a tone similar to The Matrix and Inception. 1984 was adapted into a movie starring Richard Burton and John Hurt, with Michael Radford as director.

2084 reportedly “generated interest from filmmakers and talent who were eager to get involved before its pick-up, a testament to Tomlin’s writing prowess.” That sounds like a lot of big names are going to be attached to this sooner rather than later. We’ll update you when that happens.

‘Bright’ Sequel Is Still On, Now With ‘The Incredible Hulk’ Director Louis Leterrier

Bright became a punchline pretty quickly after it debuted on Netflix, but ultimately the joke was on all of us. David Ayer’s racial allegory set in a world where fairy tale creatures and humans co-exist became one of Netflix’s biggest hits, and a sequel was dialed up before the first movie even hit. It’s been a while since we’ve heard anything about it, but Bright 2 is definitely still on and has a new director.

Deadline reports Louis Leterrier, best known for directing The Incredible Hulk and Now You See Me, is set to take over Bright 2. Ayer had planned on coming back, but he’s busy with a Dirty Dozen remake. T.S. Nowlin (Pacific Rim: Uprising) is rewriting the script originally penned by Ayer and Evan Spiliotopoulos. Nope, Max Landis has nothing to do with this one, for very good reason. Will Smith and Joel Edgerton are both expected to reprise their roles.

The story “picks up the travails of the odd partnership, but sets it on an international stage.” That partnership saw Will Smith as human LAPD officer Daryl Ward, with Joel Edgerton as his orc partner Nick Jacoby. The whole thing played out like the movie Colors, or one of Ayer’s early cop movies. Critics savaged it, although I kinda dug it for attempting something different. But Netflix didn’t care because 11 million people streamed it within the first three days, with more than half of them being male between the ages of 18 to 49. That’s the sweet spot.

Review: ‘Saint Frances’

A Heartfelt Look At Life's Twists And Turns

Life doesn’t always shake out the way you had planned. Bridget (Kelly O’Sullivan) finds this out the hard way in Saint Frances. Before she knows it, she’s 34 and working a job as a server that leaves her unfulfilled and wanting more. The problem is, she doesn’t know what direction to take her life. In the meantime, Bridget is finding a nice distraction in her most recent boytoy Jace (Max Lipchitz).

Bridget gets a lucky break when her friend Dana recommends her for a nannying position. Maya (Charin Alvarez) and Annie (Lily Mojekwu) have a newborn and need a nanny for six-year-old Frances (Ramona Edith-Williams). Even without any real prior experience, Bridget eventually gets the job as the summer nanny. Bridget is quick to find that Frances warming up to her will take some work. Frances is an adorable girl with a heart of gold, but is also very clever and knows how to manipulate Bridget. Bridget finds out the hard way that caring for a six-year-old is not just a walk in the park.

On top of her new responsibilities as a nanny, Bridget has some turbulence in her personal life. She finds out that she is pregnant and decides to have an abortion. Jace is incredibly supportive of Bridget throughout the entire process. Jace’s emotional and caring nature begins to rub Bridget the wrong way. Bridget does not want to attach any emotions to what she is going through. Jace on the other hand thinks it’d be healthy to talk about it, driving Bridget away. As the weight of everything Bridget is going through begins to take a toll, she finds the comfort she needs in Frances.

Saint Frances is a touching look at life and some of the obstacles that it can throw at you. At its heart, the film is about relationships, and there are plenty for us to watch grow. The entire cast is fantastic, but O’Sullivan and Edith-Williams shine. Whether it is the amazing chemistry when they share the screen or O’Sullivan on her own, their performances won’t soon be forgotten.

O’Sullivan not only stars in the film, but she wrote it as well. The film is incredibly clever, and I found myself roaring with laughter throughout. There are countless subtle lines that are delivered perfectly and almost always hitting their mark. Along with the humor, we get a healthy mix of drama. Saint Frances isn’t afraid to touch on subjects that may make certain viewers uneasy. Life can be uncomfortable, and Director Alex Thompson and O’Sullivan fully explore this during the film.

Saint Frances has no fluff – it doesn’t need to rely on scene transitions or wacky camera angles or anything of the sort. It’s a gentle reminder that a budget in the millions and CGI throughout isn’t necessary to provide a successful product. Saint Frances is simply a straight up masterful job of storytelling and character building. Plus, we get a tender montage between Bridget and Frances so what more could you ask for? Do yourself a favor and make time to watch Saint Frances – you won’t regret it.