‘Lovecraft Country’ Teaser: Jordan Peele & JJ Abrams’ HBO Series Is Part Racial Drama, Part Supernatural Horror

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May 1, 2020

There’s so much potential in HBO’s Lovecraft Country series, it’s almost overwhelming. From producers JJ Abrams and Jordan Peele comes a horror set in the 1950s Jim Crow south, and starring the likes of Jonathan Majors (The Last Black Man in San Francisco), Jurnee Smollett-Bell (Birds of Prey), Courtney B. Vance (Everything? Well, let’s go with American Crime Story), and Michael K. Williams (The Wire). Not only that, but the showrunner is Misha Green, best known for the WGN drama Underground, and the first episode is directed by Yann Demange (’71, White Boy Rick).

So with that much talent, does it even matter what the show is about? Well, this one’s pretty damn great on that score, too. Based on the book by Matt Ruff, it follows a young man who sets off on a journey through the Deep South to find his missing father. On the way he’ll run into monsters, both literal and figurative, and as you can see in the new teaser, things get pretty bloody.

Also in the cast are Jamie Chung, Tony Goldwyn, Wunmi Mosaku, Aunjanue Ellis, Jamie Harris, Abbey Lee, and Jordan Patrick Smith. Lovecraft Country hits HBO this August.

SYNOPSIS: HBO’s new drama series, based on the 2016 novel by Matt Ruff of the same name, debuts this August. The series follows Atticus Freeman (Jonathan Majors) as he joins up with his friend Letitia (Jurnee Smollett-Bell) and his Uncle George (Courtney B. Vance) to embark on a road trip across 1950s Jim Crow America in search of his missing father (Michael Kenneth Williams). This begins a struggle to survive and overcome both the racist terrors of white America and the terrifying monsters that could be ripped from a Lovecraft paperback.

Ron Howard To Direct Thai Cave Rescue Drama ‘Thirteen Lives’ From ‘Gladiator’ Writer

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Travis Hopson

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May 1, 2020

Unlike the public clamor for a movie on the Chilean miners rescue from a few years ago, there hasn’t been as much noise from Hollywood over the Tham Luang cave rescue from 2018. The miraculous recovery of Thai soccer players from an underground cave was no less an international story that captured the hearts of millions, and one of those was Ron Howard who plans to bring it to the big screen.

Deadline reports Ron Howard will direct Thirteen Lives, which retells the story of the Thailand Wild Boar boys soccer team, who along with their coach were trapped 1,000 meters below ground during a monsoon. The rescue effort took a couple of weeks, over 100 divers, two of which died, but managed to save all members of the team.

The film will be written by William Nicholson, the Oscar-nominated writer of Gladiator and Everest. This is Howard’s first movie since Solo, and getting back to the broad, sweeping emotional dramas he’s known for is probably a good idea.

Quietly, other projects on the rescue are in the works. Free Solo directors Jimmy Chin and Chai Vasarhelyi have signed on to a movie on the subject; Netflix is developing a miniseries, and Kevin MacDonald (The Last King of Scotland) is working on a doc for NatGeo.

‘NOS4A2’ Season 2 Trailer: Vampire Serial Killer Charlie Manx Has A New Target

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Travis Hopson

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May 1, 2020

Evil never truly dies, it just waits for the next season. That holds true for Zachary Quinto’s Charlie Manx in AMC’s hit vampire series, NOS4A2, because he’s back with a brand new target in season 2.

Eight years have passed since events at the end of season 1, and now Vic McQueen (Ashleigh Cummings) is caring for her young son Wayne, only to learn that Charlie, the vampire serial killer she thought was dead, is alive and kicking. And Charlie’s got his sights set on her boy.

The series is based on the book by Joe Hill, with Jami O’Brien as showrunner. Jahkara Smith, Olafur Darri Olafsson, Ebon Moss-Bachrach, Virginia Kull, Jonathan Langdon, Ashley Romans, Jason David, and Mattea Conforti all play a role in the second season, as well.

NOS4A2 season 2 hits AMC beginning June 21st.

SYNOPSIS: NOS4A2’s second season picks up eight years after the events of season one. Vic McQueen (Ashleigh Cummings) remains more determined than ever to destroy Charlie Manx (Zachary Quinto). Charlie, having faced his own mortality, emerges desperate for revenge against Vic. This time, he sets his sights on the person who means most to Vic – her eight-year-old son Wayne. The race for Wayne’s soul sends Vic and Charlie on a high-speed collision course, forcing both to confront the mistakes of their pasts in order to secure a hold on Wayne’s future.

Review: ‘Dangerous Lies’
A Thriller Not Worth The Inheritance

By
Jake Sokolsky
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Netflix’s newest “thriller” Dangerous Lies follows Katie (Camila Mendes) and Adam (Jessie T. Usher) – a couple in a financial bind. Katie has been working nights at a Chicago diner trying to make ends meet while Adam is in school. Unfortunately, the waitressing job isn’t enough as the bills keep piling up. One fateful night while Katie and Adam are preoccupied in their car, a robbery is taking place. Ignoring Katie’s pleas, Adam intervenes and subdues the robber. Unbeknownst to them, this action would set in motion a series of events that would change their lives forever.

Fours month later and Katie is now working as a caretake for a nice older man named Leonard (Elliott Gould). During their time together, Leonard and Katie have become extremely close. Katie confides in Leonard about her monetary issues. Leonard immediately wants to give her money, but Katie refuses instead convincing Leonard to hire Adam as a landscaper. At almost that same moment, a sleazy realtor named Mickey Hayden (Cam Gigandet) stops by the house. Katie insists that the house isn’t for sale, but Mickey doesn’t seem to take a hint. Then just as awkwardly and aggressively as Mickey comes, he leaves, but it’s clear he’ll be back.

All is going well until Katie comes to Leonard’s house one morning and finds him dead in the attic. Detective Chesler (Sasha Alexander) is investigating the case, but doesn’t seem to suspect any foul play. Julia Kim (Jamie Chung), Leonard’s attorney, approaches Katie and Adam out of the blue. It turns out that Leonard has left all his possessions to Katie. Immediately Katie and Adam move into the house and keep it off the market – much to Mickey’s dismay. Adam seems to be adjusting a little too well to their new lavish lifestyle. As money and greed begin clouding their judgement, it becomes clear that Adam and Katie aren’t the only ones hoping to benefit from Leonard’s death.

If you’re thinking – wow, that sounds a lot like Knives Out – you’re not the only one. However, while it may sound like Knives Out, Dangerous Lies is not close to the same quality. There are multiple times during the film that I was left scratching my head, dumbfounded by the thought processes I was witnessing. Yes, the characters in thrillers typically make boneheaded decisions leaving the audience moaning and even screaming at the screen, but this was worse. Not only were the decisions and actions absurd, somehow they’d just be left out the rest of the narrative.

Director Michael Scott tries to mix things up with some unique camera angles and twists. Some of the camera angles work while others make it near impossible to see what is going on. Angles and music are powerful tools to build up suspense in a thriller, but Dangerous Lies fails to capitalize on either. While a twist or two ends up hitting, it is too little too late.

That being said, Dangerous Lies did have some things going for it – most notably Mendes and Usher delivering admirable performances. On top of that, Dangerous Lies did not drag on and was relatively entertaining throughout. Even the times where it goes completely off the rails, Dangerous Lies had a level of amusement to it. There is something to be said about a film that can keep the audience entertained – in some ways that is a success in and of itself. If you’re looking for a film that borders on absurd, then turn your brain off and check out Dangerous Lies this weekend, but you won’t be missing too much if you pass.

Review: ‘The Wretched’
IFC Midnight Horror Makes Witches Scary Again

By
John Nolan
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The Wretched is here to prove that the classics are classic for a reason, a witch can still be terrifying if the story is handled right. The IFC Midnight release follows a boy named Ben who’s spending the summer with his soon to be divorced Dad in a beach town…well, marina town. The days start out normal enough with Ben getting a job at the marina where his dad works, meeting a friendly girl named Mallory, waking up late, and catching glimpses of an unnatural demonic figure in his neighbor’s yard. Oh, wait, went too far there, that was right after things left “normal enough”. Naturally, no one believes Ben’s stories, even after the neighbors’ children go missing, even after the neighbors forget they had children at all. Witch in the woods stories haven’t been quite done to death but they’re past the point where you can make a lazy attempt and call it a success based on the subject matter. Thankfully, the Pierce brothers came equipped with just about every tool in the toolbox for someone making either a childhood adventure story or a chilling horror tale…or in this case, both.

I’m not 100% sure of what I expected going into this, but I can tell you what I wasn’t expecting…that Goonie’s feel. I would have thought it would be out of place and stick out but the end result is something altogether special and unlike anything I’ve seen in a while. Ben is just a few years younger then most horror movie leads, which gives the feeling that they’re not going to kill him, right? Well, the prologue pretty much dismisses any lines you thought wouldn’t be crossed, so for the first time in a long time I was left feeling like anything could happen. Then there’s the monster, or in this case witch. Witches…not really something I’ve ever included on my fear list, they’re always more Hocus Pocus then Blair Witch. The Wretched however takes the nastiest version of that iconic archetype and melds it with the most disturbing J-Horror baddie you can think of. The constant scenes of the hands emerging from somewhere they shouldn’t be is enough to keep you up at night.

The Wretched is available Today, May 1st, on VOD

For more of our coverage on The Wretched click here!

Russo Brothers Are Producing A Live-Action ‘Hercules’ Remake For Disney

By

Travis Hopson

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May 1, 2020

It was inevitable that Disney would get around to remaking Hercules, their 1997 animated adventure which they transformed into grand mythological musical. Disney remakes? Eh, there’s reports of a new one seemingly every month. But what makes this one interesting is that it’s being produced by Joe and Anthony Russo, directors of Avengers: Endgame.

Also on board Disney’s live-action Hercules will be writer Dave Callaham, who also has Marvel roots for scripting Shang-Chi and the Legend of the Ten Rings. He also wrote The Expendables flicks and co-wrote another myth-based hero, Wonder Woman, in the upcoming sequel.

Hercules is loosely-based on the Roman myth of Heracles, the son of Zeus and a super-powered champion for the weak. In Disney’s animated film, he’s the son of Zeus and loving mother Hera (the myth is quite different), but is thrown out of Mount Olympus due to the machinations of his evil uncle, Hades (voiced by James Woods). Sent to Earth, Hercules must use his godly strength to learn what it takes to truly be considered a hero. He’s joined in this hero journey by the satyr Phil (Danny DeVito) and love interest Meg, who is in servitude to Hades.

It’s too early in the process to know what kind of movie Disney plans to make here. The animated movie was part of the Disney renaissance, albeit a very late entry, and really leaned into the Broadway musical aspects that had served them well. So far, it’s unclear if this version of Hercules will be a musical at all, or forego it the way Mulan has done. We also don’t know if it’s planned for theatrical or Disney+.

The real question is: Who is Disney going to get to play Hercules??? Don’t be surprised to see some out-of-the-box thinking on this one, for all of the characters. Just don’t expect to see them casting Dwayne Johnson, Kellan Lutz, or Kevin Sorbo. Been there, done that, and mostly pretty badly. [THR]

Review: ‘All Day And A Night’
'Black Panther' Writer's Netflix Drama Traps Ashton Sanders And Jeffrey Wright In A Cycle Of Violence

By
Travis Hopson
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One might look for a superheroic tale of escape from societal disenfranchisement in Black Panther writer Joe Robert Cole’s subdued, highly recognizable directorial debut, All Day and a Night. Right off the bat, Cole’s moody urban drama about a ghetto kid’s attempts to escape from a life of crime feels familiar. Even the narration by Oakland wannabe rapper/producer Jahkor Lincoln (Ashton Sanders) warns us that his story has been told time and time again. But that’s the point Cole is hitting on, that Jakhor is like so many with big dreams who get swept up in a vicious legacy of violence and crime from which there is no escape.

Giving us a heads up doesn’t excuse All Day and a Night for toeing such an identifiable path, although it earns points for refusing to sugar coat anything. Not even the great, fatherly presence of Jeffrey Wright can ease the darkening mood; rather, he’s a crucial part of it, playing a gritty, thuggish character we haven’t seen from him in ages. Cole upends our expectations right from jump street, as Jakhor commits a violent act from which there is no redemption. Quickly convicted, scolded by the victims’ family, and sent away to prison, it’s there that Jakhor encounters the one person he struggled to be the least like: his father.

From there, Cole flashes us back to the events leading up to Jakhor’s inevitable downfall. The stealthy-eyed, quietly menacing kid grew up with a brutal father-figure, JD (Wright), a do-ragged dopehead with a mean streak. But one of the things Cole shows, and that Wright perfectly portrays, is how much of the tough-guy routine is just that, a routine, an act, something done merely to survive. When away from the hard-knock life, and Jakhor’s struggling mother, JD shows love for his son, casting on him hope that he’ll be something more. All of this takes a bitter, heartbreaking tone knowing what we know. JD and Jakhor are just two black men, stuck in a pattern, a prison of their own making. For all of his hopes, JD kept the circle alive, and so on and so on, until it took his son.

Spanning years, from Jakhor’s fraught childhood to being a stick-up kid for top crimelord Big Stunna (Yahya Abdul-Mateen II), to his first stretch behind bars, All Day and a Night does a deft job weaving time periods together to form a cohesive tale of self-destruction in the face of systemic racism. Where Cole falters is in building the world around Jakhor. The supporting characters who impact him feel strangely out of place. Abdul-Mateen II is once again full of raging charisma, but Big Stunna, who loves to cook when he’s not killing people, is like a cartoon. There’s also celebrity rapper Thug’ish Trex (James Earl), who clowns Jakhor for his formerly-promiscuous girlfriend, but comes across like a low-rent Cee-Lo Green. A subplot involving Jakhor’s smart, ambitious friend Lanmark, ends on the kind of tragedy that cements just how trapped so many black men are by a government that easily discards them. But the paranoia and anger his fate inspires is short-lived, deserving of greater attention in a broader film.

It’s another tremendously internal performance by Ashton Sanders, the Moonlight breakout who seems to have gravitated to characters facing systematic oppression. He keeps the rage fires burning on the inside, his shifty eyes taking it all in, ready to blow up like a powder keg with a lit fuse. Like a scene in which Jakhor, just released by the police on a racially-motivated charge, destroys his mother’s new boyfriend who had just done him a favor. His slight? Being too mouthy? For replacing JD in his mother’s affections? Jakhor never offers up any real answers…

“People say they wanna know why, but they really don’t. They want an easy answer.”

All Day and a Night isn’t looking for answers, even if the questions it asks are ones we already know. It’s about whether Jakhor, and other black men just like him, remain in chains or break the chain. While his debut is imperfect and targeted at an audience who already know the score, Cole’s unsparing approach to touchy subject matter is welcome, and hopefully indicative of a bright filmmaking career.

MAD Magazine’s ‘Spy Vs Spy’ Has A Director In Rawsom Marshall Thurber

By

John Nolan

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April 30, 2020

Is MAD magazine still around? Those poor kids today if not, MAD was an awesome parody/comedy magazine that was just on the line of naughty to make it cool and introduced generations of kids to the humor that would define comedy in the 90s. Think of movies like Billy Madison…you don’t get that without MAD. I went on a bit of a tangent there, but I’m making my way around to the point. The most well-known regular feature in MAD was Spy Vs Spy where two spies, one white, one black, would run around trying to catch each other often to hilarious results. For some reason Spy Vs Spy has been banded around for a film/show for years and it’s finally starting to happen. According to Collider, Rawsom Marshall Thurber is on-board to direct the live-action take on the classic comic, and I’m not sure how to feel about that. Thurber has chops, don’t get me wrong. He’s become a frequent collaborator with Dwayne “The Rock” Johnson which really seems to fit the espionage and action elements but the humor in his films like, Skyscraper and Central Intelligence is far from subtle and intelligent which seems like the hallmark of MAD magazine….yes it’s blunt and slapstick on the surface but there were always layers to what they did.

No word on a release timeline as Thurber was in the middle of shooting a new film Red Notice with Gal Gadot (lucky bastard) when COVID-19 hit, so like most of Hollywood he’ll have some catching up to do when this crisis subsides.

‘Wonder Woman’: Patty Jenkins Talks 4-Movie Plan, Won’t Direct Spinoff

By

Travis Hopson

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April 30, 2020

After 2017’s Wonder Woman breathed new life into the flailing DCEU, it wasn’t just automatic that Patty Jenkins would return for the sequel. It took some time for Warner Bros. and Jenkins to strike a mega-deal, which also gave her time to figure out whether a long-term commitment to a franchise is what she wanted. Well, obviously things worked out and Wonder Woman 1984 will arrive this summer. Beyond that, Jenkins has a plan in mind, but nothing is certain.

Jenkins revealed to Total Film (via GamesRadar) that she has a 4-movie plan in mind, but she isn’t sure she’ll be sticking around to direct them all. In fact, she doesn’t want to do that at all…

“I’m not going to nail down a fresh thought about it until [‘Wonder Woman 1984’] comes out, because I kind of want to give myself a palette cleanser, and be fresh of mind. But yeah, there’s an arc that I have in mind for the first movie, and then the second movie, and then the Amazon movie, and then the third movie.”

The Amazon movie she refers to is a spinoff centering on Diana’s homeland of Themyscira and the Amazonians who raised her.

“I’m not going to direct it, hopefully,” Jenkins said. “I’m going to try really hard not to. It’s not going to be easy. But [‘WW84’ co-writer and former DC Entertainment President and Chief Creative Officer] Geoff Johns and I came up with the story, and we sold the pitch, and we’re going to get it going. I’ll produce it, for sure.”

This isn’t the first time Jenkins has talked about having an entire series of films in mind, but she’s always kept a one-at-a-time mindset. It’s the same here. Wonder Woman 1984 opens in August, and with the cinematic landscape in flux nobody knows how the film will do. Until then, getting too comfortable with anything would be foolish.

Pop! Obsession: New Baby Yoda Funkos Plus Moff Gideon With Darksaber!

By

Travis Hopson

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April 30, 2020

If you thought Baby Yoda was pushed in your face before after the first season of The Mandalorian, just you wait. It’s about to get worse…much worse, because Star Wars Day is right around the corner, and with it comes a brand new wave of Funko Pops! featuring cutesy new versions of Baby Yoda. Oh, and there’s an awesome Moff Gideon featuring the infamous Darksaber.

Our friends at Entertainment Earth have the latest wave of The Mandalorian Funkos, and if you’re someone obsessed with Baby Yoda they’re going to be too hard to stay away from. The first features The Child chomping on a frog, while the other has him holding a soup bowl. Another is part of the “Television Moments” collection, and features The Mandalorian walking along side-by-side with Baby Yoda in his little pod. Awwwwww. So Lone Wolf and Cub it hurts!

The one I’m personally interested in features Giancarlo Esposito’s villain, Moff Gideon, wielding the Darksaber that was revealed in the season one finale. It’s a weapon that fans of Star Wars Rebels know very well, and its ties to the Mandalorian culture should spell for some interesting stories in season two. Something tells me Moff Gideon is going to be a major figure after this, so this one might be worth copping right now.

Entertainment Earth has the two Baby Yoda figures arriving in July, Moff Gideo in August, and the TV Moments in September. These are available for pre-order right now. Click on the below links to get yours, and by doing so it supports us a great deal at ZERO cost to you. Thanks!

The Mandalorian and Child Pop! Vinyl Television Moment

The Mandalorian The Child with Frog Pop! Vinyl Figure

The Mandalorian The Child with Cup Pop! Vinyl Figure

The Mandalorian Moff Gideon Pop! Vinyl Figure