Suddenly, female-led riffs on Frankenstein are all the rage, and it’s Diablo Cody’s turn to get in on the fun. Lisa Frankenstein, Cody’s latest offbeat take on horror-romance (after Jennifer’s Body) teams her with Kappa Kappa Die director Zelda Williams andactress Kathryn Newton, known for Freaky and Ant-Man 3.
Newton stars with Riverdale‘s Cole Sprouse as the unusual couple at the heart of this story about a high school misfit and her crush…who happens to be a corpse.
Here’s the synopsis: A coming of RAGE love story from acclaimed writer Diablo Cody (Jennifer’s Body) about a misunderstood teenager and her high school crush, who happens to be a handsome corpse. After a set of playfully horrific circumstances bring him back to life, the two embark on a murderous journey to find love, happiness… and a few missing body parts along the way.
Also in the cast are Liza Soberano, Henry Eikenberry, Joe Chrest, and Carla Gugino.
Making her feature-directing debut is Zelda Williams, who is probably best known for being the daughter of the late Robin Williams. She’s also known for her acting, including a voice role as Kuvira in the popular Legend of Korra animated series. Williams caught a slot of attention in 2018 for her short film, Shrimp, which she directed and also starred in.
Focus Features will release Lisa Frankenstein into theaters on February 9th. For more on the film, check out the official site here.
Just a couple of days ago, news broke that Steven Yeun had exited his role in Marvel’s upcoming Thunderbolts movie. The move was sudden, but not completely out of left field. Yeun, a recent Oscar nominee for Minari and Emmy nominee for Beef, is hotter than ever right now. And with delays caused by the SAG-AFTRA and WGA strikes, Yeun’s schedule was undoubtedly getting tight.
Well, now Yeun has confirmed to Variety his reason for leaving Thunderbolts. Sure enough, it has to do with timing.
“I think for me, time passing and things shifting kind of pulled me out of it,” Yeun explained.
He had good things to say about director Jake Schreier, who he previously worked with on episodes of Beef.
“But Jake [Schreier], I know, is going to do an incredible job. I wanna do a Marvel movie It took a lot of drafts on email to make sure that I conveyed the sincerity of how sorry I was to have to back out.”
Yeun still has hopes of playing a Marvel character someday. However, he’s reluctant to reveal who that is for fear of it not coming true…
“I think it’s too early to say that. I probably pissed off too many people leaving, so I’m just gonna say, ‘Thank you for having me.’ I have some ideas. But I heard if you put it out there, you’ll never get it, so I’ll keep it close to my chest.”
This does all seem to have happened fairly quickly, but that’s how things go sometimes. Yeun will have one of the most anticipated films at Sundance later this month, starring opposite Kristen Stewart in Love Me.
As for Thunderbolts, it’s still set to open on July 25th 2025, but delays continue to be an issue. We’ll see if it can hit the target date or not.
Until we actually see what James Gunn does with DC Studios and the new DCU, questions will continue to swirl. For instance, we know that certain actors are carrying over into their current roles, such as Viola Davis as Amanda Waller and John Cena as Peacemaker, along with Xolo Maridueña as Blue Beetle. But we’ve also seen a lot of popular actors replaced, including Henry Cavill’s Superman, Gal Gadot’s Wonder Woman, and even Jason Momoa’s Aquaman.
But where does that leave Margot Robbie as Harley Quinn? Arguably the most popular portrayal of the entire DCEU, Robbie’s Harley Quinn was the breakout character of Suicide Squad, Birds of Prey, and Gunn’s own The Suicide Squad. Robbie, who has grown into a super-producer and obviously the star of Barbie, has a lot of options on the table. But would she come back as Harley Quinn if asked?
In a recent Variety interview, Robbie was asked straight-up if she would return as Harley Quinn, and while she doesn’t reject the idea, she also seems eager to pass the torch…
“I always wanted Harley to be a character that would get passed on to other actresses to play, the way there are so many iconic male characters. That was always the dream for her.”
“Harley’s so fun and can go in so many different directions. You put her in someone else’s hands, and it’s like, “What are they going to do with her?” The options are endless,” she said.
Robbie has been such a champion for Harley Quinn that it says a lot that she doesn’t express any enthusiasm here. She seems resigned to moving on, and that’s going to disappoint a lot of fans. It’s also surprising if Gunn, who loves working with actors he knows very well, doesn’t ask Robbie to return. We’ll just have to wait and see what happens, but I have to believe Harley Quinn will be a key part of the DCU at some point.
For those with a fear of deep water, a film such as Night Swim, from the combined talents of Blumhouse and James Wan’s Atomic Monster, should have them trembling. Count me as one of those people, as there are few things that shake me up quite like the thought of being stuck in the deep end of the pool, or caught in the ocean tide, or unable to resurface from underwater. While there’s a ton of talent on both sides of the camera, including the acclaimed short film it’s based on, Night Swim‘s scares are modest at best, causing only minor ripples for those looking for a shocking horror fix.
Night Swim begins by preying upon two of our most primal fears: drowning, and the unknown. A curious young child is lured to her backyard pool in a way that would make Pennywise jealous. When the kid meets a sinister fate and is lost, it becomes clear that this swimming pool harbors a lot more than just chlorine, bugs, and fallen leaves.
Wyatt Russell, son of Kurt, and recent Oscar nominee Kerry Condon star as Ray and Eve Waller. Their situation is anything but typical, making them a family that’s a bit more interesting to follow than the genre usually offers. Ray is a former Major League Baseball player with a gifted swing, but forced to quit the game due to a medical diagnosis. Eve, along with their teen daughter Izzy (Amelie Hoeferle) and young son Elliot (Gavin Warren), are supportive of Ray, but also happy to find a new home and set down roots. And what could be better for Ray’s recovery than a therapeutic swim in their own backyard pool? Good thing they’ve found the perfect home that has one! And the realtor, a chatty local with a habit of oversharing, can sell it to them for a steal! It’s not like any kids have gone missing there or anything!
Director and co-writer Bryce McGuire grounds Night Swim with a rich central premise, one built on the idea that nothing good happens for free. The idea of sacrifice is at its core, and when the pool’s waters have a miraculous effect on Ray…well, something terrible must happen in its stead. There’s a lot more with this idea that McGuire could’ve done, however what we get are a lot of really weak jump scares and poorly staged underwater frights. There are few things more viscerally terrifying than being trapped under the water with no hope of finding air, but when it happens here it’s surprisingly ineffective. A haunting game of Marco Polo shows that Night Swim might’ve been better playing more into the psychological frights of the unknown watery depths, but instead it offers just a toe in the water.
Director Michel Franco takes his time delicately unwrapping his characters’ pasts in Memory. Actions implemented early on in the film go off with expert precision and impact by the end with the help of Jessica Chastain and Peter Sarsgaard’s brilliant performances. By the end, you are completely enraptured in one of the most well-done and moving films of the year.
We first meet Sylvia (Chastain) at an AA meeting for her sober anniversary. She’s quiet as the group goes around wishing her continued success for herself and her daughter, Anna (Brooke Timber) who is present. Franco then takes us through Sylvia’s disciplined routine of afterschool pickups, drop-offs, and meticulous house cleanings. Dedicated to her sobriety, she is very strict with her teenage daughter and spends her working hours as a social worker for adults with disabilities.
When she accompanies her sister (a superbly understated Merritt Wever) to a high school reunion, a man approaches her with a smile. She stares ahead, before eventually getting up and leaving to go home. He follows her from a distance, ending up at her door where he spends the night outside. The morning after she tentatively approaches him to call and gets his name, Saul (Peter Sargaard).
Franco doesn’t explain his characters’ behavior right away like a lot of lesser directors would. It is eventually revealed that Saul suffers from dementia and Sylvia is still grappling with childhood sexual trauma. In fact, she originally accuses Saul of being one of the perpetrators before being corrected by her sister.
To make up for it, she feels obligated to take Saul’s brother and niece’s (Josh Charles and Elsie Fisher) offer up to care for him during the day. Franco brilliantly draws out the intimacy of everyday moments between his two characters from watching movies together to doing dishes. It’s a masterclass in palpable tension and character building.
Here, Sarsgaard solidifies himself as one of the greatest character actors of our time. His Saul is subtle but still heartbreaking, giving one of the best performances of the year. He won Best Actor at the 2023 Venice Film Festival and with good reason. He disappears into Saul.
Chastain is just as brilliant, playing a more reserved and buttoned character. While Sarsgaard gets to play a bit more, everything rides on her character which she handles with ease. When key moments in Sylvia story are finally revealed, Chastain takes big emotional swings, making your heart break for her.
As a trio, Sarsgaard, Franco, and Chastain are a cinematic tour de force. It’s unfortunate that this film hasn’t made more of an impact this year and is unlikely to receive any Oscar nominations, but for my money, Memory is easily one of the best films of 2023.
Memory is in select theaters and opens wide on January 5th. Watch the trailer below.
Jordan Peele has only directed three movies: Get Out, Us, and Nope, and already each new release is seen as a major event. Faster than just about any filmmaker in recent memory, Peele has carved out a niche for himself as the go-to guy for socially conscious horror movies. And while his next film which was initially set for the holidays 2024 was pulled off the schedule due to strike-related delays, Peele is still excited for fans to see what he has in store for them.
“This has been… obviously, it’s been an interesting year because the writer’s strike had had me in a state of listening, and that’s where I need to be. I do feel like my next project is clear to me, and I’m psyched that I have another film that, you know, could be my favorite movie if I make it right.”
Details on the film have remained a secret. We don’t know any plot info, and casting is still under wraps. Some rumors have surfaced that it could be connected to Peele’s most recent film, Nope, but that hasn’t been confirmed. That film opened in 2022 and earned $171M worldwide during a time when theaters were struggling to draw audiences.
One thing is for certain and it’s that we won’t know anything until the moment Peele wants us to. Peele has another horror film he’s producing through his Monkeypaw Productions banner which was yanked from its September 2024 date and is currently undated by Universal Pictures.
Unless you’re Fast & Furious, sequels can only take a franchise so far. Eventually, it starts to make more sense to just look backward, and that goes double for horror franchises. The latest to turn back the clock is The Omen, which returns with a prequel to the 1976 classic, The First Omen.
Nell Tiger Free, who definitely knows her way around creepy shit as part of M. Night Shyamalan’s Servant series, stars in The First Omenas an American woman sent to work at a church in Rome, only to discover a conspiracy to see the rise of the Antichrist.
Also in the cast are Tawfeek Barhom, Bill Nighy, Sônia Braga, and Ralph Ineson.
The film is directed and co-written by Arkasha Stevenson. Keith Thomas, director of the recent Firestarter remake, is aboard as a co-writer, too.
Here’s the synopsis: In this prequel directed by Arkasha Stevenson, a young American woman is sent to Rome to begin a life of service to the church. She encounters a darkness that causes her to question her own faith and uncovers a terrifying conspiracy that hopes to bring about the birth of evil incarnate.
20th Century Studios will release The First Omen into theaters on April 5th.
We all have people who have come into our lives that make us question our pasts. That concept is examined, ripped apart, and snorted in Andrew Haigh’s quiet and devastating fantastical drama All of Us Strangers. Based on Japanese writer Taichi Yamada’s 1987 novel Strangers, the director and his two main actors take what has traditionally been a horror-based story and turn it into a haunting meditation on grief.
Andrew Scott, known for his work on Fleabag and Sherlock, plays a gay man living in a new and empty London high-rise apartment. As Adam, he spends his days avoiding writing his screenplay and watching old episodes of Top of the Pops. During a fire drill, he meets a fellow lonely neighbor named Harry. Paul Mescal (Normal People, Aftersun) gives Harry a cool sensuality. There’s something forbidden yet inviting about his performance and he plays off Scott beautifully.
While the two get to know each other and we get to know them, Haigh employs every trick in his romantic arsenal to get his audience to fall in love with them as a couple. It works. The chemistry between Scott and Mescal is palpable, from their longing looks to Harry’s gentle attempts at flirting. They talk about Harry’s estrangement from his parents and Haigh builds a false sense of security that is rocked when Adam travels out of town and follows a mustachioed man into a liquor store.
It’s clear the two know each other in a familiar way. Played by Jamie Bell, he leads Adam back to his childhood home where Claire Foy’s character waits for him. Unsure of what’s happening he embraces his parents and talks about what they missed after they passed in a car crash when he was 12.
The narrative jumps between Adam’s growing time with his parents and his relationship with Harry. Scott captures a man dealing with his repressed grief by controlling the everchanging pain in his eyes. He wants to make up for lost time, having those hard conversations with his parents that he never got to have. Scott and Foy are at their best during their second meeting, when Adam comes out to her. It’s funny and slightly painful, as Foy tries to reconcile that not only is her son gay but how attitudes and times have changed.
Bell gives his best performance of his career as Adam’s father, combining a very English ‘80s era father with a kind paternal spirit. We don’t know if he and Foy are real or not but his presence feels natural and lived in, like the rest of Haigh’s film.
I struggle to ascribe a genre to All of Us Strangers beyond “romantic fantastical drama” because no easy answers are given. It could be a grounded supernatural drama, rooted in a ghost story. It could be a psychological romantic drama or even a realistic sci-fi film in the vein of Petite Maman. Like the film’s ending, everything is up for interpretation. But one thing that you can’t argue with is that All of Us Strangers will haunt you with its beauty long after you walk out of the theater.
All of Us Strangers expands nationwide on January 5th.
In recent years, casinos have transcended their traditional confines to become not just a haven for high rollers but a trendy and acceptable part of mainstream society and culture. From the glamour of Las Vegas to the rise of accessible online casino platforms, the allure of the casino has become ingrained in our entertainment landscape. As we explore the fascinating intersection of casinos and cinematic artistry, let’s delve into unforgettable casino scenes that will keep you on the edge of your seat.
The Rise of Casinos in Pop Culture:
Casinos have evolved from exclusive enclaves for the elite to vibrant hubs of entertainment accessible to everyone. The portrayal of casinos in movies, TV shows, and other media has played a pivotal role in this transformation. The glitz, glamour, and intrigue associated with casinos have made them a captivating backdrop for storytelling, contributing to their widespread acceptance in modern culture.
With the advent of technology, the casino experience has expanded beyond brick-and-mortar establishments. The accessibility and popularity of online casinos and games have skyrocketed, offering a virtual realm where players can indulge in the thrill of the casino from the comfort of their homes. The digital revolution has democratised the casino experience, allowing anyone with an internet connection to try their luck at the tables or slots.
Unveiling Unforgettable Casino Scenes:
1. Casino Royale (2006): The Poker Showdown
Daniel Craig’s debut as James Bond in “Casino Royale” delivered a gripping casino scene centred around a high-stakes poker game. The tension is palpable as Bond faces off against his adversary, Le Chiffre, in a game that goes beyond cards to reveal the characters’ true mettle. The scene epitomises the blending of sophisticated gaming and high-stakes drama.
2. Ocean’s Eleven (2001): The Heist in Bellagio
George Clooney and his ensemble cast orchestrate a heist in the heart of Las Vegas in “Ocean’s Eleven.” The elaborate plan unfolds amidst the opulence of the Bellagio casino, creating a cinematic spectacle that keeps viewers on the edge of their seats. The intertwining of wit, charm, and strategy makes this casino scene an unforgettable cinematic moment.
3. Rain Man (1988): Counting Cards at Caesars Palace
“Rain Man” showcases Tom Cruise and Dustin Hoffman at the iconic Caesars Palace in Las Vegas. Hoffman’s character, an autistic savant, demonstrates his extraordinary ability to count cards, turning a routine blackjack game into a mesmerizing display of skill. The scene not only captures the allure of casinos but also highlights the unique talents that can thrive within their walls.
4. Rounders (1998): The Final Poker Game
Matt Damon and Edward Norton star in “Rounders,” a film that explores the gritty world of underground poker. The final poker game unfolds in a tense and dramatic fashion, emphasizing the psychological warfare inherent in high-stakes gambling. The scene epitomizes the unpredictable nature of casino games and their ability to shape the destinies of those involved.
Casinos have seamlessly integrated into the fabric of our cultural narrative, captivating audiences both on and off the silver screen. From the glitzy allure of physical casinos to the convenience of online platforms, the casino experience continues to evolve, attracting a diverse array of enthusiasts. As we revisit unforgettable casino scenes in cinema, we are reminded of the enduring appeal of these establishments, where risk and reward dance in an eternal tango, ensuring that the casino remains a timeless and thrilling backdrop for storytelling.
By the time the new Mean Girls hits theaters, the original comedy hit will be 20 years old. I’ll let that sink in for a minute. Yes, you’re old, too. Anyway, something people of a certain are having to get used to increasingly are musical adaptations of movies we used to love. We already have The Color Purple out there performing well at the box office and possibly earning accolades. And like it, this new Mean Girls is based on an acclaimed Broadway musical, meaning it will be the same movie, while also a very different one.
So the story remains the same, the characters are the same, and so are a lot of the jokes. But the cast is different, shows more cultural diversity, and there is a lot more music this time around.
The cast features Angourie Rice, Reneé Rapp, Auli’i Cravalho, Jaquel Spivey, Avantika, Bebe Wood, Christopher Briney, Jenna Fischer, Busy Philipps, Ashley Park, Tina Fey, and Tim Meadows. Fey, who wrote the original screenplay, returns to write this new take, joined by directors Samantha Jayne and Arturo Perez Jr.
Here’s the synopsis: From the comedic mind of Tina Fey comes a new twist on the modern classic, MEAN GIRLS. New student Cady Heron (Angourie Rice) is welcomed into the top of the social food chain by the elite group of popular girls called “The Plastics,” ruled by the conniving queen bee Regina George (Reneé Rapp) and her minions Gretchen (Bebe Wood) and Karen (Avantika). However, when Cady makes the major misstep of falling for Regina’s ex-boyfriend Aaron Samuels (Christopher Briney), she finds herself prey in Regina’s crosshairs. As Cady sets to take down the group’s apex predator with the help of her outcast friends Janis (Auli’i Cravalho) and Damian (Jaquel Spivey), she must learn how to stay true to herself while navigating the most cutthroat jungle of all: high school.
