‘Harley Quinn’ Flashes Her Assets In NSFW Promo Ahead Of Season Four Return

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July 17, 2023

I don’t know if Warner Bros. Discovery realizes they’ve struck gold with Harley Quinn. Perhaps they have because the wildly explicit, raunch animated series is coming back for a fourth season of crazy adventures in the DC Universe. And a new NSFW teaser shows just how much Harley is willing to…reveal about herself.

The very brief promo is introduced by Harley, “It’s a bird. It’s a plane. It’s motherf*ckin’ Harley Quinn!” Later, we see Harley lifting up her shirt and flashing her tits, moments after feigning concern for any kids who might be watching. The shot is censored but still, it’s the thought that counts. And there’s still quite a bit of foul language here, so probably don’t watch it at work.

This follows a recent poster that features Harley, Poison Ivy, Clayface, and King Shark riding a very phallic missile.

Before the new season hits MAX on July 27th, you can also check out a recap of season three. It’s worth a revisit!

Pure intentions AND a filthy mind? Get you a girl who can do BOTH. #HarleyQuinnS4 pic.twitter.com/k5hyPGr7fR

— Harley Quinn (@dcharleyquinn) July 13, 2023

Harley Quinn is one of the classic characters in DC Comics. Many people like her cartoon image: the iconic twin tails, sexy tights and baseball bat in hand. To further express our love for Harley Quinn, we can design our favorite character into Custom Vinyl Stickers and decorate personal items with these colorful stickers. Everything you love about her can be design elements. Harley Quinn stickers will also add crazy properties to your items.

Box Office: The Summer Slump Continues as ‘Mission: Impossible 7’ Takes Top Spot While Under-Earning

By

John Nolan

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July 16, 2023

1.Mission: Impossible – Dead Reckoning, Part 1 (review) – $56.2M/$80M

It seems that not even Tom Cruise is immune to the lack of theater goer’s in Summer 2023. The latest adventure of Ethan Hunt and Co. won the weekend but failed to impress with their opening weekend take. The 5-Day total was slightly better, taking $80M and actually set a franchise record BUT when your film costs $300 million before marketing (marketing usually doubles the budget) it’s far from a win. Don’t cry for them though, the global take is near $237M dollars. As has been the case with most of this summer’s “flops” the international audience swooped in to help avert disaster.

2. Sound of Freedom – $27M/$85M

3. Insidious: The Red Door – $13M/$58M

4. Indiana Jones and the Dial of Destiny– $12M/$145.3M

Indy’s final ride just barely missed the third place spot in its second week of release. Which sounds like a positive note but when you lay out that one of THE most iconic characters in cinema history was beat by a movie with no major studio backing and a low-budget horror sequel…things start to sour.

5. Elemental – $8.7M/$125M

6. Spider-Man: Across the Spider-Verse – $6M/$368.7M

I went back to see this again this weekend, taking my kids. Let me tell you, this may be the box office winner of the summer so far but damn should it have earned more. A movie THIS good should have pulled in a billion dollars.

7. Transformers: Rise of the Beasts – $3.4M/$152.7M

8. No Hard Feelings – $3.3M/$46.5M

9. Joy Ride – $2.5M/$10.6M

10. The Little Mermaid – $2.3M/$293.9M

Review: ‘The Miracle Club’
Laura Linney, Maggie Smith, and Kathy Bates Can't Save This Religious Comedy-Melodrama

By
Cortland Jacoby
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For those who are not Catholic, there are entire places that profit off of religious sitings. In 1858, St. Bernadette saw the Virgin Man eighteen times in Lourdes, France, which not only earned her Sainthood but the town gained its own reputation for granting miracles.

In the new film The Miracle Club, four Irish Catholic women travel to that French town in search of their own religious marvels. My short description is clearer than anything presented in Thaddeus O’Sullivan’s sappy melodrama. Starring Maggie Smith, Kathy Bates, Laura Linney, and Agnes O’Casey, the film muddles the complex histories these women have with one another in favor of overdrawn dramatics and a sense of sentimentality.

The film opens in 1967 with the death of Chrissie’s mother (Linney), a staple in the Irish community where she lived. Chrissie is returning home from Boston after 40 years to essentially bury her mother and run, but is stopped by the Church talent show thrown in order to give away tickets to Lourdes.

Inside, she has a chilly reunion with her mother’s best friend Lily (Smith) and her own former ride-or-die Eileen (Bates). Both parties are extremely cold with one another without an explanation, a recurring habit writers Jimmy Smallhorne, Timothy Prager, and Joshua D. Maurer employ. Watching this interaction in awe is Dolly, a young mother of a mute child hoping to win the trip so she can cure her son and get him to talk. Dolly, Eileen, and Lily enter into the talent show as a doo-wop group that wins them second place, though they are given the first prize earnings from the winner.

The over-complicated set-up between these women is The Miracle Club’s downfall. O’Sullivan and the writers withhold too much information causing the tension and drama to appear unnecessary. Kathy Bates and Laura Linney’s characters are supposed to be the same age, but due to costuming and casting choices, their connection is completely muddled. The latter does what she can with the script, giving a moving monologue about an abortion she had when she was younger. She is washed out by the story’s sentimentality otherwise.

As the women make their way through the attractions of the town, their histories are uncovered, and their own motives for needing healing come to light. A supposed comedy, the melodrama overtakes any funny moments, though Dolly’s character has a baby daughter that is a genuine star. Despite donning three acting legends, The Miracle Club severely misuses them, needing a miracle of its own to clean up the script.

The Miracle Club is now playing in theaters.

Review: ‘The End Of Sex’
Emily Hampshire And Jonas Chernick Reunite In A Quirky Journey Through Parenthood & Sex

By
Jen Pourreza
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The End of Sex is a romantic comedy directed by Sean Garrity and starring Emily Hampshire and Jonas Chernick (who also writes for this film). Premiering at the 2022 Toronto International Film Festival, this film takes viewers on a wild adventure as a married couple strives to reignite their sex lives while navigating the challenges of parenting and adulthood.

In this film, Hampshire and Chernick portray a married couple, Emma and Josh, who send their young kids to camp for the first time, hoping to rediscover the passion in their relationship. The very same camp where they had first met years before. The End of Sex playfully addresses the age-old question of whether married couples can maintain active sex lives after becoming parents. As they face the stress and pressure of parenting, Emma and Josh embark on a series of comical sexual adventures to reinvigorate their love life.

As Emma and Josh navigate their quest to revive their relationship, they find themselves thrown into a world of threesomes, sex clubs, and even an unexpected encounter with Emma’s parents at their town’s only sex club. Faced with the realization that parenting has stripped them not only of their libidos but also of their emotional maturity, the couple resorts to outlandish and manipulative attempts to jumpstart their sexual chemistry. However, their efforts often lead to unexpected consequences and seemingly over-the-top comedic mishaps.

The End of Sex explores the delicate balance between passion and intimacy within long-term relationships. Hampshire portrays Emma with strength and vulnerability, grappling with unrequited desires and a crush on an old art school colleague. Chernick’s character, Josh, brings a likable charm to the screen, while the film hints at the idea that maintaining a fulfilling sex life requires effort and dedication.

The End of Sex offers a cute and quirky exploration of married life, parenthood, and the challenges of maintaining intimacy. Not only does this film bring together the talents of director Sean Garrity and stars Emily Hampshire (Schitt’s Creek) and Jonas Chernick, but it also reunites them after their successful collaboration in My Awkward Sexual Adventure. This charming film showcases the chemistry between the actors, creating a delightful on-screen dynamic. Additionally, the cast includes talented performers such as Gray Powell (Sort Of), Lily Gao (Letterkenny -one of my favorite series!), and Melanie Scrofano (Wynonna Earp).

The End of Sex is now available digitally.

‘River Wild’ Trailer: Leighton Meester And Adam Brody Star In ‘The River Wild’ Reimagining Next Month

By

Travis Hopson

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July 14, 2023

1994’s The River Wild saw Meryl Streep and David Strathairn swept away in a raging whitewater rafting nightmare at the gunpoint of a villainous Kevin Bacon. The film was a hit for the time, earning a pair of Golden Globes nominations and a measure of cult status due to the cast, which also included John C. Reilly. In short, any attempt to remake it has some tough waters to paddle against, but the new film River Wild gives it a go with a cast led by Adam Brody, Leighton Meester, and Taran Killam.

A reimagining of the original movie, River Wild stars Meester and Killam as siblings who go on a whitewater rafting trip with a couple of tourists and their troubled childhood friend, played by Brody. When the trip goes sideways and the group finds itself fighting against turbulent rapids, they begin to realize that someone is sabotaging their journey.

The film is directed and co-written by Ben Katai, known for directing 30 Days of Night: Dark Days and for scripting Malevolent, The Strangers: Prey at Night, and The Forest. In short, this guy does scary.

Here’s the synopsis: Joey (Leighton Meester) fears there could be trouble ahead after her brother Gray (Taran Killam) invites Trevor (Adam Brody), a childhood friend with a troubled past, on their whitewater rafting adventure with two tourists. Once they become stranded in raging rapids, the thrill-seeking trip quickly turns from exciting to utterly terrifying as the rafters are trapped in a desperate fight for their lives, all while someone seems intent on sabotage to ensure shocking secrets stay buried. To survive the wild river, Joey will have to face her fears, and everyone will have to develop killer instincts before they’re torn apart by deception aboard the raft, or by deadly waters wreaking havoc all around them.

River Wild will be released on Blu-Ray, DVD, and digital on August 1st.

John Cena’s ‘Barbie’ Cameo Was A Lucky Break According To Margot Robbie

By

Travis Hopson

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July 14, 2023

So what’s the reason everyone is so obsessed with Greta Gerwig’s upcoming Barbie movie and will likely power it over Oppenheimer next week? While Margot Robbie and Ryan Gosling look like they’re going to kill it as Barbie and Ken, it’s the massive ensemble of A-listers playing different versions of those iconic dolls that have audiences hooked. And one that seems like it could be the most fun of all is John Cena. Yes, he’s playing a Ken, but not your ordinary Ken doll. He’s Mermaid Ken. Call him Kenmaid.

Cena’s Kenmaid is actually the love interest of pop superstar Dua Lipa as Mermaid Barbie. The cool thing about this is how coincidental Cena’s casting was. In short, Robbie and Cena were in London shooting at the same studio, and a chance encounter got the ball rolling.

Robbie revealed to Buzz…

“The John Cena cameo is pretty impactful. I love that. And that was by chance. We shot here in London, and we were out at dinner, and I ran into him at a restaurant. Because we’ve worked together before, and I was like ‘what are you doing here?’ And he was like, “We’re shooting at Leavesden at the moment.” And I was like, “We’re shooting at Leavesden. Do you want to come be in “Barbie?’” And he was like, “Yeah!. Because he’s just that kind of guy — like, ‘Sure!’”

So it’s a good thing Cena was in town filming Fast X otherwise we might not have what is sure to be one of the weirdest guest appearances in all of Barbie. We can see Kenmaid in action when the film opens on July 21st.

Review: ‘The Man From Rome’
Richard Armitage Stars In A Vatican Thriller That Is A Holy Mess

By
Jake Sokolsky
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The Vatican is one of the most well-known places in the world. Yet in The Man From Rome we are introduced to an entirely new side of the Vatican and the church. Father Quart (Richard Armitage) is an intelligence officer working for the Vatican. The job comes with all the modern bells and whistles – retinal scanners, complex computer systems, etc. Certainly a far cry from what is typically envisioned when hearing about the Vatican and its priests.

When a determined hacker manages to break through the Vatican’s security system, things go off the rails. They manage to send a text message directly to the Pope. Yes… you read that right. The message tells the pope of a church in Seville, Spain that is being threatened and is killing to defend herself. This seems like the perfect mission for Father Quart.

Father Quart quickly meets Macarena (Amaia Salamanca) – whose family has been a part of the church for generations. Her ex-husband Pencho (Rodolfo Sancho) is leading the bank team working to buy and demolish the church. As Father Quart investigates, he realizes that things are more complicated than they seem.

Sergio Dow directs while Adrian Bol, Beth Bollinger, and Gretchen Cowan form the writing team for The Man From Rome. Bol has multiple films under his belt however, The Man From Rome was the debut for both Bollinger and Cowan. This may be a classic case of too many cooks in the kitchen. The script leaves a lot to be desired and drags at times. At other points there are twists and betrayals galore, but nothing novel. The Man From Rome over exaggerates every detail when any type of deceit or espionage is happening. A phone call from the secret hacker? Quick play spy music and zoom in on the shifty eyes.

The central concept of The Man From Rome is also one that is difficult to grasp. A Vatican intelligence officer? Are you picturing James Bond with a collar, an ordained Ethan Hunt, Jack Bauer in a church? You wouldn’t be that far off – Quart is just a pretty holy-watered down version of those. This coupled with the fact that many of the character’s actions continuously leave the audience scratching their heads and you have a mess. The Man From Rome does not do enough to set itself apart. Throw in the slightly absurd premise and the film is not worth a watch.

The Man from Rome is available now on digital.

‘Outlaw Johnny Black’ Trailer: Michael Jai White’s Western Parody Opens This September

By

Travis Hopson

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July 14, 2023

Michael Jai White’s Outlaw Johnny Black has been a long time coming. A spiritual sequel to the actor’s most popular film, Black Dynamite (sorry, Spawn fans!), it’s a project White has been talking about since 2018. A crowdfunding campaign followed, missed the mark, and then there was that whole COVID-19 thing that put a lot of films on the shelf. But now we’re here, the film is ready, and set to open this September.

White directs and stars in Outlaw Johnny Black, a Western parody about an outlaw who rides into town hunting the man who murdered his father. But when he gets there he’s mistaken for a preacher, and uses this cover while a notorious land baron exerts control over the citizens.

Joining White in the caast are Anika Noni Rose, Erica Ash, Byron Minns, Kym Whitley, and Kevin Chapman.

Just based on this footage, it appears that White is going for a straight-forward PG-13 comedy rather than the blaxploitation style of Black Dynamite. We’ll see if his fans dig it when Outlaw Johnny Black opens on September 15th.

Review: ‘Earth Mama’
A Single Mother Battles An Uncaring Foster System In Savanah Leaf And Tia Nomore's Gut-Wrenching Debut

By
Travis Hopson
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A welcome benefit to the increase of Black female filmmakers are more honest portrayals of the experiences of Black mothers, especially those fighting against the tide of an uncaring system that seems set against them. Savanah Leaf’s glowing debut feature Earth Mama hits you in the gut with its authenticity, its beauty, and unflinching look at a single mother navigating the hurdles of the foster care system.

The Bay Area drama is also the debut of Tia Nomore as Gia, and it’s the kind of stunning introduction that promises a bright future. Nomore, a battle rapper discovered during Leaf’s area-wide search for a non-actor to play the role, captures Gia’s fierceness, her protective maternal spirit, and her fragility as a mother with two kids in foster care, while also 37 weeks into another pregnancy. While Gia struggles to meet the demands to get her kids back, made tougher by one’s coldness to this fight, she deals with their non-existent father and a community that takes as much as it gives. While the people closest to Gia often show support, they’re also enablers of her personal demons. Gia’s a recovering drug addict, working a crappy part-time job at a photo booth. Her sister sells drugs right out of their home. But what is there for Gia to do? Where can she go? Can she even provide for her kids if she were to get them back?

And then there’s the ticking clock of the baby to come. Leaf isn’t out to make a Hollywood-ized movie about a perfect mother’s easy journey to getting her children back. Gia is no saint, although many of the choices she makes are borne out of desperation. In one scene, shot boldly by Manchester By The Sea cinematographer Jody Lee Pipes with the same grounded ferocity, we see Gia swipe a package of diapers right out of a mother’s stroller and stride back to her car, the other woman shouting at her from a distance.

Even those whose job it is to help Gia don’t seem to be on her side much of the time. While one social worker doesn’t seem to care at all about her plight, the soft-spoken and caring Miss Carmen (Erika Alexander) goes too far in the other direction. Concerned about Gia’s fitness to properly provide for her children, she introduces the idea of an open adoption that would allow Gia some visitation rights. She means well, but Black mothers are too often encouraged to give up their children when white mothers in similar situations are not, and Gia is a fighter.

If there’s one thing that comes shining through in Earth Mama it’s that Gia won’t ever give up, no matter what is thrown at her. Her story, one created by Leaf and Waves actress Taylor Russell, is so encouraging, empowering, and believable it’s a wonder some of the fantastical elements that undermine it. Veering into horror, Gia imagines pulling an overlong umbilical cord out of her gaping belly, while later a sonogram shows a fetus that looks like a demon spawn. Taking a polar opposite tract, Gia is occasionally shown, angelic and natural, in the Redwood forests. Leaf continues to struggle with tone in a melodramatic final act, but Earth Mama is kept steady by Nomore’s gripping performance, exemplified by a gut-wrenching address that is like she is speaking right to our souls.

Earth Mama is in theaters now courtesy of A24.

‘The Pod Generation’ Trailer: Chiwetel Ejiofor And Emilia Clarke Have A High-Tech Birth In New Sci-Fi Rom-Com

By

Travis Hopson

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July 13, 2023

Decades of movies, including this week’s Mission: Impossible-Dead Reckoning, have told us that artificial intelligence will eventually take over the world. And honestly, it does sorta seem like those dire warnings are starting to come true. AI is slowly becoming part of our everyday life, and that’s what Sophie Barthes’ new sci-fi rom-com The Pod Generation is all about, as Chiwetel Ejiofor and Emilia Clarke become high-tech pod parents.

Written and directed by Barthes, her third feature after Cold Souls and Madame Bovary, the film centers on a couple in futuristic New York who have very different philosophies on how they should birth a child. Ejiofor’s character is a botanist who prefers they have a natural birth, while Clarke’s wants to embrace birthing technology with artificial wombs and birthing pods. Taking the leap by caring for a baby in an artificial pod, they are forced to confront what it really means to be parents.

Ejiofor and Clarke are joined in the cast by Rosalie Craig, Vinette Robinson, Kathryn Hunter, and Jean-Marc Barr.

Here’s the synopsis: Sophie Barthes’ third feature film is set in the very near future world where AI is all the rage and technology has trumped nature in nearly every aspect of life. The Pod Generation follows Rachel (Clarke) and Alvy (Ejiofor), a New York couple who are ready to start a family. As a rising tech company executive, Rachel lands a coveted spot at the Womb Center, which offers couples the opportunity to share pregnancy on a more equal footing by way of mobile, artificial wombs, or pods. Alvy, a botanist and devoted purist about the natural environment, has doubts, but his love for Rachel prompts him to take a leap of faith. And so, begins the wild ride on their tech-paved path to parenthood.

Cortland saw the film early at Sundance and wasn’t really feeling it, finding the lead characters “ignorant” and “insufferable.” I find it hard to believe anyting with Ejiofor and Clarke could be that bad, and the premise is timely and quite interesting to me.

The Pod Generation hits theaters on August 11th.