CHICAGO – The Country Music industry has become as huge as any category of music entertainment. So Mark Roberts, the creator of the TV sitcom “Mike & Molly,” has fashioned a boisterous new play about the machinations of that genre of music industry, and gave it the plaintive title of “New Country.”
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How many times do the characters of Daredevil say “this city” on the show? What other character do the Russo Brothers wish they could bring into the Marvel cinematic universe, and who do they pick for their own fantasy superhero teams? How much has Captain America: Civil War pulled in overseas. All that and more in this edition of Superhero Bits.
Kids stage their own superhero battle in this Captain America: Civil War themed ad for Target.
The second season of DC’s Legends of Tomorrow is looking to fill a “Han Solo-like” character role.
Mutants go to war with each oher in a new X-Men: Apocalypse TV spot.
Adewale Akinnuoye-Agbaje talks about playing Killer Croc in Suicide Squad.
Here’s a supercut of all the times the characters say “this city” in Netflix’s Daredevil.
Batman v Superman: Dawn of Justice is now the 7th highest grossing comic book movie of all time.
Check out the new suit designs for Superman, Batman, Wonder Woman and more for DC Comics’ Rebirth.
The Flash star Tom Cavanagh teases what’s in store for the season finale of the comic book series.Continue Reading Superhero Bits>>
Due to the amount of graphics and images included in Superhero Bits, we have to split this post over THREE pages. Click the link above to continue to the next page of Superhero Bits.
The post Superhero Bits: Civil War Foreign Box Office, Marvel Fantasy Draft, appeared first on /Film.
In a few days, audiences will greet the new Spider-Man (Tom Holland). A few years ago another reboot of the character didn’t sound particularly appealing, especially after The Amazing Spider-Man 2, but when Marvel and Sony joined forces to get the character back on track, things started looking up for the teenage hero. After seeing Spidey in action during Captain America: Civil War, now another Spider-Man reboot doesn’t sound half-bad.
When we spoke with Captain America: Civil War screenwriters, Christopher Markus and Stephen McFeely, they discussed the experience of waiting to hear if Spider-Man would have a role in the film, and how that impacted their work. Read what they said about the new Spider-Man below.
This Spider-Man is a bit younger, much funnier, and slightly nerdier than the last time we saw the character. His role in the film isn’t shoehorned in, either. The inclusion of Spider-Man doesn’t disrupt the pace of Captain America: Civil War or come across as nothing more than a narrative tangent to tease future films, which is something Marvel keeps improving on.
Fitting Spider-Man into the story, however, took plenty of work. During the back-and-forth between Marvel and Sony, Markus and McFeely were working on drafts of Civil War that included the character, before a deal was even signed. When negotiations weren’t going smoothly, they’d have to rework the script and remove Spider-Man.
Here’s Markus and McFeely told us about writing the new Spider-Man and the collaboration between Marvel and Sony:
When in the writing process did you learn Spider-Man would have a part in the film?
McFeely: He was always possible, not necessarily always realistic. From the very beginning, we knew it would be great if we could get him. [Marvel’s] Kevin Feige gave us reason to believe that there were some ongoing negotiations and maybe it’s possible. So we did versions where he was in it and then he came back in and went, “Not going that well,” as any normal negotiations would. And then we moved pieces around and strengthened Black Panther (Chadwick Boseman) as a character. We knew we were definitely going to use him, because we definitely wanted that splash panel [airport sequence] to have as many earned participants as we could get.
Eventually, when the deal was done, it was bittersweet because we had a really tight thing going. Kevin said, “We got him.” And we said, “Great. That’s a lot more work for us. OK. Let’s figure it out.” [Laughs.]
Did you only have to work with Marvel on the character?
Markus: We only had to deal with Marvel. Marvel dealt with Sony.
McFeely: Well, I think they sent the scenes…
Markus: Yeah, they sent the scenes and then they came to set when we were shooting those scenes. It felt very free, I have to say. They knew, 12 movies in, we weren’t going to screw them up. Marvel wasn’t going to trash them. They were made comfortable and then they were enthusiastic.
Since Marvel made the character fun again, it seems doubtful Sony would be unenthusiastic about the character’s future. The teenage hero probably wouldn’t have been able to survive another hit if Marvel, Sony, and all involved didn’t deliver with the new Spider-Man. You can only hit the do-over button so many times, but thankfully, the course has been corrected.
When we spoke with Kevin Feige, he told us they wanted to embrace what made the Marvel character special in the first place:
We wanted to show a much younger Spidey, in contrast to our other heroes, a Spidey who — as was he was in the early ’60s, when he was first created in the Marvel bullpen — was totally different from the Marvel heroes. The other heroes don’t have to worry about homework. They don’t have to worry about being home at a certain time. That’s what makes Spider-Man Spider-Man. We also wanted to let audiences know he’s already Spider-Man; he’s been Spider-Man for a little while when we meet him. There wasn’t the expectation we’d tell an origin, I think, everybody in the world already knows.
Captain America: Civil War will probably prove Feige right, that audiences know who this character is by now and that there’s no reason to show his origin story or “the untold story” again. Probably nobody is going to leave Civil War disappointed because they didn’t see young Peter Parker get bit by a radioactive spider. Spider-Man: Homecoming, thankfully, won’t show his origin story, either. This weekend, not only will audiences become acquainted with the new Spider-Man, but they’ll also receive, once again, another Spider-Man worth rooting for and laughing with.
The post ‘Captain America: Civil War’ Screenwriters on Making Room for Spider-Man appeared first on /Film.
Filmmaker Jim Jarmusch has two films premiering at the Cannes Film Festival. Jarmusch’s documentary on The Stooges, Gimme Danger, and his Adam Driver-led film, Paterson, will both make their debuts later this month. The latter project (which was co-financed by Amazon) was shooting a little under-the-radar later last year. Driver stars in the “wry comedy,” and you can now see some footage from the film.
Watch the first Paterson clips below.
The director responsible for Only Lovers Left Alive, Ghost Dog: The Way of the Samurai, and Dead Man didn’t exactly classify as Paterson as a “comedy” when he very briefly discussed the film, but he said there’s definitely “some funny stuff in it.” Some underplayed comedy is almost always expected from the filmmaker, whose sense of humor is definitely in the first of these two Paterson clips. The Girls and Star Wars: The Force Awakens star plays Paterson, a bus driver that lives in, yes, Paterson, New Jersey, which, according to the titular character, is nothing more than a coincidence.
Almost nothing but a focus on mood and character in these clips, which sounds about right for clips from a Jim Jarmusch film. The plot synopsis gives a little more insight into the plot than footage above does. The film’s “simple structure” is set over the course of one week, as Jarmusch shows the bus driver/poet’s “quiet triumphs and defeats of daily life.” Paterson’s wife (played by Golshifteh Farahani) sounds like a major part in the film, and hopefully, we’ll see more of her work in the film soon. A 2016 release date is expected.
Here’s the full synopsis:
Paterson (played by Driver) is a bus driver in the city of Paterson, New Jersey — they share the name. Every day, Paterson adheres to a simple routine: he drives his daily route, observing the city as it drifts across his windshield and overhearing fragments of conversation swirling around him; he writes poetry into a notebook; he walks his dog; he stops in a bar and drinks exactly one beer. He goes home to his wife, Laura (played by Farahani). By contrast, Laura’s world is ever changing. New dreams come to her almost daily, each a different and inspired project. Paterson loves Laura and she loves him. He supports her newfound ambitions; she champions his secret gift for poetry. The history and energy of the City of Paterson is a felt presence in the film and its simple structure unfolds over the course of a single week. The quiet triumphs and defeats of daily life are observed, along with the poetry evident in its smallest details.
The post ‘Paterson’ Clips: Adam Driver Just Wants to Drive His Bus and Drink His Beer appeared first on /Film.
Universal’s upcoming slate just got a little bit spookier. The studio has locked down a 2019 release date for the third installment of its nascent Universal Monsters franchise, which kicks off in 2017 with a reboot of The Mummy and continues in 2018 with an as-yet-untitled film. In addition, they’ve also set aside a spring 2018 date for an unrelated R-rated comedy.
TheWrap reports the third Universal Monsters movie will arrive February 15, 2019 — President’s Day weekend. It is currently the only film set for that date, although Paramount’s SpongeBob Squarepants 3 opens one week prior on February 8, 2019. Chris Morgan and Alex Kurtzman are overseeing the Universal Monsters universe, with a writers room that includes Aaron Guzikowski (Prisoners), Noah Hawley (Fargo), and Ed Solomon (Now You See Me).
Kurtzman is also directing The Mummy, which opens up the rebooted Universal Monsters series on June 9, 2017. Shooting is already underway with Tom Cruise and Sofia Boutella in the leads. The second Universal Monsters movie will land on April 13, 2018. There’s no word yet on which monsters will claim the 2018 and 2019 release dates. Possible contenders include The Invisible Man, which already has Johnny Depp set to star; Bride of Frankenstein, which is being written by David Koepp; and The Wolfman, which was written by Guzikowski.
The idea behind the Universal Monsters reboot is for horror icons like Dracula, Van Helsing, Bride of Frankenstein, and the Wolf Man to inhabit the same Marvel-styled hared universe. “The characters will interact with each other across movies,” confirmed Universal Pictures chair Donna Langley last year. “We’re incubating it at the moment, and we’re taking the time to get it right.”
Although early reports suggested that the Universal Monsters movies might fall more into the action-adventure genre, Kurtzman has promised that they won’t abandon the originals’ horror roots. “I promise you there will be horror in these movies,” he insisted. “It is our life goal to make a horror movie. The tricky part is actually how you combine horror with either adventure or suspense or action and be true to all the genres together.”
Indeed, their research apparently involves not just the original Universal Monster movies, but some Hammer horror classics as well. “This is not a heightened world,” Morgan has said. “We’re exploring issues of family identity and questions of, ‘Where do I belong in the world?” Which all sounds well and good, but it’ll be some time before we see how these plans actually pan out.
Oh, and as for that R-rated comedy we mentioned at the top of the article: Universal says it’s coming April 20, 2018, which pits it against an untitled New Line tentpole. Your guess is as good as ours as to what either of them actually are.
Hollywood’s favorite comic book writer, Mark Millar, is preparing to bring yet another one of his stories to the big screen. Millar is joining forces with Joe Roth and Jeff Kirschenbaum for an adaptation of his latest new title, Empress, described as “part Star Wars, part Guardians of the Galaxy.” F. Scott Frazier (xXx: The Return of Xander Cage) is on board to write the script.
The news comes just one week after two of Millar’s other comics, Supercrook and American Jesus, were scooped up by Waypoint Entertainment, and days before Marvel’s Captain America: Civil War, based on a comic book storyline by Millar, hits theaters. Seriously, the movie industry cannot get enough of this guy.
Published by Marvel’s Icon imprint, Empress #1 made a big splash when it hit stores in April, selling out and drawing strong reviews. Empress #2 lands this week. The Hollywood Reporter got the scoop on the Empress movie, and describes the story as follows:
The comic, co-created and drawn by Stuart Immonen, centers on the wife of a galactic dictator (a la Ming the Merciless from Flash Gordon) who makes the decision to leave her evil husband and take her three kids with her. With the aid of a bodyguard, she escapes with her brood — Aine, her 15-year-old daughter who wants to be with her father; Adam, her gentle soul of a 10-year-old son who she knows would not survive the trials ahead to be an elite ruler; and Puck, her 18-month-old — to her home world. But the dictator husband, with armies at his disposal, isn’t going to let her go without a fight.
Although the Empress movie was only officially announced today, Millar has been hinting at the news for weeks on Twitter.
— Mark Millar (@mrmarkmillar) April 6, 2016
— Mark Millar (@mrmarkmillar) April 7, 2016
Roth’s credits include the fantasies Alice in Wonderland, Maleficent, Oz the Great and Powerful, and Snow White and the Huntsman. He and Kirschenbaum are currently working together on xXx: The Return of Xander Cage. Kirschenbaum was the executive at Universal who brought in Millar’s Wanted, turning it into a hit movie starring Angelina Jolie and James McAvoy. (Never mind that the film strayed pretty far from Millar’s source material.)
In addition to Wanted, Millar also created the comics that spawned Kick-Ass and its sequel and Kingsman: The Secret Service and its sequel (which is shooting now). He spent some time overseeing 20th Century Fox’s Marvel movies, and we’ve heard that the next and last Wolverine film might be based on his comic book storyline “Old Man Logan.” Projects based on his titles Jupiter’s Legacy, Chrononauts, Starlight, MPH, Superior, Nemesis, Kindergarten Heroes, and War Heroes have also been in various stages of development around town over the past few years.
The post Mark Millar’s ‘Empress’ Is Getting Turned Into a Movie appeared first on /Film.
Casting News: Michael Fassbender Considers ‘Entering Hades,’ Anthony Mackie Set to Play Johnnie Cochran
The key to navigating Hollywood these days is attach yourself to a superhero movie franchise of some kind to guarantee a hit movie every few years so you can run off and join darker, weirder, more eclectic projects without a care in the world. It also means everyone lining up to interview you about your scrappy little drama because they’re also hoping to squeeze you for details about the next superhero gig. It’s an imperfect system, but plenty of talented people are making it sing.
Take Michael Fassbender and Anthony Mackie, two actors who have seen their star power rise in the superhero movie bubble who have been using their off-time to take risks and join interesting projects. Today, we got this casting twofer: Fassbender is looking to star in an adaptation of the true crime novel Entering Hades and Mackie will play infamous lawyer Johnnie Cochran in an untitled new movie.
Let’s start with Fassbender, who has turned in fearless performances in movies like Shame, Steve Jobs, Macbeth, 12 Years a Slave, and Frank when he’s not playing Magneto in the X-Men movies. Deadline reports that Broad Green Pictures has acquired the rights to John Leake’s Entering Hades, which tells the horrifying true tale of Jack Unterweger, an acclaimed journalist and author who traveled the world to investigate stories…while also committing eleven murders across several continents. As you do.
Birdman screenwriter Alexander Dinelaris is currently adapting the book and Fassbender’s producing partners, Conor McCaughan and Daniel Emmerson, are on board, hence the actor’s involvement in the film. I have not read Entering Hades, but Amazon informs me that people who bought this book also picked up the incredible Devil in the White City, which is the kind of comparison (algorithmically generated or not) that could convince me to pick it up. Then there’s the fact that “Michael Fassbender as a suave, globetrotting serial killer” is one helluva pitch.
Across the superhero aisle is Anthony Mackie, a.k.a. the Falcon, who has also proven impressive outside of the movies where he gets to play Captain America’s best friend. Now, he’s teaming up with producers Robert Brenner and Jason Spire for a currently untitled film about lawyer Johnnie Cochran’s involvement in the 1981 Signal Hill case, where a college student died under strange circumstances while in police custody. David McMillan penned the screenplay, but no director is attached yet.
This is an interesting time for this project, as cases of police brutality continue to generate headlines on a daily basis and Courtney B. Vance just played Cochran to much acclaim in the brilliant American Crime Story: The People vs. O.J. Simpson on FX. Mackie will be playing a younger Cochran, a decade and change before he became a figure of national attention, so it will be interesting to compare the performances. In any case, this won’t be the first time Mackie has taken on a real-life figure – he’ll be seen as Martin Luther King Jr. in HBO’s All the Way later this year.
Meanwhile, both Fassbender and Mackie can be seen as Magneto and the Falcon this month in, respectively, X-Men: Apocalypse and Captain America: Civil War.
The post Casting News: Michael Fassbender Considers ‘Entering Hades,’ Anthony Mackie Set to Play Johnnie Cochran appeared first on /Film.
Guillermo del Toro has about a hundred different projects cooking at any given moment, but as we reported back in March, his next directorial effort is a Cold War romance starring Sally Hawkins, Octavia Spencer, and Michael Stuhlbarg. Of course, del Toro being del Toro, this isn’t just your run-of-the-mill period piece.
Earlier reports vaguely alluded to an “otherwordly” element, and now we might have a better idea of just what that might mean. A new report claims Richard Jenkins is looking to join the del Toro project… and that the story might involve an amphibious man.
Here’s what we know for sure about del Toro’s new project: The Hollywood Reporter previously described it as “a mysterious and magical journey set against the backdrop of Cold War-era America circa 1963 with an otherworldly love story at the center of it.” Hawkins was set to star in March, and Spencer and Stuhlbarg are currently in negotiations. Now The Tracking Board adds that Jenkins is in talks to join the project, which the site calls The Shape of Water. And here’s how they describe the story:
… the fairytale, set in 1963, centers around Elisa (Hawkins), a mute janitor working at a lab where an amphibious man is being held captive. When Elisa falls in love with the creature, she devises a plan to help him escape with the assistance of her neighbor (Jenkins). The world outside of the lab, however, may prove to be more dangerous for the amphibious man than Elisa could have anticipated.
The Tracking Board’s reports can be hit or miss, so we’d caution you to take all these new details (including Jenkins’ potential casting and the possible new title) with a grain of salt. That said, a period romance involving a merman does sound like it’d be right in del Toro’s wheelhouse. He’s done the “fantasy story against a historical backdrop” thing before, with Pan’s Labyrinth and The Devil’s Backbone, and he seems to get along just fine with merpeople, judging by Hellboy‘s Abe Sapien. And going all the way back to last fall, there was that old rumor, also from The Tracking Board, describing del Toro’s next original effort as “WALL-E meets Splash.”
Del Toro is writing this new film for Fox Searchlight, and will also produce with Callum Greene. Shooting is expected to get underway in August, so we’ll be keeping an ear out for even more crazy details on this project. No release date has been set, but we can probably look for this one to hit sometime in 2017.
The post Guillermo del Toro’s Cold War Romance Might Star Richard Jenkins and Involve a Merman appeared first on /Film.
After finishing up its second season earlier this year, fans have been wondering if Agent Carter would return for a third season, especially since lead actress Hayley Atwell had landed another lead role in the courtroom drama Conviction, also on ABC. Reports said that the production schedule for each shows would have allowed her to do both, however, a new update indicates that Agent Carter may be retired after all.
In addition, there may be more bad news for fans hoping to see Marvel’s TV roster expand on network television as Marvel’s Most Wanted doesn’t sound like it’s guaranteed to get a series order as was once thought.
Find out about what’s going on with Agent Carter season three and Marvel’s Most Wanted after the jump.
The update on both of these Marvel shows comes from a story at The Hollywood Reporter where they picked out 10 pilots that are likely to get a full series order. One of those pilots is the aforementioned Conviction, and while talking about that show, they mention the two Marvel series and where they’re at on ABC’s radar at this point.
First up, when the trade mentions Agent Carter, they say that it’s “highly unlikely” for the show to get a third season. That’s probably a bummer for fans who liked seeing a strong female character like Peggy Carter get her own show, but it wasn’t exactly a runaway hit, and interest seemed to be waning even among fans in its second season. Part of me wonders if the show might have fared better as a Netflix production, but I guess we’ll never know (unless they decide to rescue the series).
Secondly, Marvel’s Most Wanted has been in the works since last summer and just recently added some cast members back in March. The series focusing on Lance Hunter (Nick Blood) and Bobbi Morse (Adrianne Palicki) from Agents of SHIELD was once thought to be a lock for a full series order, but now the same THR report says the series “has been cooling” behind the scenes and may not end up on the air after all.
On the other end of the spectrum, Variety says that while Marvel’s Agents of SHIELD is not a sure thing for a series order, their report says it still has a decent shot of getting picked up. From my perspective, following two more SHIELD agents after the depart the organization sounds like the least creative spinoff to put forth for the television side of the Marvel cinematic universe, so I wouldn’t really mind if it didn’t move forward.
If Agent Carter doesn’t get renewed and Marvel’s Most Wanted doesn’t get ordered to series, that only leaves Damage Control to expand the Marvel television line-up on network television. Stay tuned to see how all of these shows pan out.
The post Things Aren’t Looking So Good for ‘Agent Carter’ Season Three or ‘Marvel’s Most Wanted’ appeared first on /Film.
Even though legendary comedian John Belushi died back in 1982, that didn’t stop The Blue Brothers from getting revived for the unnecessary sequel Blues Brothers 2000. Therefore, it should come as no surprise that a lack of John Belushi isn’t stopping his partner in comedy crime, Dan Aykroyd, from developing a Blues Brothers animated series for primetime television. Thankfully, he’s collaborating with the right people to potentially make it work.
Get details on The Blues Brothers animated series after the jump.
The Wrap reveals that Bento Box Entertainment is developing and producing the animated take on the 1980 classic that was based on the classic Saturday Night Live characters brought to life by Dan Aykroyd and John Belushi. Serving as co-creator and executive producer will be Dan Aykroyd, and he’ll be joined by John Belushi’s widow Judith Belushi-Pisano and SNL writer Anne Beatts, both serving as co-creators and executive producers as well.
The Blues Brothers animated series will follow “the music, mayhem and comedy adventures of Jake and Elwood Blues, along with the characters within their master blues band.” The duo and their band will hit the road and head back to sweet home Chicago with their signature tunes and some new music as well.
Since this is a Blues Brothers project, music will be very important to the series. Each episode will have a score and soundtrack “curated with the soul, blues and R&B classics and hits performed by the original legendary musicians” That means we’ll probably be hearing John Belushi’s voice in some of the episodes. But instead of just rehashing all the old songs the Blues Brothers used to sing, there will also be new performances recorded specifically for the show, some of which will feature special guest musicians that include up and coming musicians, blues legends and well-known music superstars from today.
Aykroyd isn’t specifically mentioned as voice talent, but if they’re using the music that he sang with Belushi decades ago, then I don’t know why they wouldn’t use his voice for his character as well. But maybe two new vocal talents will be brought in for the non-musical portions of the show. Anyway, here’s what Aykroyd had to say about the series:
It’s so great to accelerate Jake and Elwood at digital speed into the 21st Century via the outstanding creative group at Bento Box. The show will be the Blues Brothers living in America and utilizing all new technology to make and promote their own records, seek out and record new artists and avoid law enforcement – and all while fighting for truth, justice and a better breakfast sandwich.
There’s just something about this that feels sad and desperate. There is some hope since Bento Box Entertainment produces Bob’s Burgers, and that animated series is fantastic, but The Blues Brothers without John Belushi just feels pointless and half-hearted.
The Blues Brothers animated series will be shopped to various television platforms this month, and we’ll see if anyone is interested in bringing these classic characters back to the screen. Honestly, I’d rather see a revival of Wayne’s World since both Mike Myers and Dana Carvey are still alive, but that doesn’t seem to be in the cards.
The post ‘The Blues Brothers’ Animated Series in the Works, Because Nothing Is Sacred appeared first on /Film.
The Directors Guild of America is celebrating its 80th anniversary this year and it has decided to commemorate this event in a manner most befitting of the internet age: by making a list. More specifically, by polling DGA members and assembling a list of the 80 best-directed movies made since 1936, when the guild was founded. That’s one movie per year.
And like all internet lists, it’s bound to inspire conversation, eye-rolling, yelling, and maybe even a little cheer or two.
Straight from the official DGA site, here’s how they describe the process of assembling this list:
As the DGA celebrates its 80th anniversary this year, we decided to poll our members to see what they consider the 80 greatest directorial achievements in feature films since the Guild’s founding in 1936. (Features directed by nonmembers were eligible.) Many organizations and critics groups have compiled similar lists, but this was an opportunity for the people who actually do the job to focus specifically on the work of the director and his or her team. Members participating totaled 2,189 (13.7 percent of all Guild members). As in any poll of this nature, there are bound to be choices you disagree with, and other films you would have included—that’s part of the fun. But we think you’ll find this list thought-provoking and a fitting tribute to the timeless work of our great directors.
For the most part, the list is fairly standard stuff, reading (for the most part) like a fairly typical list of “the greatest movies of all time.” The top 10 consists entirely of the usual suspects: The Godfather, Citizen Kane, Lawrence of Arabia, 2001: A Space Odyssey, Casablanca, The Godfather Part II, Apocalypse Now, Schindler’s List, Gone With the Wind, and Goodfellas. As you’d expect, there’s a whole bunch of Francis Ford Coppola, Stanley Kubrick, Steven Spielberg and Martin Scorsese on display here. However, there are are a few unusual suspects lurking elsewhere in the list, like, uh, Bryan Singer’s The Usual Suspects, which came in at 77.
You won’t find many people willing to argue that Psycho and The Wizard of Oz don’t belong on a list like this, so it’s going to be the offbeat choices that get people talking. For example, I couldn’t be happier to see Terry Gilliam’s Brazil, my favorite movie of all time, clocking in at 70, but the suggestion that Birdman (freakin’ Birdman!) is a better-directed movie than Alien or Rashomon is a sick kind of insanity. Other bizarre selections include Avatar, The Hurt Locker, and Forrest Gump. Sure, these movies are good, but are they really among the best-directed movies of all time? Really? And while I’m complaining, the list skews heavily toward Hollywood directors, with only a handful of foreign films making the cut.
Then again, I have a hard time getting too angry at a list that finds room for Sergio Leone’s Once Upon a Time in the West and Once Upon a Time in America. You can explore the complete list below.
1. The Godfather Francis Ford Coppola 1972
2. Citizen Kane Orson Welles 1941
3. Lawrence of Arabia David Lean 1962
4. 2001: A Space Odyssey Stanley Kubrick 1968
5. Casablanca Michael Curtiz 1942
6. The Godfather: Part II Francis Ford Coppola 1974
7. Apocalypse Now Francis Ford Coppola 1979
8. Schindler’s List Steven Spielberg 1993
9. Gone With the Wind Victor Fleming 1939
10. Goodfellas Martin Scorsese 1990
11. Chinatown Roman Polanski 1974
12. The Wizard of Oz Victor Fleming 1939
13. Raging Bull Martin Scorsese 1980
14. Jaws Steven Spielberg 1975
15. It’s a Wonderful Life Frank Capra 1946
16. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb Stanley Kubrick 1964
17. The Shawshank Redemption Frank Darabont 1994
18. The Graduate Mike Nichols 1967
19. Star Wars: Episode IV — A New Hope George Lucas 1977
20. Blade Runner Ridley Scott 1982
21. On the Waterfront Elia Kazan 1954
22. Pulp Fiction Quentin Tarantino 1994
23. E.T. The Extra-Terrestrial Steven Spielberg 1982
24. Annie Hall Woody Allen 1977
25. Saving Private Ryan Steven Spielberg 1998
26. Seven Samurai Akira Kurosawa 1954
27. A Clockwork Orange Stanley Kubrick 1971
28. Raiders of the Lost Ark Steven Spielberg 1981
29. Vertigo Alfred Hitchcock 1958
30. Sunset Boulevard Billy Wilder 1950
31. To Kill A Mockingbird Robert Mulligan 1962
32. Psycho Alfred Hitchcock 1960
33. The Searchers John Ford 1956
34. Forrest Gump Robert Zemeckis 1994
35. Singin’ in the Rain Stanley Donen, Gene Kelly 1952
36. 8 ½ Federico Fellini 1963
37. The Third Man Carol Reed 1949
38. The Best Years of Our Lives William Wyler 1946
39. Rear Window Alfred Hitchcock 1954
40. The Bridge on the River Kwai David Lean 1957
41. North by Northwest Alfred Hitchcock 1959
42. One Flew Over the Cuckoo’s Nest Miloš Forman 1975
43. The Sound of Music Robert Wise 1965
44. Taxi Driver Martin Scorsese 1976
45. Titanic James Cameron 1997
46. The Shining Stanley Kubrick 1980
47. Amadeus Miloš Forman 1984
48. Doctor Zhivago David Lean 1965
49. West Side Story Jerome Robbins, Robert Wise 1961
50. Some Like it Hot Billy Wilder 1959
51. Ben-Hur William Wyler 1959
52. Fargo Ethan Coen, Joel Coen 1996
53. The Silence of the Lambs Jonathan Demme 1991
54. The Apartment Billy Wilder 1960
55. Avatar James Cameron 2009
56. The Hurt Locker Kathryn Bigelow 2008
57. The Treasure of the Sierra Madre John Huston 1948
58. Birdman or (The Unexpected Virtue of Ignorance) Alejandro G. Iñárritu 2014
59. All About Eve Joseph L. Mankiewicz 1950
60. The Deer Hunter Michael Cimino 1978
61. There Will Be Blood Paul Thomas Anderson 2007
62. The Sting George Roy Hill 1973
63. The Wild Bunch Sam Peckinpah 1969
64. Alien Ridley Scott 1979
65. Rocky John G. Avildsen 1976
66. The Conformist Bernardo Bertolucci 1970
67. Gandhi Richard Attenborough 1982
68. The Bicycle Thief Vittorio De Sica 1948
69. Cinema Paradiso Giuseppe Tornatore 1988
70. Brazil Terry Gilliam 1985
71. The Grapes of Wrath John Ford 1940
72. All the President’s Men Alan J. Pakula 1976
73. Barry Lyndon Stanley Kubrick 1975
74. Touch of Evil Orson Welles 1958
75. Once Upon a Time in America Sergio Leone 1984
76. Unforgiven Clint Eastwood 1992
77. The Usual Suspects Bryan Singer 1995
78. Network Sidney Lumet 1976
79. Rashomon Akira Kurosawa 1950
80. Once Upon a Time in the West Sergio Leone 1968
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‘Teenage Mutant Ninja Turtles 2’ Trailer Introduces the Turtles, Like We Don’t Already Know Who They Are
The Teenage Mutant Ninja Turtles have been kicking around in some form for over thirty years now. Everyone from your 5-year-old niece to your 64-year-old uncle could rattle off the names, colors, weapons, and broad personality traits of all four Turtles, and probably even pick a favorite to boot. But just in case you’ve been living in the sewers for the past three decades, the new Teenage Mutant Ninja Turtles 2 trailer has you covered. Michelangelo (Noel Fisher) runs down the members of his team, from himself (self-described as “a triple threat: brains, brawn, and a dazzling personality”) to their “fearless leader” Leonardo.
Michelangelo should probably spend less time explaining the Turtles and more time getting into who all their various friends and foes are. Because this cast is getting crowded. Besides brining back April O’Neil (Megan Fox), Vern Fenwick (Will Arnett), and Splinter (Danny Woodburn / Tony Shalhoub) from the last film, the sequel also introduces Casey Jones (Stephen Amell), Baxter Stockman (Tyler Perry), Bebop (Gary Anthony Williams), Rocksteady (Stephen “Sheamus” Farrelly), and Krang (Fred Armisen).
But perhaps he felt the need to reintroduce the gang because the sequel shifts the focus away from the human characters and back to the Turtles. “The first movie was one-third turtles, this is two-thirds turtles of just screentime alone,” actor Jeremy Howard (Donatello) told us during our visit to the set. Added Alan Ritchson (Raphael), “I think the comedy and the chemistry of the turtles was what seemed to work the best the first time, and what is the emphasis this time.”
Teenage Mutant Ninja Turtles: Out of the Shadows arrives in theaters June 3.
Michelangelo, Donatello, Leonardo, and Raphael return to theaters this summer to battle bigger, badder villains, alongside April O’Neil (Megan Fox), Vern Fenwick (Will Arnett), and a newcomer: the hockey-masked vigilante Casey Jones (Stephen Amell). After supervillain Shredder escapes custody, he joins forces with mad scientist Baxter Stockman (Tyler Perry) and two dimwitted henchmen, Bebop (Gary Anthony Williams) and Rocksteady (WWE Superstar Stephen “Sheamus” Farrelly), to unleash a diabolical plan to take over the world. As the Turtles prepare to take on Shredder and his new crew, they find themselves facing an even greater evil with similar intentions: the notorious Krang.
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When the first trailer for the Ghostbusters reboot debuted a couple months ago, the opening moments confused some fans of the original franchise. While we heard that this new film from director Paul Feig and writer Katie Dippold was supposed to be a reboot with no narrative ties to the original franchise, the first few shots and the bumpers in between referenced the events of the first film that happened 30 years ago. This made some audiences wonder if there was some kind of link between the old and new movies after all, and they weren’t the only ones who were confused.
Melissa McCarthy recently appeared on a radio program to discuss the forthcoming summer release, and in their conversation, she expressed her own confusion from those opening shots in the trailer as well. Find out what she had to say about the Ghostbusters reboot after the jump.
Speaking on The John, Jay & Rich Show (via The Guardian), McCarthy clarified what the movie is by calling it a reboot and not a remake (though sometimes the differences between the two aren’t clear in Hollywood) and then talked about her perspective on the trailer:
I know it’s weird that they say [in the trailer] ‘30 years ago’, but in this movie it’s like the first one didn’t happen. It’s a great story but it’s told totally differently. It’s four unlikely heroes, it’s in New York City, ghosts are taking over; it’s that same classic story but it’s not 30 years later … it’s not dependent on the first one.
The reference to the events that happened 30 years ago in the first film was something that McCarthy apparently questioned behind the scenes, but no one else thought it was a concern. The actress explained, “Believe me the question was asked. I think that it’s very confusing. But then everyone said, ‘we don’t care what you think.'”
McCarthy was undoubtedly right to question why the film was being marketed that way, because plenty of fans were confused and asking questions. The framing of the trailer and what we’ve seen from the movie so far even prompted yours truly to come to the conclusion that the reboot really should take place in the same universe as the original Ghostbusters.
As of now, we’ve heard directly from Paul Feig and Katie Dippold that their movie does not have any narrative links to the old Ghostbusters, and they had a couple specific reasons as to why they wanted to make the movie that way. However, more recently Feig mentioned that the studio might be trying to figure out how to connect the films by way of a multiverse.
Perhaps the studio thinks making some kind of connection (even if it’s a deceptive one as seen in the first trailer) will help squash the backlash and confusion among fans. After all, a contingent of fans have gotten the Ghostbusters reboot trailer to become the most disliked trailer on YouTube. However, it seems like nothing will convince those passionate but misguided fans to give the movie a chance.
As a huge Ghostbusters fan, I want the reboot to work. But so far I’m very skeptical of the quality of the comedy we’ve seen. It doesn’t look worrisome enough to warrant the kind of backlash that’s been going around the web (especially since a good amount of it comes from chauvinism), but it’s still not on the level that I was hoping. Anyway, we’ll see how the movie turns out when it hits this summer.
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Last month a rumor began to circulate that Disney was considering re-theming Disney California Adventure’s The Twilight Zone Tower of Terror ride into a Guardians of the Galaxy attraction. When the rumor hit, even though it was from a source that had been right many times in the past, I commented on Twitter that I just didn’t buy it. But sadly it seems like there may be truth to this rumor after all. I have since spoken to two separate sources who have corroborated the rumor, and a reliable Disney rumor site is now reporting it’s true. Find out the details on the Guardians of the Galaxy ride after the jump.Tower of Terror Being Re-Themed With Guardians of the Galaxy Ride?
MiceAge is reporting that the rumor is true:
We can tell you that the Guardians of the Galaxy rumor is true, and TDA’s executive suite was furious when the rumor leaked out from Glendale-based sources. The plan is for the original Twilight Zone backstory to be removed entirely, and replaced with an all new show based around the Collector character from the Guardians movie franchise. WDI had been testing and experimenting with the new show in the elevators for months and the Tower of Terror hourly CM’s were all aware of what WDI had been cooking up since this winter. But when the plan finally leaked online in April, the TDA executive suite hit the roof in anger.
According to the site, the current plan is to close the attraction this fall to give the entire building a full interior and exterior refurbishment “so that the new version of the ride can open next May, with the Guardians of the Galaxy movie premiere held at Disneyland California Adventure the same week the new ride opens… assuming this gets the green light by August.” Of course, they also said that “a disastrous opening summer” a Shanghai Disneyland could also derail the plans.What Will The Ride Be?
It’s interesting that they mention that the new show would be based around the Collector, played by Benicio del Toro in the original Guardians of the Galaxy movie. We have been told that del Toro’s character is not set to appear in the upcoming sequel so it seems strange to build a ride around his weird museum. It might be cool to be able to walk around the oddities of the Collector’s museum, but I’m not even sure that would be the Marvel experience that most everyday Disney fans would want to experience (as opposed to walking around Stark Tower or Avengers HQ).
I has also heard from another source that the ride could be re-themed after the industrial space jail that the Guardians escape from in the first film. The boiler room queue room could be more easily remodeled to resemble this space prison, and remember that the Guardians escaped in a square room that could resemble the ride’s elevator vehicle. Again, re-doing a ride to call back to the first film in a series is probably not the best for long-term plans.
According to MiceAge, Bob Chapek arrived a year ago as the new Parks Chairman and was “shocked to learn that after five years of owning Marvel there still isn’t a new Marvel ride in the California parks, and that the only thing TDA has done with Marvel is slap together some cheap meet n’ greets over the years.” So Chapek was the one to push the planned Marvel mega-coaster into development (now no longer planned in the Timon parking lot, but instead in the northern end of Hollywood where Stage 17, Monsters Inc., and the unused Stage 12 buildings are). We have heard this rollercoaster is something more akin to Universal Orlando’s new Harry Potter and Escape from Gringotts ride — a motion simulator on a track that goes through dark ride like spaces with animatronics and 3D projections. According to MiceAge, the Marvel mega-coaster could open in 2020, just after Star Wars Land opens in Disneyland.
Of course, it makes sense to have a Marvel land and Marvel rides in Disneyland Resort, but I’m not sure that re-theming Tower of Terror is the way to go with this. It seems to me that after Star Wars Land opens in 2019 (projected) that Star Tours in Tomorrowland will eventually be re-themed into something else. The Hong Kong Disneyland attraction Iron Man Experience uses the exact same ride vehicles and system, so it always seemed to me that Disneyland’s Tomorrowland would make the more obvious location for some Marvel attractions (especially with Star Wars Launch Bay probably going away after the Star Wars Experience opens).
After the jump you’ll find out the reasons against a Guardians of the Galaxy ride re-theme of Tower of Terror and also hear the latest on FastPass+ coming to Disneyland and how very different it will be from the Orlando version of the Magicbands!Continue Reading Guardians of the Galaxy Ride Rumors >>
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We’ve seen Scarlett Johansson do everything from arthouse sci-fi to indie rom-com to big-budget action over the past few years, but her latest new project, Rock That Body, takes her into still new territory: the R-rated comedy. Luckily, she’ll have some experienced comedy vets on hand to help her out. Kate McKinnon (Ghostbusters), Jillian Bell (22 Jump Street), and Ilana Glazer (Broad City) have just joined Johansson and Zoë Kravitz in Rock That Body, which comes from Broad City writers Paul W. Downs and Lucia Aniello. Downs (who also plays Trey on Broad City) will co-star, and Aniello will direct.
Aniello and Downs’ Rock That Body script landed on the Black List last year, back when it was titled Move That Body. The story revolves around five friends who rent a beach house in Miami for a wild bachelorette weekend, and accidentally end up killing a male stripper. Character details have not been revealed, but we’re guessing Johansson, Kravitz, McKinnon, Bell, and Glazer play the friends and Downs will be the stripper.
Sony scooped up the project last summer after a fierce bidding war, and according to THR, the studio sees Rock That Body as a “complement” to their other high-profile female-driven comedy, the Ghostbusters reboot coming out next month. That seems a little reductive — is it really so crazy to have more than one female-driven comedy simmering at a time, that we need to justify it by comparing it to a completely unrelated project? — but if it means more work for comedic talents like this, it’s hard to complain.
Glazer works with Aniello and Downs on Broad City, and recently re-teamed with them for the Comedy Central miniseries Time Traveling Bong. She was last seen on the big screen in The Night Before, which also starred Bell. Bell is also part of the Comedy Central family thanks to Workaholics and Idiotsitter, and her big-screen credits include 22 Jump Street and Goosebumps. Coming up next for Bell are The Angry Birds Movie and Office Christmas Party, both of which also feature McKinnon. And McKinnon, as you already know, is a Saturday Night Live alum who stars in the Ghostbusters reboot.
There’s no doubt that Glazer, Bell, and McKinnon will bring the funny, but it should be interesting to see how they bounce off of Johansson and Kravitz, who are relatively less experienced with comedy. Both have some lighter material on their resume, but are better known for dramas and blockbusters.
Rock That Body doesn’t have a release date yet, but with shooting scheduled to begin in August we can probably look for it to hit theaters sometime next year. Matt Tolmach and Dave Becky are producing with Aniello and Downs.
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Episode 8 Bits: The Millennium Falcon and a Mysterious Tree, a Few Royal Cameos, and Proof That Daisy Ridley Can Kick Your Butt
In today’s Episode 8 Bits:
- New aerial footage reveals the Millennium Falcon on a mysterious set…
- …and clear photos of that set reveals something else.
- GLAAD wants Star Wars: Episode 8 to include gay characters.
- Prince William and Prince Harry may have cameo roles in Episode 8.
- A glimpse at Daisy Ridley‘s intense training.
- Ireland really wants Star Wars fans to stop by for a visit.
The final scenes of Star Wars: The Force Awakens took place on an isolated planet called Ahch-To and this beautiful, mysterious location was created by filming on the Irish island of Skellig Michael…which turned out to be a huge pain in the butt for everyone. In addition to being an island full of rocky cliffs and steps that made hauling equipment difficult and dangerous, the island is a protected heritage site. The production couldn’t even step on the wrong blade of grass without feeling the wrath of the local authorities.
Naturally, that meant that Skellig Michael filming was brisk and limited for Star Wars: Episode 8 and that the Ahch-To sets were recreated in Ireland and at the famed Pinewood Studios in London, where the bulk of the film is being shot. And despite stories of the production employing drones that are designed specifically to take down other drones, someone managed to snag aerial footage of a very cool sight on the Pinewood set – the Millennium Falcon, parked near a grassy set complete with some familiar looking steps. Yep, this is definitely a new look at one of the Ahch-To locations, although it looks like a different spot than the one where Rey landed the iconic ship in the film. Maybe the change of location has to do with the big black something located up the steps. It’s hard to tell what it is in this shaky, blurry footage.
However, some crystal clear images of this set have surfaced over at the Daily Mail and you can follow that link if you want to check them out (we’re not in the mood to get sued today, thank you very much). In these images, that black blob now appears to be an ancient tree of some kind. As some fans have already pondered, this could be the Force-sensitive tree featured in Marvel’s Shattered Empire comic miniseries, which takes place shortly after the events of Return of the Jedi.
In that four-issue series (which was written by Greg Rucka and drawn by Marco Checchetto), rebel pilot Shara Bey (the mother of Poe Dameron) accompanies Luke Skywalker on a mission to one the Emperor’s top secret facilities to steal two small trees, which are all that remain of the larger tree that once grew at the Jedi Temple at Coruscant. Although Luke gives one of the trees to Shara Bey, he takes the other one to an undisclosed location. Maybe the ancient Jedi temple at Ahch-To?
While Skellig Michael itself will be featured less prominently in Episode 8, Discover Ireland (the country’s official tourism site) has released a brief new video all about how this incredible location and the role it plays in the new Star Wars movies. Although the intent here is really “Come to Ireland! And bring your money so you can pump up our local economy!”, the footage on display here is lovely and Skellig Michael itself truly does look like an alien landscape. You just know that Ireland took a look at how the Lord of the Rings movies led to a New Zealand tourism boom and they want a piece of that action. And you know what? Good for them. Give us Star Wars nerds an excuse to go see the world.Continue Reading Episode 8 Bits >>
This week officially kicks off blockbuster summer with the release of Captain America: Civil War. And the Marvel Studios sequel is just one of a bunch of movies you should be excited to see this season. Later this week we’ll highlight a selection of movies that might be flying under your radar this summer, indie comedies and dramas that may not get the barrage of marketing that studios dish out this season. But this edition of the /Film 2016 Summer Movie Preview will focus on the studio and blockbuster releases you should be excited about.
The movies in the /Film 2016 Summer Movie Preview are in chronological order by release date. So without further adieu, here’s the movies we are excited about and think you should be too.Captain America: Civil War
Release Date: May 6
It’s the comic book blockbuster to kick off the summer season, so of course it’s going to be on the list. Most of us here at /Film have already seen the Marvel Studios sequel, but I’m personally excited to see it again. Plus, we know tons of you are looking forward to seeing it. There’s probably no need to even remind you that it’s coming out at this point. We just want to make sure you’re ready to start the endless stream of summer movies that begins this weekend. If you want to know how good Captain America: Civil War is, read my full review right here.
Release Date: May 20
Even though a movie based on the Rovio mobile game that feature birds being slingshotted into structures in order to smash the green pigs who stole their eggs doesn’t sound like it has the makings of a decent movie, the trailers have done a decent job of convincing us otherwise. The Angry Birds Movie actually looks like a solid comedy, and it’s hard to go wrong with a voice cast that includes talent like Jason Sudeikis, Danny McBride, Josh Gad, Maya Rudolph, Bill Hader, Peter Dinklage, Keegan-Michael Key, Kate McKinnon, Tony Hale, Ike Barinholtz, Hannibal Buress and many more.
Release Date: May 20
Comedy sequels are hard to pull off without losing the special something that made the first film worth watching. However, if the trailers for Neighbors 2: Sorority Rising are any indicator, we just might have a worthy follow-up in store. Sure, the concept is essentially a rehash of the first movie with a sorority instead of a fraternity, but with Chloe Grace Moretz stretching her comedic chops as an adult actress now, we’re excited to see how she holds her own against the likes of Seth Rogen, Rose Byrne and Zac Efron.
Release Date: May 20
If there’s one thing Shane Black knows how to do better than anything else, it’s write dark comedies featuring odd pairs. From Lethal Weapon to Kiss Kiss Bang Bang, the screenwriter and director has delivered some great duos who get caught up in some seriously dangerous situations. The Nice Guys looks like Black will be back doing what he does best, and the pairing of Russell Crowe and Ryan Gosling feels surprisingly perfect. Both have impeccable comedic timing, and the ’70s setting only adds to the film’s wild style. This one could be the sleeper hit of the summer.
Release Date: May 27
The X-Men franchise continues on the modified timeline that was altered in X-Men: Days of Future Past. This time we get to meet the younger versions of familiar X-Men like Cyclops, Jean Grey and Nightcrawler while meeting new mutants like Psylocke. But the real draw of this one is seeing the iconic Marvel Comics villain Apocalypse on the big screen for the first time. Even though the early trailers left me concerned about the film’s quality, the most recent trailer seems to be on the right track. It’ll be tough to top just how good Days of Future Past was, but it should be exciting to see how this takes the franchise in a new direction.Continue Reading 2016 Summmer Movie Preview >>
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Last year, Marvel Studios tested the mettle of comic book movie fans with “The Ultimate Marvel Marathon,” a 28-hour marathon consisting of 11 movies, climaxing with the brand new Avengers: Age of Ultron. I didn’t attend this event, but I know people who did. They have war stories. Their posteriors (and their sanity) never returned to full working order.
Marvel isn’t doing anything as extreme as that this year, but they are still offering fans the chance to numb their butts in the name of superhero fandom. They have just announced the “Ultimate Captain America Marathon,” which will screen in select theaters this Thursday and will, of course, conclude with a screening of Captain America: Civil War.
The marathon will take place this Thursday, May 5, 2016. If you want to see if a theater near you is hosting this monstrous test of your devotion to all things comic book movie, you can head over to Fandango to find out. Tickets will cost you $47.99, which is a little less than ten bucks per movie. Starting times vary from theater to theater, but 7:00 and 8:00 in the morning seem to be the most common at a cursory glance.
As the name of the event implies, this marathon will feature the five movie set in the Marvel Cinematic Universe that have featured Chris Evans‘ Captain America. Things will get kicked off with 2011’s Captain America: The First Avenger, continue with 2012’s The Avengers, keep on trucking with 2014’s Captain America: The Winter Soldier, test your mental durability with 2015’s Avengers: Age of Ultron, and finally break out the brand new goods with Captain America: Civil War, which technically opens in the United States this Friday but is holding its first screenings on Thursday.
If you mange to get through all 691 minutes (which is about eleven and a half hours) of Captain America movies, you will be rewarded an “exclusive medallion” to commemorate your service.
Unlike last year’s marathon, this one sounds manageable enough. Also unlike last year’s marathon, you’ll be mostly dealing with some of the best movies in the MCU and won’t have to endure Thor or Iron Man 2 or The Incredible Hulk. All of the movies featuring Captain America are very good or great (yes, I’ll even go to bat for the ever-divisive Age of Ultron), so this sounds like a far easier sit. Plus, each of these films lead into one another in fairly direct ways. There should be a sense of narrative propulsion that makes this marathon flow.
In the meantime, make sure you check out our review of the film and read about how the film’s biggest action scene was designed.
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Thankfully, the trailers and TV spots for Captain America: Civil War haven’t highlighted too much from the film’s grandest and most intricate set piece. The airport fight sequence is stuffed to the brim with characters and conflicts — but it somehow never manages to feel overstuffed. What could’ve been total superhero chaos is instead a gracefully shot, character and plot-driven showdown.
Directors Joe & Anthony Russo have said the “splash panel” sequence was by far the toughest scene to pull off. Below, learn how screenwriters Christopher Markus and Stephen McFeely, the Russo brothers, and Marvel’s Kevin Feige went about constructing the Captain America: Civil War airport set piece.
The 15-minute fight scene, which was shot entirely with a new IMAX camera, features Team Cap going up against Team Iron Man. What’s refreshing about this particular set piece is that every character moment and laugh is just as satisfying, if not more so, than seeing these heroes throw punches at each other. The Russo brothers and all involved deliver on the spectacle that’s expected with such a brawl, but it’s really the character moments — especially the ones involving Ant-Man, Spider-Man, and Black Widow — that makes the set piece stand out.
From writing the script to principal photography to post-production, the sequence was always a challenge. When we spoke with Markus and McFeely about Captain America: Civil War, they discussed the initial development of the set piece:
McFeely: Yeah, it was [a challenge]. That’s a really fluid scene. [spoiler alert] So we wrote the first draft and Giant-Man is in it [laughs], and Rhodey gets shot down by Vision [spoilers over]. A lot of the big tentpole [stuff] happened [in the first draft], and then we turn it over and a lot of other people were going to weigh in—stunts, visual effects, location. There were so many things. It’s got to be the most complicated action set piece, certainly in comic book movies. It’s really daunting.
Then it keeps going through version after version. Visual effects would come in and say, “Hey, here are some interesting things we could do.” We’d go, “Great.” Or stunts will do a section and say, “Hey, what if this fight goes in this way?” And we’ll say, “Great.”
Our job as it gets further along the line is to make sure that it all stays on character, is well-structured, and that it grows so that it goes from “We’re trying not to hurt each other,” to, “Damnit. You just pissed me off!” to, “We’re not all getting out of here.” So now our strategy changes. And then, of course, we’re rewriting lines all the time.
It was very important for that scene to have an objective beyond it; perceived to be wanting to get somewhere else to do another thing. It’s not just, “We came together to beat each other down and the only way this ends is if somebody is dead or unconscious.” It’s a giant fight, but it’s an obstacle to the plot, in a way, so that the machinery that we constructed for the plot didn’t grind to a halt because this fight happens. We needed it to be the end of act two and not the end of the movie.
The choice to end act two with this sequence is a bit of a narrative gamble. How can Captain America: Civil War possibly top such a massive fight? The solution: Instead of showing a city get flattened to pieces, the screenwriters go with a more intimate, more dangerous final confrontation.
As for directing and editing the sequence, the filmmakers took their time getting it right. Not until the week before last month’s junket was the set piece completed. That isn’t exactly odd for a film of this scale — waiting for finished effects, etc. — but Joe Russo stressed at the Captain America: Civil War press conference that a lot of time, thought, and care went into keeping the fight focused on the characters:
Action is very important to us. These movies are about action. The characters express themselves through action. Action has to have storytelling to enforce, or else it’s vacuous and superficial. You know, you’ll get tired of an action sequence if it’s not defining a character or moving the story forward in some way. It takes an incredible amount of effort. Thank God we have such an incredible team of collaborators, including Kevin, Marcus and McFeely, and [Marvel producer] Nate Moore, who can work with us and keep us honest, in terms of storytelling. There’s also this cast, who are the caretakers of these characters in a way that we could never be. It’s by far and away the hardest thing to do on a film. The easiest thing on a film is when you have a Soderbergh-level of cast like this, to put down the dramatic scenes on-camera, especially with actors of this caliber playing these parts for so long. Some of the hardest things we do is executing the action. I think the toughest sequence by far in this film — which we literally finished a week or two ago — was the airport sequence. It’s filled with a lot of moving parts, a lot of different characters, you want to move each character forward, and you want to make sure you don’t leave a character behind. We went well into the post-production process still reshaping, and rethinking, and reconfiguring that sequence, to make sure it had its maximum storytelling thrust to it.
Another hurdle the sequence faced? Creating a palpable sense of danger. Most of these Marvel characters are friends and now share a history together, so how hard can they really hit each other? And how do you still have some superhero fun while watching these characters turn against each other? When we interviewed Kevin Feige, he told us it was a fine line to walk:
It was pretty amazing [seeing it come together]. We kept saying, “Very good will not be good enough for this sequence. This sequence has to be great.” The visual-effects of the sequence were challenging but really coming together. There was a lot of work with the dialogue and continuing to ride that balance between a fun, crowd-pleasing sequence, but, at the same time, these people you care about, all of them, are fighting each other. It was always riding that: making sure it was brutal enough you realize there are real stakes — and people aren’t pulling their punches — but, at the same time, we were having the geeking out the way we wanted to, as the full experience.
In his review of Captain America: Civil War, Ethan claimed: “To say that the first battle between all of our superheroes in Captain America: Civil War is the best action sequence Marvel Studios has ever created is not hyperbole or grandstanding.” We’ll see if audiences and Marvel fans agree with that statement this weekend, but in terms of what Marvel has done up until this point, the airport sequence easily ranks amongst their finest action. It’s full of conflict, laughs, and absolute clarity. You always know who’s fighting who, and why they are fighting in Captain America: Civil War.
Captain America: Civil War opens in theaters May 4th.
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Tom Hanks stars in a movie currently in theaters, but you might not be able to tell judging by the absence of advertising, much less critical buzz, for A Hologram for the King. Tom Tykwer‘s gentle (and often lovely) adaptation of Dave Egger‘s novel of the same name was recently released into a few hundred theaters, and it was met with somewhat mixed reviews and an underwhelming opening weekend at the box office, even by its own modest standards.
How exactly does a movie that stars Tom Hanks manage to fly so far under the radar for the general public? Is the film simply not commercial enough? Maybe, but whatever the case, it’s still a little disheartening to see a fine drama with a name like Hanks attached to it fail to reach a wide audience.
The official domestic release date for A Hologram for the King wasn’t announced until two months ago. A month later, we saw an uninspiring trailer for the film, which you could now say spelled trouble for the film. Nothing about the trailer screams: “from the ambitious director of Run Lola Run and Perfume: The Story of a Murderer.” The terrible voiceover (“Sometimes you have to change your scenery to change your life”), the awkward pacing, and the focus on the film’s broader jokes promises a tonally uneven, wild and wacky journey for an unhappy American — which this adaptation is not. Very little of this footage properly reflects Tykwer’s understated but often playful visual style, Hanks’ nuanced performance, or the true spirit of the film.
To be fair, this isn’t really a story you can encapsulate with a one-sentence pitch. The film’s peculiar tone and freewheeling structure do not fit comfortably into one box or genre. Towards the end of the trailer, all of the sudden the story becomes a romance, but A Hologram for the King is not a love story. There is a romantic subplot, but like in Egger’s book, it’s far from the central focus of the story. Selling a frequently repetitive, character-driven drama isn’t easy, but the trailer still fails to communicate what the movie really is — a rambling, almost entirely character-driven drama about taking a few hits in life you’re not sure you can get back up from.
Tykwer, who’s proven he’s capable of conquering near-unadaptable works with Perfume: The Story of a Murderer and Cloud Atlas, sticks closely to Egger’s repetitive narrative. Alan Clay spends a lot of time alone, writing emails to his daughter and reflecting on the past, which we see little of in the trailer, and the Cloud Atlas co-director does a great job making these scenes more cinematic than they sound. There are some fun surreal touches — the opening is a dream sequence featuring Alan Clay singing Talking Heads’ “Once in a Lifetime” — that help liven up some potentially mundane sequences. Perhaps a broad audience would initially find these oddball touches distancing, but at its core, A Hologram for the King is a fairly accessible, charming and warm story about dealing with professional failure and missed opportunities in life; it’s not the 10 different movies the trailer is trying to sell.
Tykwer’s picture opened in 401 theaters on April 22nd, making around $1.2 million and averaging just over $3K per screen. There is an audience for a drama like A Hologram for the King, a much bigger audience than the one that’s turned out for it so far. There’s still time to see the “new Tom Hanks movie” before it leaves theaters, so check it out. Maybe A Hologram for the King doesn’t have the scale or backing of a “regular” Tom Hanks movie, but it’s just as universally appealing as some of his most memorable hits. You don’t have to be a sadsack businessman to connect with Alan Clay’s story or to enjoy watching Tom Hanks play one of his most vulnerable characters to date.
A Hologram for the King is now in limited release.
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Since Mother’s Day is coming up this weekend, there’s no better time to unleash the Bad Moms trailer. Mila Kunis is sick of trying to be the perfect mother, so she decides to just take a break from trying to please everyone all the time and just live it up. Joining her for the carefree lifestyle change are Kristen Bell and Kathryn Hahn while Christina Applegate plays the uppity, high-strung PTA mother who is not about to let them get away with their reckless behavior.
Watch the Bad Moms trailer after the jump.
Here’s the Bad Moms red band trailer straight from STX Entertainment:
And here’s the more tame green band trailer for Bad Moms as well:
Even though this doesn’t quite pack as strong a comedic punch as most movies that go straight for the raunchy comedy, there’s something refreshing about the women being crazy and irresponsible parents this time. The cast is certainly enough to turn some heads, and it’ll be nice seeing Mila Kunis, Kristen Bell and Kathryn Hahn really cut loose since it’s been awhile since any of them have gotten this raunchy on the big screen. Though I’m not sure why throwing cereal around in the grocery store is one of the wild things they’re doing, but whatever.
The rest of the cast includes Bridesmaids co-writer and The Boss co-star Annie Mumolo as well as Jada Pinkett Smith making a rare comedy appearance. Plus, Jay Hernandez and Clark Duke will be popping up somewhere in the movie, even though we don’t catch a glimpse of them in this first trailer.
Bad Moms has a script that comes from Jon Lucas and Scott Moore, the writers of The Hangover, who are also directing the comedy as their sophomore effort behind the camera after 21 & Over in 2013. There’s nothing that’s really quite as funny as anything from The Hangover just yet, though I will say that last conversation in front of the bathroom mirror made me laugh pretty hard. I just hope this isn’t one of those comedies that’s trying too hard to be vulgar just for shock value.
Amy has a seemingly perfect life – a great marriage, over-achieving kids, beautiful home and a career. However she’s over-worked, over-committed and exhausted to the point that she’s about to snap. Fed up, she joins forces with two other over-stressed moms on a quest to liberate themselves from conventional responsibilities – going on a wild, un-mom-like binge of long overdue freedom, fun and self-indulgence – putting them on a collision course with PTA Queen Bee Gwendolyn and her clique of devoted perfect moms.
Bad Moms hits theaters this summer on July 29.
The post ‘Bad Moms’ Trailer: Mila Kunis Is Ready to Party Like a Mother appeared first on /Film.