Even though some producers seem terrified to throw the term “horror movie” around, horror sells. Audiences love to be scared, and time and time again, scary movies break the bank at the box office. Sony’s Screen Gems realizes this, so they’re partnering with production company Ground Control to launch Horror Lab. Horror Lab will produce and develop “horror genre proof-of-concepts” – short horror movies that can then be turned into feature films. That all sounds well and good, but I have one question: why call it Horror Lab, and not Scream Gems?

The ghouls and goblins at Deadline have pulled this spooky scoop from the crypt. Horror Lab “aims to collaborate with burgeoning filmmakers to produce horror shorts with the primary goal of developing new, original content into feature films.” Horror shorts have become a huge source for feature films in recent years. OculusThe BabadookMamaLights Out and more all originated as short films before being adapted into full-length scary movies. By developing the shorts themselves, Screen Gems will be cutting out the middle man, so to speak, and already owning the concept. With this plan, Horror Lab can likely release the shorts online first, see which titles gain traction and go viral, and then go from there.

“We envision the Horror Lab as another step in the evolution of our label as a leading genre supplier,” said Steve Bersch, head of Screen Gems. “We pride ourselves on supporting next generation creatives and see this as another way to bring exciting new talent and ideas to global audiences.”

“With proof-of-concept emerging as a reliable source material for feature films, the aim is to work with filmmakers at the incubation stage to help actualize their concepts and grow the material organically through the development process,” added Ground Control founder Scott Glassgold. “We are providing a one-of-a-kind launch pad for horror filmmakers and films of tomorrow.”

The words from Bersch and Glassgold both sound very business-y, and not at all artistic, and that’s the type of talk that makes me cringe a little. But once you move beyond that, this is a promising idea. Horror Lab will be giving budding filmmakers a chance to go big, and if this move results in some great new horror movies, I certainly won’t complain. More horror is always a good thing. Now let’s just hope they don’t start throwing around terms like “elevated horror.” The project is currently in search of “a new battery of diverse filmmakers from around the world with strong, original horror concepts.”

The post Screen Gems Launching Horror Lab to Create New Horror Movie Ideas appeared first on /Film.

A political video that President Trump shared on Twitter was removed Tuesday night after Warner Bros. objected to its use of music from “The Dark Knight Rises.”

“The use of Warner Bros.’ score from ‘The Dark Knight Rises’ in the campaign video was unauthorized,” the studio said in a statement provided to TheWrap. “We are working through the appropriate legal channels to have it removed.”

The video was made unavailable on Twitter just under an hour after Warner Bros. issued its statement. A message said it was “disabled in response to a report by the copyright owner.”

The video, tweeted by Trump in the early afternoon along with an all-caps “MAKE AMERICA GREAT AGAIN,” contrasted photos of Democrats including Barack Obama and Hillary Clinton to clips and images of Trump, and things he takes credit for. Along with text — reading “First they ignore you, then they laugh at you, then they call you racist” — the clip included the track “Why Do We Fall” from Hans Zimmer’s “The Dark Knight Rises” score.

It isn’t clear if the video was a campaign ad. According to Buzzfeed, the clip was identical to a YouTube video by an entity calling itself MateyProductions that was also shared on a pro-Trump Reddit page. The video was removed from both sites, and replaced with a message that it was blocked by Warner Bros. on copyright grounds.

Representatives for Zimmer and “The Dark Knight Rises” director Christopher Nolan did not immediately respond to a request for comment from TheWrap.

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Beatrice Verhoeven contributed to this report.

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Michael Rapaport delivered a passionate response to news Tuesday that Magic Johnson is stepping down as president of basketball operations for the Los Angeles Lakers, squarely taking aim at recently-minted Laker LeBron James.

In a finger-pointing, decibel-heavy, profanity-fueled reaction video, Rapaport hurled accusatory language at James, who came aboard the Lakers last year, asking, “What the f— did you do now, LeBron?”

“What the f—? What the f— am I hearing, that Magic Johnson is stepping down from basketball operations of the Los Angeles Lakers? What the f— did you do now, LeBron?” Rapaport asked.

“What the f— did you do to Magic Johnson? What the f— have you done? What the f— is going on?” Rapaport continued.

The “Atypical” star added. “What the f— is going on with Magic Johnson, LeBron? What did you do this time?”

USA Today reported that Johnson announced his departure on Tuesday prior to the Lakers’ game against the Portland Trail Blazers.

According to USA Today, Johnson said that he decided to step down due to his relationship with Lakers owner Jeanie Buss, saying, “I want to always preserve our relationship with her … and I think I had more fun when I was able to be the big brother and ambassador.”

See Rapaport’s reaction below.

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Disney has ordered a “Monsters, Inc.” TV series for Disney+ that will see John Goodman and Billy Crystal reprise their roles as Mike and Scully.

Titled “Monsters at Work,” the series picks up six months after the original movie’s story, with the Monsters, Inc. power plant now harvesting the laughter of children to fuel the city of Monstropolis, thanks to Mike and Sulley’s discovery that laughter generates ten times more energy than screams.

“Monsters At Work” follows Tylor Tuskmon (voiced by Ben Feldman), an eager and talented young mechanic on the Monsters, Inc. Facilities Team (MIFT) who dreams of working his way up to the factory Laugh Floor to become a Jokester alongside his idols Mike and Sulley. Alongside Feldman, newcomers including Kelly Marie Tran, Henry Winkler, Lucas Neff, Alanna Ubach, Stephen Stanton and Aisha Tyler. Original voice actors who will return from the films also include John Ratzenberger, Jennifer Tilly and Bob Peterson.

The series will premiere on Disney+ in 2020.

“Monsters at Work” is produced by Disney Television Animation. Bobs Gannaway will executive produce with Ferrell Barron on board as a producer. Kat Good and Rob Gibbs will direct.

Released by Pixar in 2001, “Monsters, Inc.” grossed $577 million at the global box office (nearly $290 million domestically). A prequel film, “Monsters University,” which followed Goodman and Crystal’s characters during college, was released in 2013 and grossed $744 million globally and $269 million domestically.

Disney will formally unveil Disney+ — its streaming competitor to Netflix — on Thursday during an investor event at its Burbank, California studio.

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It can sometimes be difficult for movies on the film festival circuit to drum up enough buzz to capture the moviegoing public’s interest. But after playing Fantastic Fest last fall, appearing at over 100 other film festivals, and becoming a box office hit in Japan, the Japanese horror comedy One Cut of the Dead has become an indie sensation. And soon enough, everyone in the United States will have the opportunity to see it, but you’re going to need a subscription to AMC’s horror specialty streaming service Shudder.

Shudder announced via a press release that they have acquired the North American rights to One Cut of the Dead, a film made for $27,000 that ended up making over 1,000 times its budget back at the Japanese box office. That’s also where our own Joshua Meyer caught the movie and had a little zombie adventure of his own on Halloween.

If this is the first time you’re hearing about One Cut of the Dead, the film from director Shinichirou Ueda is garnering attention not only because it is a clever horror comedy that features an impressive single take horror film at the center of the action, but also because it does something extremely fun with the story that is best experienced by going into the movie blind. We’ll let our own Jacob Hall explain the situation in his spoiler-free write-up from Fantastic Fest last September:

One Cut of the Dead begins as a tired zombie movie. A film crew is shooting a horror film at an abandoned building, real walking corpses attack, and everyone must band together to fight them off. But that’s before the film reveals its true intentions. What at first looks like schlocky, tired junk ultimately reveals itself to be a tribute to bootstrap filmmaking, an ode to art by any means necessary, and a heart-melting comedy about family. The first 30 minutes may be interminable, but the final 30 are joyous in ways that cannot be explained without spoiling the experience.”

Yes, you must sit through 30 minutes of horror cliches and seemingly poor filmmaking in order to fully enjoy this movie, but we promise that if you do, you’ll be rewarded with a more than satisfying final hour that pays off immensely. It’s as good of a reason as any to subscribe to Shudder whenever the movie arrives on the horror subscription service. We don’t have a date yet, but surely it will pop up on Chris Evangelista’s Now Stream This column, so stay tuned.

The post ‘One Cut of the Dead’ Coming to Shudder, Will Give You Another Reason to Subscribe to This Horror Streaming Service appeared first on /Film.

Everyone savors good nostalgia. Hollywood officials have long discovered that this timeless sentiment is a great vehicle for them to cash in on times of turbulent mindlessness. While present-day Hollywood may convince the viewer that the abundance of remakes is very much a 21st century phenomenon, in reality, it is not. This profiting scheme by remaking a previously well-received film prevailed from as early as the 1900s.

In fact, the first movie remake was made in 1904 titled “The Great Train Robbery” from the movie of the same name by Edwin S. Porter. The director of the remake was Siegmund Lubin and he retained almost all the original plot in his remake. It was a safe decision to remake a film that had resonated previously with audiences rather than making an original movie that would carry the risk of failure.

Decades later, Gus Van Sant directed a shot-for-shot remake of “Psycho,” retaining the same name. The difference between the originals and the remakes are that the remakes never settle in the public conscience and they boast no creative or technical flair.

Luckily, this degradation of quality is not omnipresent in the industry. There are times when visionary directors remake an old film to contemporize it in a different setting, give homage to the influential filmmakers of the past, and create a completely different film taking inspiration from the original.

This trend is widespread in all major filmmaking countries. It is the reason “A Star is Born” was remade in India as “Abhimaan”, “Scarface” got a remake starring Al Pacino in the same industry, and Zhang Yimou remakes the Coen brothers’ debut “Blood Simple” as “A Woman, a Gun and a Noodle Shop” in China.

There are also times when a franchise is completely remade, disguised as a “reboot” to wipe out the previous failure. This is the reason that the news of a “Suicide Squad” remake is constantly in the bylines of gossip and rumor columns. Childhood classics are also constantly being remade to profit from the sentiment of the same generation who were children at the time of the original film release.

Long story short, there is no indication of Hollywood making any effort to stop creating remakes, and the viewer has to carefully select the few potential good remakes from the abundance. This list documents 10 such remakes coming up in 2019 that have the potential to be at least decent.

 

1. Jacob’s Ladder

The original film by Adrian Lyne was a risky and brave attempt to document the horror and psychosis created by the Vietnam War in a human mind. The surreal and nauseating treatment of the film put off certain viewers in its release, despite the appreciation from the critics. It slowly became a cult film over the years and Hollywood found it popular enough to order a contemporary remake.

After all, the original has great influences in later-day pop culture. The special effects of the popular video game “Silent Hill” is largely based on the hallucinatory sequences of the film. It is difficult to remake such a cult classic with a similar effect. So the producers chose to declare the remake as a homage to the Adrian Lyne classic.

“Jacob’s Ladder” refers to the meeting place of heaven and earth according to the book of Genesis. There are multiple different religious allusions in the film and considering the time in which we are living, it is a movie we desperately need. The script is written by Jeff Buhler of “The Midnight Meat Train” fame and the film is directed by David M. Rosenthal of “The Perfect Guy.”

 

2. The Addams Family

Charles Addams was an early pioneer of American cartoons and drew cartoons both for The New Yorker and independent publications in a prolific way. His most famous cartoons are the characters in his idiosyncratic household Addams family. Charles satirized the typical American household in his cartoons and very shortly it was adapted for television by ABC.

The film version helped to popularise the characters more in the 1991 outing “The Addams Family.” Since then, the cartoon has been adapted in various media uncountable times. In 2014, The Telegraph hailed the fictional family as one of the iconic families in American history, up there with the Kennedy family.

It is quite natural that such an iconic cartoon and film would be soon be remade by the greedy Hollywood producers, and 2019 is going to be the year of that remake. This time it is not a live-action film, but an animated one that will feature the amazing voices of Oscar Isaac, Chloe Grace Moretz, Charlize Theron, and others, and will be directed by the Conrad Vernon and Greg Tiernan who previously made “Sausage Party.”

 

3. Child’s Play

Remakes are in abundance in Hollywood, but according to representatives, audiences especially love remakes of old horror films. There are also some specific tropes that are popular among old school horror film lovers.

This includes a mixture of gore, supernatural, slasher, and one such film is the Tom Holland adaptation of “Child’s Play,” which is adapted from the story of Don Mancini. Upon its release, it was a major hit and it took the number one spot in terms of box office turnover in the opening week.

It also gained approval from critics and as a result, Hollywood flooded the screens with numerous sequels and spin-offs and started the Child’s Play franchise. This trend didn’t slow down and 2019 will witness another installment of the series.

This time, the film is a direct remake of the first film without any involvement from the original creators of the franchise. Lars Klevberg will direct the film and the collaborative team of “It” will serve as the producers. Mark Hamill will voice the doll and oddball actress Aubrey Plaza will feature as the mom. The film is slated to be released in June 2019 in the United States.

 

4. Dumbo

Disney has been doing this for years: remaking their animated films as live action. This time, they have decided to remake their family-pleasing animated film “Dumbo.” In 2019, Disney will release three live-action remakes of their animated films and this is the first to be released.

This may have to do with something of a lucky charm like the original “Dumbo” was. It was created in 1941 as a short animated film to recover the losses of “Fantasia” and it did great at the box office. The tear-inducing script resonated with both children and adults

Tim Burton got the baton to direct the 2019 film. Expectations are sky high from the magical mind of Burton, and his gothic style and dark humor mixed with family drama and beautiful visuals promise significant footfall in theatres. This film will star major acting talents including Colin Farrell, Michael Keaton, Danny DeVito, and Eva Green.

 

5. Pet Sematary

These days, the name Stephen King almost immediately refers to an upcoming film adaptation of one of his books. This time, the film in question is not only a cinematic adaptation but also a remake of the previous film of the same name.

“Pet Sematary” is one of the most disturbing works by King, which the writer himself has admitted in the past. It was so dark and morbid that the author considered not sending the draft to his publisher at Doubleday, but was forced to send the copy as a contract to the publishing house. In 1989, the first remake of the film was released and it gained mixed reviews.

The 2019 remake “Pet Sematary” has already been released in Germany and Australia and the initial reviews suggest a good outcome, with several critics calling it the best Stephen King remake ever. Kevin Kolsch didn’t change the plot of the original film and the novel and the result was better than average in the first weekend.

The end is near when it comes to “The Big Bang Theory,” and it appears that fact is really starting to settle in with series star Kaley Cuoco. Like, really sink in.

Cuoco, who plays Penny on the sitcom, shared an image via Instagram on Monday that explicitly stated a fact that has been known for a while, but has perhaps been difficult to grasp for those who hold the show near and dear.

The image showed Cuoco and her co-stars — Kunal Nayyar, Jim Parsons, Johnny Galecki, Mayim Bialik and Simon Helberg — with heir heads turned to look behind them.

Above the actors stood the words “The Final Season” and “The Big Bang Theory.”

“If it wasn’t real before, it’s real now,” Cuoco wrote of the image, punctuating her sentiments with a crying emoji.

“The Big Bang Theory” is set to end its run with its current 12th and final season, with a one-hour series finale scheduled for Thursday, May 16 At 8/7c.

Cuoco’s message likewise sparked emotional responses, with numerous crying emojis flooding the post’s comments section with tears.

“NOOOOOOOO!!!!” wrote one commenter, a sentiment that was echoed nearly letter-for-letter by other commenters.

“It’s a great picture of all of you but it’s making me want to [cry] since the end of the show is near,” another fan lamented.

“Please say it isn’t sooooo…… I know it’s coming but I’m not ready,” another fan wrote.

See Cuoco’s message below.

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If it wasn’t real before, it’s real now ???? @bigbangtheory_cbs #finalseason

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Certainly part of the attraction to crime films come from the exciting, often thrilling audacity of the antagonist, the lengths they will go to and the often barbaric extremes of the vileness they commit. And for genre fans often the more upsetting and outright shocking, the more memorable and rewarding the overall experience.

The films on this list show a wide-ranging assortment of crime-centric stories which include auteur-driven vehicles, influential movies, astonishing international fare, a few blockbusters, and distinctive arthouse gems, too.

But be warned, the films that follow will linger a long time with the viewer, many of which you may need a stiff drink upon viewing to help settle one’s nerves. You’ve been warned and now please proceed and with caution.

 

15. L’humanité (1999)

Gorgeously photographed in CinemaScope, Bruno Dumont’s gritty, gruesome and controversial L’humanité was his award-winning second feature (after 1997’s The Life of Jesus), widely considered his masterpiece. Starring non-professional actor Emmanuel Schotté as a police detective investigating the brutal rape and murder of a young girl.

Functioning primarily as a metaphysical detective yarn, Schotté portrays the seemingly autistic Pharaon de Winter, a provincial detective who longs incessantly for his young neighbor (Séverine Caneele). Both Caneele and Schotté rightly received the acting prize at Cannes in 1999 for their stunning, graceful and compassionate performances.

Powerhouse performances aside, part of what makes Humanité so captivating and ultimately all the more chilling is its painterly close-ups and long shots of idyllic and rural countryside damaged by darkness and death.

An austere and quasi-realist spectacle, L’humanité’s transcendentalist overtones offer Dumont a distinctive auteur title, and is an unmissable movie for genre fans and arthouse enthusiasts who like to be haunted by the art they take in. This film is a dark but designful gem.

 

14. Blood and Black Lace (1964)

One of the linchpins from the Golden Age of Italian horror, Mario Bava’s Blood and Black Lace is more than just a proto-slasher horror thriller, it’s one of the most influential and gorgeous giallo films ever made while also being one of the most bone-janglingly chilling as well.

The spare plot, which take the backseat to the often overpowering visuals on proud display, involves a masked man with a metal-claw glove who stalks models at an upscale fashion salon in fashion salon in Rome. Max (Cameron Mitchell) and Christina Marian (Eva Bartok) are the fashionistas targeted by the killer, who fear a potential scandal, and there’s the atypical police investigators –– often totally useless in giallo films –– after the killer but not getting anywhere fast.

Of course the real draw to Blood and Black Lace, and what makes it such an entertaining thrill ride, is the detail, design, and carefully constructed complexity, elaborate death scenes, and kaleidoscopic color that Bava brings to the table. Gruesomely stylish, abundant and often overpowering washes of lurid color, an ever-roving camera and crazily choreographed carnage makes for a beautiful, baffling, and innovative storm of imagery, décor, and garishly gruesome style.

 

13. M (1931)

Based on the real life manhunt for a Düsseldorf child­murderer, Fritz Lang (Metropolis [1927]) chose M for his first sound film and the chilling result is both an analytical and radical dissertation on authority and law.

Peter Lorre’s performance is nothing short of extraordinary as child murderer Hans Beckert, and the role quickly established him as a sinister cinematic icon.

Dogging Beckert’s trail is Inspector Lohmann (Otto Wernicke), desperate to catch the scourge plaguing his city for the last eight months. But Lohmann’s not the only man bent on identifying and bringing the murderer to justice. The bolstered police presence has put scads of pressure on the underworld and the black market, causing the formation of a crime syndicate, “The Ring” to track down the killer so that they can return to their shady practices without fear of John Law.

Lang’s contemporary setting and realistic milieu in M was quite incendiary and effective at the time, adding an element of complexity and social commentary that was largely absent in cinema, and certainly the subject matter and sadistic plot elements rattled censors and sensitive theater goers like little else that came before it. Mob rule, the legal system and morality were just some of the themes Lang skewered and dissected in this murderous masterpiece.

 

12. Prisoners (2013)

Beastly horrors lurk in the behind-closed-doors narrative of Denis Villeneuve’s Prisoners, which reteams the director with Jake Gyllenhaal (who also starred in his intense 2013 psychological thriller Enemy). Gyllenhaal plays Detective Loki on the case of two missing girls in an emotionally complex ensemble piece that also stars Maria Bello, Paul Dano, Hugh Jackman, and Viola Davis.

Prisoners is a haunting, deep-seated and disturbing film, the kind you carry around afterwards, processing and pondering it all, and makes for a very rewarding experience. If you don’t mind the disturbing and chilling content, of course.

Buoyed immeasurably by cinematographer Roger Deakins, the framing is sharp, bristling with energy and a compulsive panache that makes turning away all but impossible, even when some of the more nightmarish aspects of the film perturb and exasperate the viewer.

Prisoners is not always easy to take, especially with the subject matter, but Villeneuve is a gifted and calculating craftsman, and while his film may take no prisoners, it also sets the viewer free with a purgative wheeze and an audible gasp.

 

11. City of God (2002)

While it’s highly debatable that Fernando Meirelles and Kátia Lund’s City of God could not exist in a post-Scorsese/post-Tarantino world, this visceral, and ultra-violent crime epic that explodes from the poverty-afflicted favelas of Rio de Janeiro thrums to a vibrant beat all its own.

Adapted from Paulo Lins semi-autobiographical 1997 novel of the same name, City of God spans the late 1960s through to the early 1980s in Rio’s Cidade de Deus suburb, and the organized crime that manifests there, like a terrible cancer.

Alexandre Rodrigues is magnificent as Rocket, a sweet-natured boy and budding photographer who documents the growth of drug-related gang violence in his homelands. Also impressive in this multi-protagonist socio-political odyssey, almost like a rich anthology of tragedy, is Seu Jorge as the pushed-too-far “Knockout Ned,” and a marvelously impressive collection of some of the finest child actors ever to grace the screen (their scenes of bloodlust and violent outrage are absolutely harrowing and warrant the film’s place on this list).

In turns beautiful, funny, horrific, humane, shocking, vulgar, tragic, and always thought-provoking, City of God is a model crime film that’s nearly impossible to shake. A bone-chilling must see.

 

10. Eastern Promises (2007)

The most startling and memorable takeaway from this much-acclaimed gangster film from David Cronenberg has got to be the uncompromising, unforgettable and unflinching bathhouse brawl –– featuring a notorious au naturel knife fight with Viggo Mortensen –– that once viewed can never be unseen. This extraordinary follow-up and companion piece to 2005’s A History of Violence, Eastern Promises is a darkly disturbing, morally complex, and frighteningly enigmatic masterpiece.

Anna Khitrova (Naomi Watts) is a Russian-British midwife living in London who is soon drawn into a shocking and upsetting world of Russian mobsters and nasty ne’er-do-wells after a drug-addicted 14-year old prostitute dies in childbirth. In a much deserved Oscar-nominated performance is Mortensen as Nikolai Luzhin, a strong-arm thug for a messy mobster named Kirill (Vincent Cassel), who is the loose canon son of a Russian godfather known as Semyon (Vincent Cassel).

But man, no matter what you think or say about Eastern Promises, all discourse must circle back to that intensely unforgettable knife fight. Holy shit. Roger Ebert ecstatically proclaimed that it “sets the same kind of standard that The French Connection set for chases. Years from now, it will be referred to as a benchmark,” and who are we to disagree?

 

9. Monster (2003)

Patty Jenkins’s distinguished directorial debut, which she also wrote, details the harrowing real-life story of Aileen Wuornos (Charlize Theron, in a brilliant, Oscar-winning performance).

Monster picks up shortly after Aileen, a sex-worker, has relocated to Florida. Here she soon meets Selby Wall (Christina Ricci), a younger woman, and the two fall in love. When an aggressive john named Vincent (Lee Tergesen) brutally attacks Aileen, she kills him in self-defense and decides to finally give up prostitution.

A series of financial setbacks and Aileen’s wanting to protect and support Selby leads her back into hooking men and, secretly from Selby, she murders the men who seek her services.

A challenging, deeply troubling, intense, and tragic film, Monster is a riveting work. While Theron’s performance is overwhelming and gilt-edged, Jenkins deserves credit for solid direction, tightly composed frames and well-orchestrated frights. A haunting, hard and effectual film that’s not easy to shake.

Oscar-winning animated feature director and Disney veteran Rich Moore is jumping from Disney to Sony Pictures Animation after 10 years and will develop, produce and direct feature films for the studio.

Moore won an Oscar in 2017 for Best Animated Feature for “Zootopia.”

“Rich is a world-class storyteller and he brings with him a wealth of experience and a unique sensibility for story, comedy and heart,” Sony Pictures Animation president Kristine Belson said in a statement. “We are so excited for him to join our team of filmmakers at Sony Pictures Animation as we continue to develop a slate of animated features that are big, bold, and will take audiences by surprise.”

In addition to “Zootopia,” which grossed more than $1 billion worldwide, Moore directed the Oscar-nominated “Wreck-It Ralph” and last year’s “Ralph Breaks the Internet” for Disney.

Moore also voiced characters in all three films. Sony said Moore will be available to act in an advisory capacity with ongoing feature film and series-based projects at the studio.

“Sony Animation has emerged as a major player among animation studios,” Moore said in a statement. “Their vision to give filmmakers and artists the freedom to take risks, and to really push the envelope when it comes to visual style and breadth of storytelling is impressive, and I can’t wait to be a part of shaping the studio’s future.

“Ten years is a long time — but when you’re working on incredible films with people you love as I have these last ten years, that time flies by,” he continued, speaking of his time working with Disney. “I will always cherish my days at the Walt Disney Animation Studios and I leave with the faith that the studio is in good hands. I remain a lifelong Disney Animation fan and look forward to the films they’ll create in the future.”

Sony’s animated feature, “Spider-Man: Into the Spider-Verse,” won the Best Animated Feature at the 2019 Oscars, beating out Moore’s “Ralph Breaks the Internet.” “Into the Spider-Verse” grossed $374.1 million for Sony.

Moore was one of the original three directors on “The Simpsons,” directing numerous episodes over the series’ first five seasons, including the Emmy-winning “Homer vs. Lisa and the Eighth Commandment.” He also oversaw the creative development and production of “Futurama.”

Some of Moore’s other credits include “Mighty Mouse — The New Adventures,” Gracie Films’ “The Critic,” the Warner Bros. theatrical short “Duck Dodgers – Attack of the Drones,” Comedy Central’s “Drawn Together” and Mad TV’s “Spy vs. Spy.”

Rich Moore is represented by UTA and Ziffren Brittenham LLP.

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Since bursting onto the film scene with Reservoir Dogs, Quentin Tarantino has transformed the popular film landscape with smart-talking gangsters, pop culture references and non-linear storytelling devices. Working at a video store in Manhattan Beach for five years, he absorbed hundreds of different exploitation movies, Hong Kong pictures and various b-movie Westerns and Film Noir, giving him an incredibly wide knowledge of film.

A true cinephile turned director, his movies combine various different genres together, all peppered with his unique talk-heavy style that features innumerable references to other works and songs from popular culture. He is perhaps the most influential director of the 90s, and easily one of the most recognisable names in film worldwide.

He is a relatively slow working director, only directing three films in the 90s, all of which could loosely be described as an LA trilogy. After Jackie Brown, he waited six years to return with the Kill Bill duology, which saw the director pay homage to many tropes of East Asian cinema.

This was followed by Death Proof, released as part of a Grindhouse double-bill with Robert Rodriguez’ Planet Terror. Since then, he has been interested in repurposing the past, releasing a WW2 movie, Inglorious Basterds, and two revisionist Westerns, blaxploitation movie Django Unchained and Stagecoach meets Agatha Christie homage The Hateful Eight.

Any Tarantino movie is truly an event, because although he has many imitators, only he can make dialogue sing in quite such a satisfying way. Additionally, his films always court controversy — whether its his penchant for exploring racism, or using gratuitous violence, no one provokes discussion quite like him. Yet he has explicitly expressed that he will only make ten movies, making Once Upon a Time In Hollywood, slated for release later this year, his penultimate effort.

In honour of his unique filmography, we have decided to rank all of his films. This list only includes the films he directed himself, therefore True Romance, From Dusk Till Dawn and Natural Born Killers are not on the list. Additionally, his failed short film My Best Friend’s Birthday — half of which is still missing — will not be included in this list, or his short film from Four Rooms: “The Man From Hollywood”.

We have also not included his television work or his special director credit for Sin City. Read on below to see how we ranked his work. If you disagree with anything we said, please sound off in the comments below!

 

8. Death Proof (2007)

The only Tarantino film to truly feel like a minor-league effort, Death Proof is simply too long. Split into two parts, and featuring two different sets of characters, its a difficult film to get invested in.

While Tarantino’s rambling dialogue in previous films was also pertinent to the plot either thematically or metaphorically, here he simply revels in it for its own sake — one particularly egregious scene at the beginning seeming to go on forever. While Kurt Russell pulls in a decent shift as a stunt-car driver hellbent on murder, and the final sequence is particularly impressive, it doesn’t really seem to add up to anything.

It’s one half of Grindhouse, a joint effort by Tarantino and Robert Rodriguez (who directed the other half with Planet Terror) to replicate the experience of a double-feature in a b-movie cinema. An interesting concept to revive the double feature, it didn’t really inspire any copycat efforts.

When the characters aren’t endlessly talking, the film suddenly veers into overdrive, giving one the feeling of being on a broken rollercoaster. Still, even if it Tarantino’s worst movie, its still not an outright bad one, giving Tarantino one of the best batting averages in cinema.

 

7. The Hateful Eight (2015)

If you like Tarantino’s dialogue-led scenes, there’s a lot of language to appreciate in The Hateful Eight. Running over three hours long, and set mostly in one location however, the chamber-box Western seems unnecessarily long and eventually becomes rather exhausting.

It functions like an Agatha Christie novel; eight people rock up to a roadhouse in the snow named Minnie’s Haberdashery and have to stay due to the ongoing storm. Quickly it becomes apparent that someone in the group is being less than honest, leading to a slow-burning thriller where you never know who to believe.

The cinematography, filmed (and presented in selected cinemas) in 70mm is gorgeous, but it goes to waste considering it mostly captures interior scenes. Here Tarantino’s penchant for violence tides over into outright nastiness, lacking little of the moral backbone found in his previous films.

While an entertaining watch — partly thanks to a catchy score by none other than Ennio Morricone — it lacks the purpose of of his best work, leaving little to think about after the film is over. In addition, it never seems to go anywhere fast, becoming rather dull just when it should be ramping up the tension.

 

6. Django Unchained (2012)

After rewriting World War Two history with Inglorious Basterds, Tarantino turned his eye to the American slave trade. A postmodern Western, Django Unchained tells the story of a slave rescued by a mystery benefactor who decides to take revenge on those who have wronged him. Like in Inglorious Basterds, there is great pleasure to be found here in giving evil, racist men their comeuppance, Tarantino pulling no punches in his total disdain for them.

The Western has rarely been so glorious, Tarantino obviously inspired by the spaghetti Westerns of Sergio Leone and the grisly Sergio Corbucci film Django. It is relentlessly lurid and audacious, Tarantino’s politically un-correct tone taking the viewer to truly bizarre yet endlessly satisfying places.

Jamie Foxx excels in the main role as a man discovering his ability for blowing away his enemies, while Christoph Waltz turns in another masterclass as bounty hunter Dr. King Schultz. All scored by an ahistorical soundtrack courtesy of artists such as Rick Ross, John Legend, and Anthony Hamilton and Elayna Boynton, Django Unchained may not be as sophisticated as Inglorious Basterds, but it may be even more fun.

 

5. Jackie Brown (1997)

The only adaptation of Tarantino’s career so far, Jackie Brown perfectly transplants the world of Elmore Leonard to the Tarantino-verse. Based off the novel Rum Punch, it revitalised Pam Grier’s career.

Once a star of blaxploitation films such as Coffy and Foxy Brown, her role in Jackie Brown paid homage to these black female-focused films, wrapping it up in a typically complex Tarantino-esque plot. Flipping the ethnicity of the novel’s central character to pay homage to these genres was a smart move for Tarantino, expanding his vision of Los Angeles as seen in his previous two movies.

Pam Grier plays an airline attendant who smuggles money from Mexico to the United States for a black-market gun runner, excellently played by Samuel L. Jackson. When she decides to swindle him out of his money, she finds herself in over her head, needing to use all of her resolve to find a way out.

Running a leisurely two and a half hours, its Tarantino at his most generous, exploring Los Angeles in all its glory. Perhaps the quintessential Elmore Leonard film, after Steven Soderbergh’s Out Of Sight, released the following year.

Hellboy arrives next weekend, and we’re not so sure the movie has the goods to get audiences into theater in the way that Lionsgate is hoping. Sure, the presence of David Harbour as Hellboy might be appealing to a certain sect of Stranger Things fans, but otherwise, this looks far less stylish and impressive than what director Guillermo del Toro already did with the Dark Horse comic book property.

If you need anymore convincing that the audience awareness for Hellboy a boost, Lionsgate has debuted what they call an R-rated sizzle reel, which is basically a short red band trailer. The whole point of this tease is to tout all the blood and gore that will be on display, not to mention dropping some salty language. Watch the bloody Hellboy trailer below.

R-Rated Hellboy Trailer

JoBlo debuted the “super” R-rated Hellboy sizzle reel. Faces get ripped off, eyes get plucked, heads get stabbed, and it’s a bloody affair. The only problem is that it all looks extremely cheap and fake, almost like it was an afterthought. Sure, we know director Neil Marshall and the producers wanted an R-rated movie this whole time, but it doesn’t feel like they really invested the money in it.

Aside from the pandering to fans desperate for an R-rated Hellboy, there’s also a sneak peek at the Blood Queen’s origin and the introduction of Thomas Haden Church as Lobster Johnson, which is fairly disappointing judging from this tease.

The rest of the Hellboy cast includes Ian McShane as Hellboy’s adoptive father, Trevor Bruttenholm, Daniel Dae Kim as Ben Daimio, and Sasha Lane as Alice Monaghan.

Hellboy arrives in theaters on April 12, 2019. Here’s the movie’s official synopsis:

Hellboy is back, and he’s on fire. From the pages of Mike Mignola’s seminal work, this action packed story sees the legendary half-demon superhero (David Harbour, “Stranger Things”) called to the English countryside to battle a trio of rampaging giants. There he discovers The Blood Queen, Nimue (Milla Jovovich, Resident Evil series), a resurrected ancient sorceress thirsting to avenge a past betrayal. Suddenly caught in a clash between the supernatural and the human, Hellboy is now hell-bent on stopping Nimue without triggering the end of the world.

The post ‘Hellboy’ R-Rated Sizzle Reel Reveals Blood, Gore, Profanity and Lobster Johnson appeared first on /Film.

WrestleMania Fever took over New York and New Jersey this weekend, bringing big crowds of WWE fans to both the Big Apple and the Garden State.

While the celebrations kicked off a few days ago, the real deal was Sunday night, when the Super Bowl of professional wrestling returned to the MetLife Stadium in East Rutherford, N.J. The open-air arena is normally home to the NFL’s New York Giants and New York Jets.

The packed roster for WrestleMania 35 included Superstars in high profile match-ups, like a winner-take-all main event between Ronda Rousey vs. Charlotte Flair vs. Becky Lynch, Brock Lesnar vs. Seth Rollins, Daniel Bryan vs. Kofi Kingston, AJ Styles vs. Randy Orton, The Miz vs. Shane McMahon, and women’s tag teams Sasha Banks and Bayley vs. Beth Phoenix and Natalya vs. Nia Jax and Tamina Snuka vs. The IIconics.

WrestleMania 35 was available on pay-per-view and streamed on the WWE Network, but TheWrap had a seat inside the MetLife press box. For those of you who stayed home, here’s what you didn’t see on TV.

Prepare for the Worst (Weather)
The WWE wasn’t going to let it rain on its biggest parade. With bad weather possible in an outdoor arena, the company covered the stage and ramp covered in black plastic until the very last minute. Ironically, Sunday was one of the nicest days of the year so far in the New York City region.

Fans didn’t seem to mind the spring-ness, but new WWE Universal Champion Seth Rollins was hoping for something a bit more inclement. He’ll probably take the belt and 60-degree weather, however.

NY/NJ Takeover
Much like the NXT Takeover did to Brooklyn Friday, WWE fans took over New York and New Jersey’s transits systems on Sunday, with thousands flooding the trains from Penn State out to the Garden State. The mass of people decked out in replica championship belts was so large that a special bus service was put on from Secaucus station to Meadowlands, much to the relief of travelers just trying to get to Newark airport.

Exit Ramp Crowd vs. Entrance Ramp Crowd
The Women’s Battle Royal was heavily hyped before the female Superstars of “Raw,” “SmackDown Live” and NXT all jumped in the ring together. But as was the case for most of the pre-show matches, the stadium was still half-empty. Fans battled traffic while the women battled each other.

WrestleMania chairs are iconic collectors’ items for WWE fans, but there weren’t many butts in the those pricey seats during the first fights.

MetLife Life
With a capacity of 82,550, MetLife Stadium was sold out for WrestleMania. Fans could still get a ticket on the secondary market — so long as they were willing to shell out around $500 on StubHub — and that was for an obstructed view seat, meaning that thousands of fans even inside still watched the show on TV screens.

Yeah, the setup maybe wasn’t ideal. But outdoor events need a giant canopy, and that means a giant support structure.

Colin Jost Is MetLife’s Biggest Heel
Colin Jost and Michael Che, the anchors of “Weekend Update” on “Saturday Night Live,” were booked as guest competitors in the Andre the Giant Memorial Battle Royal, facing off against a packed ring of WWE’s top pros. Staten Island native Jost sparked the first boos of the night by strutting down the entrance ramp in a Cleveland Browns Odell Beckham Jr. jersey. That rubbed a number of New York Giants fans the wrong way: The Giants just lost Beckham in what many consider an ill-advised trade.

Here is a rundown of how Jost and Che fared.

Media Superstar or WWE Superstar?
A lot of current and former wrestlers, like Sgt. Slaughter, Paige and Kane, ate and generally existed alongside working reporters in the press box, which was used as overflow for WWE friends and family. Our catering is your catering, friends.

The coffee, however, was at a premium for a while there. We weren’t about to jockey for position with Glenn Jacobs around the caffeinated pot.

Blinded by the Light
While WWE was determined to up the wattage at MetLife with blazing gold and red lights throughout the stadium, the spectacle blinded some attendees, sparking an outcry on Twitter. One fan pleaded, “Please turn the lights off! #wecantsee #WrestleMania.”

https://platform.twitter.com/widgets.js

Bayley Buddies Un-Friend Her
Half of those whacky inflatable Bayley Buddies didn’t get any air during their big moment, and they laid there about as limp as Bayley did while getting pinned in the Women’s Tag Team Championship Match. Speaking of which…

An (I)Inonic(s) Win
One of the biggest pops in the press box was for that IIconics win. It was one of the true surprises of the evening — a booking that rewards two over (the wrestling term for crowd-favorites) up-and-comers with excellent microphone skills. Congrats to Peyton Royce and Billie Kay!

Related stories from TheWrap:

Seth Rollins Beats Brock Lesnar at WrestleMania for WWE Universal Championship (Video)

WWE, A&E Tag Team on 5 'Biography' Docs About Wrestlers – Including 'Stone Cold' Steve Austin

WWE Superstars Try Their Best to Sell Threatening Promos Written by Kids (Video)

You’ve probably had a couple annoying Uber rides here and there. But it’s probably nothing like the experience Kumail Nanjiani has in the upcoming action comedy Stuber.

Stuber follows an Uber driver (Kumail Nanjiani) who inadvertently ends up involved with deadly criminals, shootouts, and a fight for his life. That’s because a cop (Dave Bautista) is using him as transportation to track down a killer.

Stuber Trailer

Dave Bautista has already shown that he has impressive comedy chops with the Guardians of the Galaxy franchise, but I’ve been waiting for him to show off those skills without a character that has weird traits that are funny by default. In the trailer, he clearly has great chemistry with Kumail Nanjiani, giving them an unlikely but solid buddy cop comedy camaraderie. It has the style of an old school action comedy from the 1980s or 1990s like Midnight Run or 48 Hrs.

Our own Meredith Borders caught a work-in-progress screening at South by Southwest (meaning it wasn’t the final cut and was still being worked on in the editing room), and she said, “The laughs are huge, the action is major, and it’s got a giant, goofy heart in the middle of it.” She also adds, “The really inspired part comes in Bautista and Nanjiani’s casting, a pairing that might feel unlikely on paper but registers as instantly legendary onscreen.”

Indeed, these two seem electric in this trailer, and this will hopefully open up a whole new can of worms for Kumail Nanjiani to play in as his star continues to rise. Plus, with Dave Bautista wearing a clean white tanktop under that button down, we’re hoping this turns into a Die Hard kind of situation for him, albeit with a lot more laughs.

Stuber also stars Iko Uwais (The Raid), Natalie Morales (Parks and Recreation), Betty Gilpin (Isn’t It Romantic?), Jimmy Tatro (American Vandal), Mira Sorvino (Romy & Michelle’s High School Reunion) and Karen Gillan (Guardians of the Galaxy). The film is directed by Michael Dowse (Goon, What If), and written by Tripper Clancy.

When a mild-mannered Uber driver named Stu (Kumail Nanjiani) picks up a passenger (Dave Bautista) who turns out to be a cop hot on the trail of a brutal killer, he’s thrust into a harrowing ordeal where he desperately tries to hold onto his wits, his life and his five-star rating.

Stuber screeches into theaters this summer on July 12, 2019.

The post ‘Stuber’ Trailer: Dave Bautista Isn’t the Easy Uber Passenger Kumail Nanjiani Was Hoping For appeared first on /Film.

The Public” is a movie that should’ve rung several of my moviegoing pleasure centers like Waterford crystal bells. But it’s never as coherent as it needs to be, several of its major characters are psychologically (or perhaps just dramatically) incoherent, and the sheer number of bad choices sinks it in the end. Explaining how this film goes wrong requires describing plot twists that I’m sure the fimmakers would rather I didn’t mention, so if you haven’t seen the movie but intend to, you should put this piece aside and come back to it later, if the summary hasn’t already put you off watching it. 

Written and directed by Emilio Estevez, who also plays the lead role, it’s about homeless men taking over Cincinnati’s central public library to protest a lack of available beds that would prevent them from freezing to death. Estevez is Stuart Goodson, a librarian who’s about to be pushed out because a homeless man he ejected for excessive body odor turned around and sued the library system, Stuart personally, and Stuart’s chief of security Ernesto (Jacob Vargas), resulting in a $750,000 settlement. 

This is the first of many decisions at the writing level that muddies what might otherwise have been a rousing story of a worker drone belatedly finding his conscience and standing up against The Man. Stuart eventually becomes the point person for the library takeover (with Michael K. Williams’ loquacious homeless man Jackson inspiring the action, and serving as Stuart's advisor as he talks to police). But the fact that Stuart’s on the verge of getting fired anyway when the takeover occurs, and is ultimately revealed to have been a homeless addict himself at one point in time, makes the film less-than- useful as a piece of agitprop that could show why people ought to care about society’s least fortunate, and what they might do to call attention to their plight. Stuart’s not the last person you’d imagine would get involved in this kind of thing, he’s (retroactively revealed as) the most likely candidate. And once we know his full story, the big dramatic questions become, “Why did Stuart spend so many years not getting involved?”, which is not the sort of question we want an idealistic movie like this, which constantly quotes John Steinbeck and references the French Revolution, to ask. (The answer to that question is probably, “He was grateful to have a good job and didn’t want to get fired,” but that could also be true of a man with no such past.)

This is only the most obvious of the movie’s problems. “The Public” is brazenly a throwback to troublemaking 1970s dramas about then-contemporary problems, like “Dog Day Afternoon,” “The China Syndrome” and “Network,” with a touch of Frederick Wiseman’s documentaries about how government policy and economic inequity affects average citizens’ lives. It starts out feeling like an anthology movie that doesn’t bill itself that way, with several major characters dealing with their own personal dramas in parallel subplots. Estevez’s script has all the hallmarks of a mid-budget independent film that tried to “beef up” all the supporting roles in order to attract a big-name cast and secure better financing, but never quite figured out how to bring all of the individual stories to a satisfying close, much less thematically dovetail them all with the film’s main order of business: showing the systemic failure of American urban life and the radical, if doomed, actions required to call attention to them.

Christian Slater plays a smarmy mayoral candidate who is ordered by Stuart to spend five minutes lying on the sidewalk (to teach him empathy). But not only does the movie fail to show the character becoming more enlightened as a result, it fails to capitalize on the ironic/comedic gold it has right in front of it: some people are simply incapable of empathy or growth, and unfortunately they’re often the same people who crave and attain power. Alec Baldwin has a few touching moments as a depressed, divorced police negotiator who’s at wit’s end because his homeless addict son has gone missing; but aside from one powerful scene when he complains that the homeless only make demands and take things and never actually change their behavior—and we realize that he’s projecting his rage about his son onto the world at large—there’s no depth. And the conclusion of his subplot has no bearing on anything happening inside the library.

The less said about the female characters, the better. Jena Malone’s junior librarian is on hand mainly to be mocked by Stuart for her lack of real political committment—itself a bitter joke on Stuart, considering how he’s been keeping his head down all these years—but when the occupation begins, she spends the middle part of the film stuck in an office with cops and politicians, rolling her eyes, then goes outside and becomes a glorified bystander. Taylor Schilling is stuck playing another glorified bystander, Stuart’s love interest, a gorgeous, spacey building superintendent and recovering drug and sex addict. She sleeps with the hero immediately after hearing the bare outlines of his story, then helps get video to a TV reporter (Gabrielle Union) who has been broadcasting the lie that Stuart is holding homeless people against their will. The reporter is easily the movie’s worst character, a vacuous and self-serving careerist in the vein of the craven fool from "Die Hard," and for some strange reason, the movie makes it seem as if she’s the only local TV reporter in town, and has the Schilling and Malone characters expend considerable energy trying to make her see the error of her ways instead of walking five feet to the left and talking to a different reporter on the scene.

Jeffrey Wright makes a strong impression as Stuart’s supervisor and mentor, despite having only a few scenes. He’s a vivid, emotionally direct performer, and when the character rejects his fellow authority figures, walks into the homeless encampment, helps himself to a slice of pizza, and asks to sit in an unoccupied chair, you may imagine how might have been with him as Stuart, instead of the writer-director, who’s sensitive and sensible but lacks that Electrified Everyman spark that the hero needs. The ending seems to be aiming for a touch of the “O Captain, My Captain” finale from “Dead Poets Society,” but mainly comes across as ungainly and ill-advised. 

There’s always been a shortage of films about the body politic, and they’ve become nearly nonexistent in the age of tentpole franchises dominating theaters. It’s a shame this one isn’t better, especially considering how much care it takes to get the small details of public libraries right, including the way that librarians have been forced into acting as social workers because the American government has almost completely abdicated the responsibility of caring for society's most vulnerable. That it beat the odds just getting made makes its failures sadder.

Kourtney & Khloe take __ !! 

Hopefully, that blank space will be filled here soon as we just got news that single sisters Kourtney and Khloe Kardashian may be teaming up for their own spinoff show. 

Again! 

Ribbon Cutters

Just like the old days, Kourtney and Khloe are "in talks to have another spinoff, similar to when they had Kourtney & Khloe Take The Hamptons, and their first show together, Kourtney & Khloe Take Miami," according to Radar Online. 

Kim Kardashian's two sisters starred in the first successful KUWTK spinoff, KKTM, back in 2009. 

This guilty pleasure show captivated fans due to their young and carefree personalities. 

But now, we're ready for round 3 and many more Kardashian shenanigans. 

Khloe and Kourtney on Late Night

"Right now the network is considering a spinoff for them because they are both single, and the two of them have not been single at the same time for a very long time," says a Kard clan insider. 

They're both single yes, but the two ladies have more on their plate to worry about than their suffering relationship status.

As you probably already know, Kourtney just launched her own lifestyle brand Poosh on top of juggling being a mom to her three adorable children. 

While Khloe is equally as busy with her successful denim business Good American and her baby daughter True. 

Khloe Kardashian Holds True Thompson on Christmas

Back in the day -- the various spinoffs revolved around the young siblings' social life and family drama, although its main focus was on their family-owned store Dash. 

While the half-hour series would keep up with Kourt and Khlo adapting to a different lifestyle in Miami or the Hamptons, they would also be working hard on overseeing their Dash boutique.  

And while Dash has since closed down due to its overpriced and out-of-date apparel, the moms are keeping busy by running their new and self-owned side hustles. 

Kourtney Kardashian Teases Poosh

"They are both super excited about the possibility of doing their own show because it would give them a platform to promote their own businesses," the source told Radar. 

But the informant also told Radar that nothing will be official until the current KUWTK contracts - which were arranged by momager Kris Jenner for $150 million in 2017 - end after the current season. 

"They really need to get these contracts inked before they move forward with anything," the insider dished.

"Once they do, shooting for their spinoff could start as early as this summer."

Kourtney Kardashian and Khloe Kardashian

It's pretty crazy how life can go full circle on ya. 

I mean, if you were to tell Kourtney and Khloe back in 2010 that in nine years they would be filming their own show once again -- based on how miserably single they both are -- well, they would probably be a little displeased. 

But that is the harsh reality and after all, that is what essentially pays this family's bills! 

Unless you're Kylie Jenner, of course.

Kourtney, Kim and Khloe

While some may not find older siblings Kourtney and Khloe entertaining in the slightest, most fans cannot get enough of their sisterly antics. 

But for now, we will all have to wait and see if the rumors are true. 

Will we be gifted a spinoff show or not?! 

If you can't handle the anticipation, you can watch new episodes of Keeping Up With the Kardashians that air Sundays on E!

These days, it seems as if virtually any movie that's at least 25 years old and not named "She’s Out of Control" is now considered a classic. This attitude has become so prevalent that even a film like the 1989 version of “Pet Sematary” is now considered to be a work of greatness in some quarters, even though that take on Stephen King’s infamously dark 1983 novel was, aside from a good performance from Fred Gwynne at his most avuncular and a cheerfully cheesy title song from the Ramones, little more than gross, stupid and incompetently made garbage. Of course, for anyone contemplating the notion of doing another adaptation of the book, there's an advantage in that they don’t have a true classic along the lines of Brian De Palma’s “Carrie” or Stanley Kubrick’s “The Shining” casting a shadow over their efforts—all they really have to do is come up with something marginally better than an unforgivably terrible movie. With their take on “Pet Sematary,” co-directors Kevin Kölsch and Dennis Widmyer have managed to do just that, though in this case, the emphasis is much more on the “marginally” part than the “better.”

For those unfamiliar with the story, it begins with the Creed family—husband Louis (Jason Clarke), wife Rachel (Amy Seimetz), eight-year-old daughter Ellie (Jete Laurence), two-year-old son Gage (Hugo and Lucas Lavoie) and beloved house cat Church—arriving in the quaint rural town of Ludlow, Maine to move into a charmingly rustic home with plenty of curb appeal. Alas, if one makes the mistake of stepping off said curb, they run the risk of getting pancaked by one of the semi trucks that incessantly roll down the highway just off of their driveway. If that weren’t a jarring enough discovery, consider the fact that the back part of their property houses a local pet cemetery where kids have been interring their furry friends for decades. Before long, Church gets killed by a truck and when Louis despairs of how to break the news to Ellie, next-door-neighbor Jud (John Lithgow) offers to help Louis bury him. After being assured that Ellie really and truly loved him, he takes Louis far beyond the pet cemetery to another area of the woods and has him bury Church there instead.

Even if you're unfamiliar with the particulars of the story, it will probably not come as a surprise to learn that the next day, Church returns, albeit somewhat worse for wear—he smells awful, he is ill-tempered and begins lurking about as if he was a prop in a horror movie. Yes, it turns out that this burial ground has the power to bring the dead back, though, as a now-regretful Jud points out, they are not the same as they once were. It will probably come as even less of a surprise to learn that, following an even greater tragedy, a grieving Louis will choose to take advantage of the burial ground once again in the belief that things will surely work out better this time around. Needless to say, it all goes bad as Louis’ well-meaning attempt to cheat death quickly devolves into a Grand Guignol-style procession of flashing knives, spurting blood, and sliced hamstrings.

Granted, King’s original novel was little more than an extra-gruesome riff on the classic tale “The Monkey’s Paw.” But while it was not one of his more elegant efforts, the book hit readers with a gut-punch that allowed them to overlook all the plot holes (ranging from why Jud would even bring up the burial ground in the first place to wondering why a family with two young kids would buy a house that close to a busy highway) and also worked as an exploration of people struggling to process intense feelings of grief and loss and how short cuts can lead to disaster all around. In adapting King’s book, screenwriter Jeff Buhler mostly sticks to the plot basics but cannot figure out how to execute them effectively. “Pet Sematary” quickly becomes an increasingly dire contraption in which every third line of dialogue is overly fraught with portent, used to mark time between the increasingly ineffective jump scares and gross-out moments.

Those who are familiar with the previous iterations of “Pet Sematary” will notice a couple of fairly major deviations this time around—one of them revolving around the victim of the tragedy that inspires Louis’ mad act of attempted resurrection, and a new ending that tries to outdo the already bleak tone of the original. The former is not a bad idea in theory and might have led to some legitimately creepy moments in a film made with more grace than this, but ultimately adds up to nothing. (In a bizarre move, the producers have inexplicably elected to highlight this particular deviation in the trailers, thereby killing off a moment that might have legitimately shocked viewers.) Likewise, the new ending is one that might have sounded good in theory but comes off here as a pointless twist that takes one of King’s most haunting finales and reworks it into something that seems to have been repurposed from an abandoned “Creepshow” story.

Although “Pet Sematary” is a largely dreadful film, it is slightly better and never as offensively bad as the first version. And a couple of the performances are pretty good—Seimetz and Laurence are both reasonably touching and believable in their roles and Lithgow’s amiable old coot game is strong as well. That said, this is still one of those stories whose ghastly power works best on the page, because it forces the mind to conjure the kind of imagery that most people go to extraordinary lengths to avoid having to contemplate in real life. Brought to life, both then and now, those unimaginable horrors can’t help but come across as greatly reduced and rather silly by comparison. As a result, an unforgettable work of horror literature has once again been reduced to an eminently forgettable movie that may do well at the box office for a week or two before disappearing from view and evaporating from the mind. The only genuinely scary thing about this "Pet Sematary" is the possibility that a couple decades from now, some may convince themselves that it too is a classic. 

2019 has been one wild and crazy ride for Jordyn Woods, huh?

When the year began, she was mostly known as Kylie Jenner's best friend, and, well, that was it.

Jordyn Woods on Insta

She got some love from Kylie's younger, more obsessed fans, and she'd started getting some gigs on her own, but the majority of people wouldn't recognize her without Kylie by her side.

Then Tristan Thompson went and turned everything upside down.

We're still not entirely sure what happened because we've heard so many different versions of this story, but the gist of it is that Jordyn and Tristan had some kind of interaction that was more than friendly.

Some say that they were spotted making out in a club, others say they'd been hooking up for months before they got caught back in February.

Into the Jordyn Woods

Jordyn herself has said that all that happened was that Tristan gave her a peck on the lips at a party.

Whatever happened, it was enough for Khloe Kardashian to dump Tristan for good.

It was also enough for the entire Kardashian/Jenner family to dump Jordyn.

Yep, most reports have been saying that the whole gang, even Kylie, doesn't want anything to do with her anymore.

Jordyn Woods With Kylie Jenner

And we all know that Khloe has gone as far as too publicly slam her several times.

On top of that, you have so many people who have been keeping up with all the gossip calling her a homewrecker.

It's got to be a difficult time to be Jordyn Woods.

Or at least, that's what we'd imagine.

Jordyn Woods in Black

As it turns out, Jordyn is doing pretty well these days!

That's what she's saying in her latest Instagram post, anyway.

She shared this photo of herself looking all pretty and happy in a swimsuit, and her caption sure was interesting.

She kicked it off by saying that she was on a "morning swim," but then she got to the good stuff.

Jordyn in a Swimsuit

"Sometimes you have to take a step back to remind yourself how blessed you are to wake up and see another day," she wrote.

And her followers had a whole lot of feelings about that statement.

"If you continue to be happy and smiling," one of them advised, "you would grow to be a bigger celebrity than Kylie."

"My sis cut the dead weight and is out here FLOURISHING," another exclaimed.

Jordyn Woods and Kylie Jenner Look Great

One person told her "I'm so happy you pushed through all the bullying. You're so young and mistakes happen!"

There were so, so many comments about how great she looks, how great she's doing now, just lots of really positive little things.

Then there were the comments like "You are nothing without KJ."

"I would have beat the sh-t out of you after all Kylie has done for you!!!!" someone said.

Jordyn Woods, Kylie Jenner, and Stormi Webster

Another critical comment read "Still can't blow off the fact she could've hooked up with any guy, but she chose her bffs sisters man."

"That's a fake ass bisssssh if I eva did see one."

So as you can see, opinions are still greatly divided about this girl.

Thankfully, she seems to be moving on from all of this, no matter what people think of her.

And hey, she really does look phenomenal.

Kourtney & Khloe take __ !! 

Hopefully, that blank space will be filled here soon as we just got news that single sisters Kourtney and Khloe Kardashian may be teaming up for their own spinoff show. 

Again! 

Ribbon Cutters

Just like the old days, Kourtney and Khloe are "in talks to have another spinoff, similar to when they had Kourtney & Khloe Take The Hamptons, and their first show together, Kourtney & Khloe Take Miami," according to Radar Online. 

Kim Kardashian's two sisters starred in the first successful KUWTK spinoff, KKTM, back in 2009. 

This guilty pleasure show captivated fans due to their young and carefree personalities. 

But now, we're ready for round 3 and many more Kardashian shenanigans. 

Khloe and Kourtney on Late Night

"Right now the network is considering a spinoff for them because they are both single, and the two of them have not been single at the same time for a very long time," says a Kard clan insider. 

They're both single yes, but the two ladies have more on their plate to worry about than their suffering relationship status.

As you probably already know, Kourtney just launched her own lifestyle brand Poosh on top of juggling being a mom to her three adorable children. 

While Khloe is equally as busy with her successful denim business Good American and her baby daughter True. 

Khloe Kardashian Holds True Thompson on Christmas

Back in the day -- the various spinoffs revolved around the young siblings' social life and family drama, although its main focus was on their family-owned store Dash. 

While the half-hour series would keep up with Kourt and Khlo adapting to a different lifestyle in Miami or the Hamptons, they would also be working hard on overseeing their Dash boutique.  

And while Dash has since closed down due to its overpriced and out-of-date apparel, the moms are keeping busy by running their new and self-owned side hustles. 

Kourtney Kardashian Teases Poosh

"They are both super excited about the possibility of doing their own show because it would give them a platform to promote their own businesses," the source told Radar. 

But the informant also told Radar that nothing will be official until the current KUWTK contracts - which were arranged by momager Kris Jenner for $150 million in 2017 - end after the current season. 

"They really need to get these contracts inked before they move forward with anything," the insider dished.

"Once they do, shooting for their spinoff could start as early as this summer."

Kourtney Kardashian and Khloe Kardashian

It's pretty crazy how life can go full circle on ya. 

I mean, if you were to tell Kourtney and Khloe back in 2010 that in nine years they would be filming their own show once again -- based on how miserably single they both are -- well, they would probably be a little displeased. 

But that is the harsh reality and after all, that is what essentially pays this family's bills! 

Unless you're Kylie Jenner, of course.

Kourtney, Kim and Khloe

While some may not find older siblings Kourtney and Khloe entertaining in the slightest, most fans cannot get enough of their sisterly antics. 

But for now, we will all have to wait and see if the rumors are true. 

Will we be gifted a spinoff show or not?! 

If you can't handle the anticipation, you can watch new episodes of Keeping Up With the Kardashians that air Sundays on E!

Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: What better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising?

This week we shag some balls with Bill Murray, come of age across the pond, find inspiration in the heart of some prime real estate, connect with our fellow man through food, and look at a dystopian future where there are no parents, just teens.

Beats

I talked about the initial teaser for this film, which is executive produced by Steven Soderbergh. It look like director Brian Welsh has made a different coming of age story, and this full-blown trailer is fantastic.

Best mates Johnno and Spanner share a deep bond. Now on the cusp of adulthood, life is destined to take them in different directions – Johnno’s family are moving him to a new town and a better life, leaving Spanner behind to face a precarious future. In pursuit of adventure and escape the boys head out on one last night together to an illegal rave before parting ways indefinitely.

These stories are so commonplace that you need a different approach to make it stand out, and this trailer delivers. Echos of Trainspotting linger along with the heart and soul of Superbad as two friends who genuinely care for one another head out for one last rodeo before life bucks them to the ground. This is an under-the-radar, balls-to-the-wall, comedy with a bit of drama that looks to mesh heartache with the thrill of being young, dumb, and too stupid to care about anything important. The last dalliance with disregard for anyone else but your friends. Brilliant.

Loopers: The Caddie’s Long Walk

You have Bill Murray narrating a documentary on golf caddies, and it doesn’t get more on-brand than that. Director Jason Baffa is telling the story of these keepers of the bags, these princes of Pings, and it doesn’t look half bad. A serviceable narrative, I’m tickled that they have pull-quotes not from Variety but by Golf Digest who compares this to the Planet Earth series. While I don’t think it achieves that level of importance, the trailer is a smooth example of a good subject that’s elevated even more by the likes of Murray’s jaunty tone.

Echo in the Canyon

Director Andrew Slater has essentially made a trailer reflecting on music and really expensive real estate. Of course, that’s a reductionist view, but the trailer exceeds even my expectations of a documentary dedicated to plots of land.

Echo In The Canyon celebrates the explosion of popular music that came out of LA’s Laurel Canyon in the mid-60s as folk went electric and The Byrds, The Beach Boys, Buffalo Springfield and The Mamas and the Papas gave birth to the California Sound. It was a moment (1965 to 1967) when bands came to LA to emulate The Beatles and Laurel Canyon emerged as a hotbed of creativity and collaboration for a new generation of musicians who would soon put an indelible stamp on the history of American popular music.

What separates this from other music documentaries, though, is that this has an even tone throughout. You get different perspectives and, much like the documentaryMuscle Shoals, this looks more like a love letter to a vibe that still haunts a plot of land that is undeniable. I was drawn in by its many musicians, but the stories are what’s most riveting.

Broken Bread

Director James Mann is here to present a story beyond fanciful documentaries about famous chefs. Specifically, along with chef Ray Choi, he’s on a mission.

The half-hour series profiles individuals and organizations who make a difference in their communities through food. Known for his home-grown approach to conscious cooking and community-building, Chef Choi uncovers innovative culinary and agricultural practices that transform food access, food justice and community. The series explores neighborhoods across Los Angeles, telling the stories of the trailblazers in the social conscious food movement including Father Greg Boyle (Homeboy Industries), Robert Egger (LA Kitchen), Olympia Auset (Suprmarkt), Mar Diego (Dough Girl) and more.

Food as activism. These are the kinds of narratives that help elevate the simple four-walling of a documentary and make it so that there’s something more to talk about than the tastiness of someone’s sweetbreads. The trailer is inviting, warm, inspiring, and is just what we need as a national community who should be more invested in how we eat as a community.

The Society

This trailer is a mishmash of YA fiction and Lord of the Flies. Director Marc Webb’s latest dramatic foray is just plain fun fun. We find teens all by themselves in a land that’s populated by only them (curious how pre-teens suffer the same disappearance as their parents). Cue the warmongering, the alliances, and thus, comparisons to series or movies we’ve seen before. However, it could be worth the time to see if there’s anything new to say here or if we would all be better served reading William Golding and calling it a life.

Nota bene: If you have any suggestions of trailers for possible inclusion in this column, even have a trailer of your own to pitch, please let me know by sending me a note at Christopher_Stipp@yahoo.com or look me up via Twitter at @Stipp

In case you missed them, here are the other trailers we covered at /Film this week:

The post This Week In Trailers: The Society, Beats, Broken Bread, Echo in the Canyon, Loopers: The Caddie’s Long Walk appeared first on /Film.

Look, we all know Farrah Abraham is super into plastic surgery.

Plastic surgery, all kinds of injections and lasers, it's all good for Farrah.

Some might even say that she seems a little bit obsessed with changing her appearance, and from what we've seen, that would be a fair assumption to make.

Especially since this girl has gone and messed with her backside yet again ...

1. Now ...

This is what Farrah looks like now.

2. ... And Then

This is what Farrah looked like when she first became a reality star.

3. Dang

As you can see, many changes have been made.

4. Getting Started

She kicked off her ongoing transformation with a boob job she got in the early days of Teen Mom -- it was actually a pretty subtle change, at least when you think about where she's gone since then.

5. More and More

Next was a nose job, a chin implant, and some dental work.

6. Rethinking Things

The chin implant didn't hang around too long, but she certainly wasn't done making changes.
View Slideshow

Films raise questions on a various means in style and content. However, certain films specifically challenge your intelligence while the filmed is screened in front of you or after the end credits. It assaults what you actually know or thought about beforehand and can alter your way of thinking or how you approach certain things afterward.

There is a difference of raising a question, such as, who was the murderer? What really happened at the end? Was it all a dream? But when a film resonates in your experience and you have to do research or look up the filmmaker’s intent if you can find it, or read books on the subject that was explored, you can say it challenged you in a way that most films don’t.

Therefore, here are 10 films that puzzle, ponder, and spark questions beyond the mere brain-thinker of a film.

 

10. Schizopolis (1996) – Steven Soderbergh

A filmmaker who knows no bounds regarding whether to dip his toe into experimental cinema, iPhone filmmaking, Hollywood, and more; the non-actor stepped in front of the camera literally stating, ‘“n the event that you find certain sequences or ideas confusing, please bear in mind that this is your fault, not ours. You will need to see the picture again and again until you understand everything.” Well, that’s that.

The film explores duality in the home and workplace through doppelgangers and an assortment of ideas that even Soderbergh inserted on cue cards reading ‘Idea Missing.’ It truly is a film to behold because it reinvents itself as though the filmmaker was almost every few minutes creating something that is never dull.

To comprehend this, you might need to study Dostoevsky or Stephen King to see what doppelgangers represent, and more importantly, mean to us. Is there a replica of us out there? Or is this just a dream world we inhabit? Or are we so insignificant that we can’t communicate? Is this maybe that’s what Soderbergh was trying to do on a cinematic low-budget level? Well, it looks like he achieved that and we’ll be wondering how for years to come.

 

9. Inception (2010) – Christopher Nolan

In this film, Christopher Nolan verbally and visually explores the world of the dream within other dreams. His characters float around in their subconscious and others, create new worlds and meaning, and strive for their best lives. However, it’s not only after the action-thriller-mystery is complete that we really begin to question how smart we really are.

There are numerous references in the film, such as the penrose stairs. But take how his characters then explain the factual evidence of the dream due to the illusion, senses, and what they are telling themselves. Its a unique approach because Nolan states and then explains, making us wonder what this is about, such as the illusion of making an actual film.

Nolan best explains it himself when he stated he wanted to explore “the idea of people sharing a dream space that gives you the ability to access somebody’s unconscious mind.” Therefore, is this possible? Could it be a reality? Or a reality where we truly live in our own world?

These questions have been consistently brought up as well as the ending, as though were actually all a dream. However, while we might dream the same way after seeing this film, the exploration of the meaning of it has been altered and changed.

 

8. The Milky Way (1969) – Luis Bunuel

Luis Bunuel was never shy of controversy, absurdism, or trying something new throughout his varied career. In his 1969 film “The Milky Way,” he tackles religion once again but presents an argument where all sides can be heard. Usually, such as in “Viridiana” or “Simon of the Desert,” Bunuel will lean heavily on one side, attacking the structure and morality of religion, but here he presents both sides of the coin.

From every instance that comes in the film, as the pilgrims travel to Santiago de Compostela, there is an individual or individuals that challenge the other. When one makes a point of Jesus, Catholicism, or the practice of the Christian faith, it is immediately counter-argued verbally and visually through Bunuel.

This makes the audience think about which side is correct and form their own argument. And Bunuel never shies away from his absurdity, such as Jesus contemplating a shave or rosary beads being shot at. He never loses his sense but allows the audience to find that sense.

This can be one of Bunuel’s most challenging films because of seeing both ends of religion. When every character speaks their rhetoric, it makes sense and we are the ultimate deciders on what is true and what is faith.

 

7. Primer (2004) – Shane Carruth

A film where writer, producer, actor, composer, editor, and director Shane Carruth wanted to strip everything down to the bare minimum for his time-travel film. Yes, on a budget of $7,000, he created a film that no matter how many times you see it, you get lost along the way. But you also always manage to come back to it for several reasons.

The approach of the narrative, consistently jumping around and never knowing what is present or the future or the self they are in, presents us first with the story. And second, this leads to the atmosphere of the film in which the creator never wants to over-explain or even allow the audience to catch up or comprehend.

The dialogue is delivered so flat and mundane on other worldly subjects, such as the electromagnetic reduction of an object’s weight to time travel to the Meissner effect.

Carruth was purely obsessed with his ideas and never compromised his vision, and as a result despite it being a lo-fi film, he created a film with unending questions of logic and scientific portions that audiences are dumbfounded on what actually occurred and what was discovered, literally.

 

6. Fight Club (1999) – David Fincher

A film where Chuck Palahniuk, the author of the novel by the same name, stated that the film “elevated” the original book. This could be seen in the attack of capitalism, the explicitness of consumerism, or the dissociated personalities of our leads or lead. It’s what the film represents, where we ask ourselves questions on a existential level, like, “Who am I?” to “Am I that everyman too?” that leads to a psychological analysis of ourselves.

Fincher didn’t shy away from his storytelling or obsessive details, but out of this he managed to create a film where the viewer has as many questions as Tyler Durden and/or the Narrator. We are in a constant state of questioning what is or what was real. But more importantly, you question if you are capable of going down this spiral of madness because you might be that ‘everyman’ too. Maybe it’s not as heavy as a split personality, but the emotions of anger, fear, and loneliness that can push us to the edge is what makes this film resonate today, and continue in pop culture and film studies classes.

Numerous commentary has been associated with “Fight Club,” ranging from European fascism to slumming trauma. Whatever one’s interpretation and critique of the film, it’s always a unique angle from one original source.

Beth Chapman has been hospitalized in Hawaii.

The wife of Dog “the Bounty Hunter” Chapman, who is a veteran of reality television herself, reportedly has trouble breathing, according to Us Weekly.

Beth Chapman image

This tabloid broke the troubling story and quoted an insider who says of Chapman:

“Beth Chapman has been rushed to a Hawaii hospital with serious breathing issues. She hasn’t been feeling well of late and Dog is by her side. One thing everyone knows about Beth is that she’s a fighter.”

That's for certain.

Anyone who has followed Beth over the past couple years is well aware of her grit and determination.

The 51-year old underwent emergency surgery on her throat on November 27, 2018 after discovering the devastating news that her cancer had returned after she had seemingly overcome the illness.

Dog and Beth Chapman Pic

Since that time, she had been receiving chemotherapy treatments in Los Angeles, keeping fans and social media followers apprised of her journey throughout.

In an emotional interview with DailyMailTV just over a week ago, Duane explained how the love of his life is preparing to die.

She has every intention of making the most of every single second she has remaining.

"She has told me repeatedly that if these are her last days on earth she wants to spend every moment with me," he said in late March.

Duane went on to say that Beth wants to spend her time "living life to the fullest, enjoying the time we have left together."

What an admirable attitude, right?

Beth Chapman in a Wig

Beth was first diagnosed with throat cancer in 2017.

It returned last fall, with Beth confirming the sad development as follows;

“After months of a nagging cough, a routine checkup resulted in a diagnosis of stage II throat cancer I have what is referred to as a T2 Tumor in my throat that is blocking my breathing.

"My doctors are suggesting immediate treatment and surgery before the disease progresses."

Beth Chapman and Dog

Earlier this week, Dog posted a photo of his wife decked out in black and sitting in a car as she poked out her tongue for the camera.

“Property of DOG,” he captioned the cheeky Instagram snapshot.

Here's a look at that recent image:

of dog

Back in December, Dog also spoke to Us Weekly about his wife, her diagnosis and the future as he saw it.

Or hoped to see it, at least.

“I don’t listen to the bad news. I don’t want to hear it. … I pray a lot, anywhere. I cry all the time,” he said, concluding back then:

“I’m a sinner. I pray a lot. I have done double that. I constantly ask God to heal my honey and make sure He takes care of it. I’ve been telling Him that I’m going to try and quit smoking and cursing.

"I’m a dealmaker, and I’ll do anything.”

Heartbreaking stuff.

We will keep the Chapmans in our thoughts and hope you do the same.

Human remains have been found at the Oregon home of Dennis Day, one of the original Disney Mouseketeers, who has been missing since last July.

“On Thursday, April 4, 2019, the Medford Assault and Death Investigation Unit (MADIU) was contacted by the Phoenix Police Department after human remains were discovered at 510 Pine Street in Phoenix, Oregon,” Captain Tim Fox, a spokesperson for the Oregon State Police, said in a statement to TheWrap on Saturday.

The statement continued: “Oregon State Police investigators were assigned to lead the death investigation and are being assisted by the Jackson County District Attorney’s Office, Jackson County Sheriff’s Office, Medford Police Department, and the Oregon State Police Forensics Lab. At this time, the human remains have not been identified and the investigation is ongoing.”

Day, 76, was cast as one of the original Mouseketeers in Disney’s “The Mickey Mouse Club” in 1955 at the age of 12. He stayed on the program for two seasons before exiting in 1957.

The former child star was reported missing last summer by his longtime partner Ernie Caswell, who suffers from dementia-related memory problems. He was last seen in his driveway, saying he was going to visit friends. His car was found along the Oregon coast with two people inside who had no connection to Day, but police say there were no signs of foul play, according to USA Today.

“Ernie was in the hospital at that time, and he realized Dennis hadn’t come to visit him in a few weeks,” Day’s sister Nelda Adkins told Dateline in February. “So he had someone from the hospital call the police and report Dennis as missing.”

“I keep the file on my desk all the time,” Lt. Jeff Price of the Phoenix Police Department told a local NBC affiliate in January, “…waiting for that one call to come in.”

“He’s not the type of person who would just disappear. Especially with his significant other being in the hospital — he was very dedicated to him,” Day’s niece Denise Norris told Dateline. “We are worried. [We] just need answers. We love him. We’re just kind of lost with what to do, or how to find him.”

Related stories from TheWrap:

Original Disney Mouseketeer Dennis Day Has Been Missing Since July

Mickey Mouse Club: 10 Other Mouseketeers Who Made It Big, From Ryan Gosling to Britney Spears (Photos)

Amy Adams is set to star in Ron Howard’s Hillbilly Elegy, a film penned by The Shape of Water scribe Vanessa Taylor that was picked up by Netflix. With Adams in the lead, the entire project just screams Oscar bait, a Best Picture statuette that still eludes Netflix, despite its expensive campaigns. But now with Adams likely to deliver yet another awards-worthy performance, Netflix better get its act together and resolve its feud with the Academy and film festivals so that Adams can finally win that long overdue Oscar.

Variety reports that Adams will star in Howard’s Hillbilly Elegy, an adaptation of J.D. Vance’s bestselling memoir of the same name. According to Variety, the film is a “modern exploration of the American dream and follows three generations of an Appalachian family as told by its youngest member, a Yale law student forced to return to his hometown.”

Adams won’t likely play this main protagonist, but whatever supporting role she’s cast in will likely be a juicy one — the actress has been on a hot streak of awards acclaim, earning a Golden Globe for her role in Sharp Objects last year and getting an Oscar nod for her performance as Lynne Cheney in Vice. However, that long-deserved Oscar win remains outside her grasp (though she should have won one three times over). Perhaps Hillbilly Elegy will finally earn her that win.

Here is the book synopsis for Hillbilly Elegy:

The Vance family story begins hopefully in postwar America. J. D.’s grandparents were “dirt poor and in love,” and moved north from Kentucky’s Appalachia region to Ohio in the hopes of escaping the dreadful poverty around them. They raised a middle-class family, and eventually their grandchild (the author) would graduate from Yale Law School, a conventional marker of their success in achieving generational upward mobility.

But as the family saga of Hillbilly Elegy plays out, we learn that this is only the short, superficial version. Vance’s grandparents, aunt, uncle, sister, and, most of all, his mother, struggled profoundly with the demands of their new middle-class life, and were never able to fully escape the legacy of abuse, alcoholism, poverty, and trauma so characteristic of their part of America. Vance piercingly shows how he himself still carries around the demons of their chaotic family history.

Imagine has been developing the movie since 2017 when it acquired the rights and Netflix snatched up the rights earlier this year for a whopping $45 million. Vance’s book, titled in full Hillbilly Elegy: A Memoir of a Family and Culture in Crisis, was a surprise bestseller in 2016, staying on the bestseller lists for 74 weeks though picking up its fair share of controversy in that time. The book became a political lightning rod, with conservatives hailing the memoir as an brilliant portrayal of the white underclass, while liberals criticized Vance for his “damaging rhetoric” and endorsing policies used to “gut the poor.” Appalachian “hillbillies” also denounced Vance’s portrayal of the communities in the memoir.

However, we’ll see if Howard’s film can address those issues by the time it inevitably makes it to the award circuit in a few years.

The post Amy Adams to Star in Ron Howard’s ‘Hillbilly Elegy’ For Netflix appeared first on /Film.

Through their Gary Sanchez Productions banner, writer/director Adam McKay and comedy multi-hyphenate Will Ferrell have produced an incredible number of hilarious comedies for 13 years. But now the two partners in comedy are going their separate ways to pursue their own individual creative efforts. Get the details on the Will Ferrell and Adam McKay partnership ending below.

Ferrell and McKay provided this statement to Deadline:

“The last 13 years could not have been more enjoyable and satisfying for the two of us at Sanchez Productions. We give massive thanks to our incredible staff and executives and all the writers, directors and actors we worked with through the years. The two of us will always work together creatively and always be friends. And we recognize we are lucky as hell to end this venture as such.”

While a creative split makes it seem like there’s bad blood between them, the two are still very close friends, but they’ve found themselves wanting to explore new endeavors and different kinds of projects, making their professional relationship a little more difficult to maintain. But this still feels like a heartbreaking divorce, and we’re all the kids who couldn’t care less about having two Christmases.

Adam McKay and Will Ferrell struck up a comedic friendship when they both got hired to work at Saturday Night Live back in 1995. McKay was working as a writer behind the scenes, and Ferrell was a cast member front and center. Both would launch to stardom thanks to cutting their teeth in one of the most iconic places in comedy. Ferrell became one of the most popular cast members on the series and McKay worked his way up to head writer before departing the series. Their time at SNL bolstered the partnership that would eventually give us comedy treasures like Anchorman: The Legend of Ron Burgundy, Talladega Nights: The Ballad of Ricky Bobby, Step Brothers, and The Other Guys.

Through Gary Sanchez Productions, McKay and Ferrell have produced nearly all of their comedy collaborations (the first Anchorman and Talladega Nights were made before the production banner was created). They’re also responsible for launching the career of Danny McBride by picking up the indie comedy The Foot Fist Way and pushing it even further with the HBO series Eastbound & Down.

In the online world, Gary Sanchez Productions also founded the comedy video site Funny or Die, which launched with the viral video The Landlord, featuring Will Ferrell being harassed by a pint-sized landlord, played by Adam McKay’s toddler daughter Pearl (who can also be seen giving Ron Burgundy a hard time in Anchorman). That’s where the Comedy Central series Drunk History got its start, and now it’s an Emmy-nominated hit. And let’s not forget the hilarious ongoing series Between Two Ferns with Zach Galifianakis.

However, recently Adam McKay has started to veer away from the kind of comedies he used to make. In the past five years, McKay has become a decorated filmmaker for his work on the satirical dramas The Big Short and last year’s Best Picture nominated Vice. Meanwhile, Ferrell has been jumping around various comedies as a producer and star with mixed results.

The two will finish out working on the projects they’ve already announced before Gary Sanchez Productions slowly winds down their work at Paramount Pictures. And while they won’t be precluded from working together in the future, their formal business partnership is coming to an end. Unfortunately, that means the spin-off production label Gloria Sanchez Productions, which had a hand in producing Sleeping with Other People and the upcoming Booksmart, will also be coming to an end.

While we’re supremely bummed that Ferrell and McKay won’t be working together nearly as frequently as they used to, we’re very much excited to see how each of their careers continue in the coming years. Plus, we know when they actually choose to get back together for a project that it will be something truly special. We’ll leave you with this short but great interview with the two:

The post Adam McKay and Will Ferrell Ending Production Partnership, and We’re in a Glass Case of Emotion appeared first on /Film.

Dave Bautista couldn’t be happier that James Gunn is getting back behind the camera for Guardians of the Galaxy Vol. 3 after Disney reversed their decision to fire the director of the cosmic Marvel Cinematic Universe franchise. But before he reprises the role of Drax the Destroyer, the wrestler turned actor will be working with another superhero filmmaker.

Dave Bautsita has joined the cast of Army of the Dead, the first directing gig for Zack Snyder after departing Justice League in the middle of post-production due to a family tragedy. So if you weren’t excited before, now you don’t really have an excuse.

Deadline has word of Netflix closing the deal to cast Dave Bautista in Army of the Dead. The film is said to take place in the middle of a zombie outbreak in Las Vegas where one man has chosen not to run from the swarms of undead feasting on the living. Instead, he’s putting together a team of mercenaries to head straight into the quarantined zone to pull of a massive heist. That sounds like the biggest gamble anyone has taken in Las Vegas, and since people have literally thrown their lives away on the roll of a dice, that’s saying something.

At this time, it’s not clear what role Dave Bautista will be playing, but we’re hoping that he’s the main character who rounds up the squad to pull of this heist. But we could easily see Bautista playing one of the mercenaries, especially since he’s played a wide variety of dangerous individuals in movies like Riddick, Spectre, Blade Runner 2049, and of course, the Guardians of the Galaxy franchise.

After being a WWE star for about 15 years (he’s even returning to WrestleMania this weekend), Dave Bautista has become quite the in-demand actor. He’s on the same kind of path that Dwayne Johnson took from the ring to the big screen, and he keeps landing more and more high profile gigs. It doesn’t get much bigger than being part of the Marvel Cinematic Universe nowadays, but he also has a role in the upcoming adaptation of the classic sci-fi novel Dune. Bautista is also enjoying roles in action comedy with Stuber alongside Kumail Nanjiani, as well as the upcoming family friendly comedy My Spy.

Army of the Dead is slated to shooting later this year. And since James Gunn is also slated to shoot The Suicide Squad later this year, it sounds unlikely that Bautista will be brought into the DC Extended Universe, as many fans have hoped. But that gives Bautista plenty of time to get other projects wrapped up before Guardians of the Galaxy Vol. 3 starts shooting presumably sometime next year.

The post Zack Snyder’s ‘Army of the Dead’ Enlists Dave Bautista appeared first on /Film.

Horror and comedy are more often than not the genres that make us as an audience feel the most, from the visceral reaction to some gore in a film like Saw or some of the strongest laughs from comedy.

They make us react the most, and seeing how others react to brilliant moments in any film is great fun, however, sometimes watching films from these genres, specifically horror, alone can also be massively affective, leading to some of the most shell-shocking, bone-rattling cinema experiences one can dream for. Today, we are counting down ten of the horror films you shouldn’t watch alone… they may be a little too much.

 

1. It Comes At Night (Trey Edward Schultz, 2017)

The sophomoric feature film from Trey Edward Schultz, A24’s 2017 horror film It Comes At Night has proved to be one of their most divisive releases to date. For those who disliked it, it proved as a boring mess that never really went anywhere, however, Schultz personal portrayal of this post-apocalyptic world was also bound to have some people falling in love with it, and such a harsh portrayal of the end of the world.

It is really rare that something as poignant and sharp is released, and knowing that Schultz wrote it ridiculously quickly shortly after the pain of a family member makes a whole lot of sense. The film is incredibly mean, consistently enigmatic and shockingly depressing, serving as this dark look at family dynamics and lack of trust between people and also as this stirring, genuinely believable look at the end of the world.

 

2. Nosferatu (F.W. Murnau, 1922)

The only silent film on this list, sadly, is Murnau’s iconic Nosferatu, one of the most well known of all silent films. And it absolutely deserves the spot, even if there is no sound to bring the fear to life.

Thankfully, Max Schreck manages to bring so much to his performance as the titular Nosferatu that nothing else matters, and the design of his character is perhaps the single most memorable horror character ever put to screen. The film is one that petrifies instantly, however, the growing power that it holds over most viewers is also stunning, with the film being one of the most eerie, uncomfortable watches out there.

Though it has been joked about on several occasions, from an appearance in one episode of SpongeBob SquarePants to the wonderfully light hearted Shadow of the Vampire (dir. E Elias Merhige, 2000) which stars Willem Dafoe as Max Schreck as Nosferatu, and John Malkovich as a direction so focused on presenting perfection that he hires a real vampire and makes a pact with Nosferatu himself, Nosferatu remains as hair-raising as ever.

 

3. Martyrs (Pascal Laugier, 2008)

A film that you are probably all sick of seeing here by now, but one that just has to be mentioned is Pascal Laugier’s Martyrs. It may be growing old to some now, but the power that this one has on first (and second… and third…) viewing is really second to none. It is really just so rarely matched, and it is almost guaranteed a mention on any kind of ‘most horrific’ films list.. it’s bound to rear its petrifying head somewhat consistently. And to anyone who saw the film alone, pat yourself on the back.

Martyrs remains one of the most traumatising, shocking, abrasive films ever made, still working as one of the real highlights of the modern French Extremity Wave alongside Them and maybe Inside, two more films you probably shouldn’t see alone.

If you can handle excessive violence, gore, misery, torture, vomit, screaming and crying and even themes of inescapable trauma and that almost all evil is necessary in some way to someone, Martyrs may be the film for you… but even for the most detached film watcher out there, be wary. The power that Martyrs contains will sneak up on you. It’s just a shame that Laugier has shown so little of the same skill since.

 

4. Opera (Dario Argento, 1987)

This is more of a personal pick than anything else, however, Argento’s Opera is certainly not a good film to watch alone, especially on a dark night. As with most Argento films, the style is quite flashy and direct, creating this beautiful, cinematic world that bounces right out of the screen along with a wonderfully loud and jarring soundtrack that is guaranteed to make you wary of the volume. It also contains some of the nastiest scenes involving needles in any film, the kind of specific phobia work that fits right in with the syringe scene in Saw II.

It’s a really fun, seriously scary murder mystery thriller that never really lets ups, remaining one of Argento’s strongest films, which is really saying something considering just how strong a director he can be! Opera works great with a group of friends so, rather than watching it alone and not sleeping for a while, pop it in when you have some friends around and have a great time!

 

5. Sombre (Philippe Grandrieux, 1998)

Not the best work from contemporary auteur Philippe Grandrieux, however, this one feels like the defining ‘horror’ Grandrieux film, when compared to his others which mix a lot more together.

Sombre, the film that earned him the majority of the recognition that he has amassed throughout his career, definitely gave audiences a strong idea of the kind of power that he had. Using the editing and cinematography to create this avant-garde hell-hole, the film follows a man as he stalks women. There really isn’t too much of a storyline holding the film together, with it working much more as a mood piece as opposed to something narrative to be followed throughout.

Grandrieux manages to throw the audience so deep into the world that he creates with his camera that, once the end credits roll, there is this unshakeable discomfort that persists. The lead performance is seriously distressing, the use of music is second to none (this is consistent with Grandrieux) and the way that the world is built through the editing choices is just astounding. It is ridiculously powerful.

Stephen King isn’t just an author by this point: He’s an institution, a legacy of classic horror stories that capture our imaginations, fuel our nightmares, and speak — when he’s at his best — to our shared experiences as flawed, emotional beings. The best King stories scare so many of us that we all feel connected, and even the worst are usually pretty fun.

King’s books and short stories quickly became hit movies, many of them celebrated in their time, and some flopped so hard that hardly anybody remembers them. Cataloguing every adaptation might be a fool’s errand, so we made some tough choices and decided to focus only on his theatrical releases.

And even then, there are so many King adaptations that it gets tricky. We’re not including the made-for-TV films (which are legion), and the sequels to King’s work rarely have anything to do with the source material, so they’re all disqualified (even though some, like Larry Cohen’s prescient anti-fascist monster drama “A Return to Salem’s Lot,” are genuinely interesting). We also cut King some slack and removed “The Lawnmower Man” from our watch list, since he fought to have his own name removed from the film and won.

(There are also some adaptations that are simply difficult to find in America, like the Indian adaptions of “Misery” and “Quitter’s, Inc.” — “Julie Ganapathi” and “No Smoking” — but we tried. We promise we tried.)

Even with all those caveats we felt one particular film deserved a quasi-official, honorable mention. Before we rank into every theatrically-released Stephen King adaptation let’s give out one honorable mention…

Honorable Mention: Tales from the Darkside: The Movie (1990)

Stephen King wrote only one installment of this feature film version of the “Tales from the Darkside” TV series, but it’s a doozy. “Cat From Hell” (which was originally intended for “Creepshow 2”) stars Buster Poindexter as a hitman hired to murder a cat, but the cat has other, shocking ideas. Darkly humorous and surprisingly gross, it’s definitely the highlight of this anthology — although the other installments aren’t half-bad.

41. The Mangler (1995)

Tobe Hooper’s adaptation of King’s short story about a haunted laundry machine is insane in all the wrong ways. It’s a tonally scatterbrained, shrieking, overacted mess of a movie. Too bizarre to feel real, too abrasive to work as camp, “The Mangler” is about as bad as a Stephen King movie can get.

40. Cell (2016)

John Cusack and Samuel L. Jackson are two of the only people in the world who weren’t talking on their cell phone when a weird psychic zombie virus was unleashed through all the earpieces. The concept was already outdated by the time “Cell” (barely) came to theaters — we all know everyone would be texting nowadays — but the film’s weak characters, laughable mythology and bizarre finale are the real reasons why this adaptation flops.

39. A Good Marriage (2014)

Joan Allen and Anthony LaPaglia seem like the perfect married couple. But while her husband is off on one of his many business trips, Allen discovers that he’s actually a serial killer. Essentially a dramatic two-hander, Allen and LaPaglia have a few great moments as they find their marriage going through unexpected changes, but Peter Askin’s generic direction neutralizes most of the suspense, and the storyline peaks early and quickly fizzles out. It’s not terrible; it’s just dull.

38. 1922 (2017)

Thomas Jane plays a farmer plotting to kill his wife in this Netflix original, but of course irony rears its ugly head and his uppance doth come. “1922” plays like a radio true-crime drama from the 1940s, but way too long and with an inexplicably distracting accent from Jane, who has to carry a lot of this film on his own. Sadly, like his character, he can’t quite get away with it.

37. Graveyard Shift (1990)

You’d think Stephen King’s short story about industrial workers fighting killer rats would make for an entertaining creature feature, but “Graveyard Shift” dawdles too long and doesn’t get to the icky good stuff until closer to the end, and there isn’t enough drama to keep us engaged until then. But at least it’s got Brad Dourif, playing a fascinatingly intense exterminator who steals every single scene he can find.

36. Firestarter (1984)

Drew Barrymore plays a young girl with pyrokinetic powers, and Martin Sheen and George C. Scott play the sinister men who want to kidnap her and exploit her abilities. It starts well, but the movie loses focus for most of the second act before picking up again with a genuinely explosive climactic battle. “Firestarter” was a great role for Barrymore, but Scott’s performance as a Native American is bizarre and inappropriate.

35. Silver Bullet (1985)

A series of full-moon murders convinces a disabled boy, played by Corey Haim, that a werewolf is on the loose in his town. Naturally, no one believes him, and naturally, he’s right. Gary Busey shines as Haim’s miscreant uncle, and Everett McGill is tragic and scary as a cursed priest, but “Silver Bullet’s” subpar production values and completely unconvincing monster effects drag down this otherwise likable film.

34. Children of the Corn (1984)

Stephen King’s tale of a young couple trapped in a town overrun by homicidal kids is a great idea for a movie, but Fritz Kiersch’s adaptation wanders aimlessly in search of scares, and the over-the-top supernatural finale is unintentionally hilarious. Linda Hamilton and Peter Horton make little impression as our heroes, but at least John Franklin and Courtney Gains are scary as hell as the teen cult villains. Narciso Ibáñez Serrador’s “Who Can Kill a Child?” (1976) did the same basic idea so many years earlier, and so much better, that Kiersch’s film seems especially disappointing.

33. Apt Pupil (1998)

“Apt Pupil” is impossible to watch without drawing disturbing parallels. Bryan Singer’s bleak coming-of-age drama stars Brad Renfro as a teenager who cons a fugitive Nazi, played by Ian McKellen, into revealing his darkest secrets, and the relationship they form is unwholesome to the extreme. It’s undeniably scary, and Renfro and McKellen give great performances, but almost every scene in this film seems reminiscent of the accusations against Singer, so it’s still incredibly hard to get through.

32. Dreamcatcher (2003)

It’s important to remember that some Stephen King stories are completely nuts, and if you need an example, look no further than “Dreamcatcher.” Thomas Jane (again), Timothy Olyphant, Jason Lee and Damian Lewis play childhood friends who got psychic powers from a disabled child and now are humanity’s only hope, because an alien race of “s–t weasels” (actual terminology) is about to take over the whole planet. It’s too absurd to take seriously, but if you get on this film’s bonkers wavelength, it’s undeniably amusing.

31. Sleepwalkers (1992)

Stephen King’s first original screenplay, “Sleepwalkers” stars Alice Krige and Brian Krause as mother-son cat monsters who are also lovers. They’re plotting to suck the life force out of virginal Mädchen Amick, and their one weakness is actual house cats, which leads to one hilarious feline moment after another. Cheesy and lurid, with very questionable visual effects and storytelling choices, but at least Mick Garris’ film is never boring.

30. The Dark Tower (2017)

Stephen King’s enormous fantasy epic yielded a frustratingly small and conventional movie adaptation. Tom Taylor plays a youngster who stumbles into a timeless battle between good and evil, represented by the heroic Roland Deschain (Idris Elba) and the villainous Walter Padick (Matthew McConaughey). The CGI action and rushed storyline are pure Hollywood hackery, but Elba is so incredibly charismatic that the film is watchable — disposable, but watchable — anyway.

29. Riding the Bullet (2004)

Jonathan Jackson stars as a death-obsessed college student who hitchhikes home to visit his sick mother and encounters a grim specter of death along the way. “Riding the Bullet” seems more personal than Mick Garris’ other King adaptations, with earnest attempts to tackle big philosophical subjects, and David Arquette is entertaining as the angel of death. But at feature length, this material feels pretty skimpy.

28. Secret Window (2004)

Another well-constructed film, made increasingly uncomfortable by context. Johnny Depp stars as a troubled, struggling, once-popular artist, accused of plagiarism by a mysterious stalker played by Jon Turturro. David Koepp’s adaptation of “Secret Window, Secret Garden” is relatively slick and suspenseful, but it’s difficult to watch a film about Depp threatening his wife and losing his mind without mentally sidestepping into some unsettling and distracting territory.

27. Creepshow 2 (1987)

The second film in Stephen King and George A. Romero’s horror franchise, this time directed by Michael Gornick, is more of a mixed bag than the original, with the conventional vengeful statue yarn “Old Chief Wooden Head” completely failing to pass muster. Fortunately, the slime monster short “The Raft” makes up for it, and road-trip ghost story “The Hitch-Hiker” concludes “Creepshow 2” on an amusingly grim note.

26. Carrie (2013)

Kimberly Peirce’s remake of “Carrie” updates King’s first novel to the present day, and adds a (perhaps ill-advised) plot point involving social media, but it’s still fundamentally the story of an abusive relationship between a mentally ill mother and her repressed and psychically powerful daughter, played respectively by Julianne Moore and Chloë Grace Moretz. Both actors make the most of their roles, with Moore in particular having a wild time, however this respectable but unremarkable remake never quite feels as raw and frightening as the original.

25. Thinner (1996)

Robert John Burke stars as a corrupt, heavyset lawyer who uses his mob connections to stay out of jail after he accidentally hits an old gypsy with his car. Her widower curses him to get “thinner,” every single day, until he wastes away into nothingness. Tom Holland’s film is a nasty piece of work that plays more like a cruel joke than a feature film. But as cruel jokes go, it’s a good one.

24. Maximum Overdrive (1986)

The only film that Stephen King directed himself, “Maximum Overdrive” tells the story of a group of strangers who get trapped at a gas station when all the machines on Earth come to life and start killing everybody. Terrorized by vehicles and vending machines, they’re forced to fuel the trucks, and it’s just about as ridiculous as it sounds. But it’s such an entertaining mess, and the soundtrack by AC/DC kicks so much butt, that it’s developed a well-deserved reputation as a cult oddity.

23. The Running Man (1987)

Arnold Schwarzenegger stars as a wrongly accused man, forced to fight for his life against colorful superpowered murderers for the benefit of a live studio audience. “The Running Man” may not be subtle, but its portrayal of TV gone sadistic and amok feels prescient anyway. The action is entertainingly bizarre, and iconic game show host Richard Dawson plays a fantastically evil version of himself. It’s an effective media satire and a ripping sci-fi thriller.

22. The Green Mile (1999)

Frank Darabont’s second Stephen King adaptation tells the story of Depression-era death row inmates and guards, whose lives are forever altered by the arrival of a mysterious, magical new prisoner. Michael Clarke Duncan earned an Oscar nomination for his performance as the tragic John Coffey, Sam Rockwell and Michael Jeter steal scenes as his fellow prisoners, and Tom Hanks adds gravitas. “The Green Mile” is a handsome but bloated production, told in broad strokes with mixed but often impressive results.

21. Hearts in Atlantis (2001)

Anton Yelchin stars as a young boy who becomes fascinated with his new neighbor, played by Anthony Hopkins, who has strange psychic powers. Scott Hicks’s coming-of-age film is slight, frequently to a fault, but the performances by Yelchin and Hopkins (and Hope Davis as Yelchin’s self-obsessed mother) are so rich and excellent that “Hearts in Atlantis” makes a strong impression anyway.

20. The Night Flier (1997)

A serial killer flies from one small airport to another, killing everyone they find, and a tabloid reporter played by Miguel Ferrer is on the case. The supernatural story gets increasingly ridiculous, but that’s the point: Ferrer plays a cynic who finds himself suddenly believing the weird tales he peddles. “The Night Flier” gives Ferrer one of his very best roles and spins a very unusual yarn in the process.

19. 1408 (2007)

John Cusack plays a non-fiction writer who spends the night at allegedly haunted hotels, but when he winds up in room 1408 he gets more than he bargained for. Mikael Håfström’s incredibly clever film finds a way to keep Cusack in his room, constantly bombarded by terrors, for almost the entire, gripping running time. It’s one of the great modern haunting movies.

18. The Dark Half (1993)

Timothy Hutton plays a novelist almost-but-not-entirely like Stephen King, who wrote under a pseudonym, had that pseudonym exposed, and publicly “killed” his alter ego. The problem is, Hutton’s doppelgänger refuses to stay dead. George A. Romero’s creepy and personal horror story goes in weird directions, but Hutton’s impeccable dual performance keeps “The Dark Half” rooted in nightmarish and engrossing allegory.

17. Cat’s Eye (1985)

A scheme to stop smoking goes horribly wrong, a jilted husband makes a deadly wager, and a cat struggles to rescue a little girl from a monster in “Cat’s Eye,” one of the best horror anthologies of the 1980s. Each segment is an excellent shocker in its own right, with twisted senses of humor and seat-clutching suspense. The only thing keeping “Cat’s Eye” from classic status is the weak framing device, which doesn’t do much to connect the stories together, other than the (mostly incidental) presence of a cat.

16. Needful Things (1993)

Max von Sydow opens up a knick-knack store in Castle Rock, Maine, where every customer finds exactly what they desire, and all it ever costs them is a little favor. Gradually the whole town starts turning on each other, building to a hellish conclusion. Fraser C. Heston’s film has a lot of story to fit into just one movie, and sometimes feels rushed, but the fantastic performances by von Sydow, Ed Harris, Amanda Plummer and J.T. Walsh more than compensate. It’s one of the better horror movies about the insidious power of temptation.

15. Pet Sematary (1989)

“Sometimes, dead is better.” Stephen King’s vicious and horrifying tale about a family’s grief gone disturbingly wrong became an emotionally explosive and creepy film from director Mary Lambert, who plays up the melodrama and lets King’s strange supernatural storytelling speak for itself. Dale Midkiff and Denise Crosby hold their own as the couple mourning their soon-to-be-resurrected child, while Fred Gwynne creates an indelible horror icon as their too-helpful neighbor Jud.

14. Pet Sematary (2019)

“Sometimes, dead is better.” Stephen King’s vicious and horrifying tale about a family’s grief gone disturbingly wrong became an emotionally explosive and creepy film from… wait, didn’t we just do this? The remake of “Pet Sematary” is just about on par with the original, with a few notable changes that keep the story feeling relatively timeless but not entirely familiar. Kevin Kölsch and Dennis Widmyer’s adaptation amplifies the shocks and makes the atmosphere even creepier than ever, but which version is actually “better” is probably just a matter of taste.

13. Gerald’s Game (2017)

Carla Gugino and Bruce Greenwood play a married couple looking to rekindle their sex life, but when he handcuffs her to the bed and then falls down dead of a heart attack, their weekend getaway becomes the ultimate nightmare. Gugino gives a tour-de-force performance, and Mike Flanagan’s smart and intense direction makes every moment feel like an important piece of a puzzle. Some argue that the ending goes on too long, but without the extended denouement, our hero’s journey would mean so much less. And it’s that engrossing journey that makes “Gerald’s Game” one of the best King adaptations.

12. Dolores Claiborne (1995)

Dolores (Kathy Bates) is accused of a brutal murder, and when her estranged daughter, played by Jennifer Jason Leigh, investigates, she discovers layer after layer of repressed and traumatic memories. Taylor Hackford’s impressive mystery gives Bates and Leigh complex, nuanced characters, and they make the most out of every scene. “Dolores Claiborne” is a gripping and overwhelming melodrama, dipped in New England macabre, and it warrants another look from audiences who seem largely to have forgotten it.

11. Christine (1983)

John Carpenter’s King adaptation stars Keith Gordon as a high-school nerd who buys a beat-up Plymouth Fury and becomes obsessed with it. Little does he realize the car is also becoming obsessed with him. A warped and wicked tale, with a boss soundtrack, excellent performances, and some of the best practical visual effects around. The scene where the titular car repairs herself is legendary, and the scenes where she hunts down her enemies are pure terror.

10. The Mist (2007)

Frank Darabont finally makes a Stephen King movie that isn’t set at a prison, and it’s one of the meanest and most frightening adaptations yet. Thomas Jane and his son are trapped in a grocery store after a mysterious mist envelops their town, and inside “The Mist” are unspeakable monsters. But the real danger builds inside their shelter, as Marcia Gay Harden assembles an Old Testament cult that demands sacrifices. Darabont famously changed the ending of King’s story into something even more shocking, but the new finale isn’t just a mindblower. It’s the final nail in the coffin of a world not ruled by superstition, the ultimate nightmare of the logical mind.

9. Stand By Me (1986)

Rob Reiner’s “Stand By Me” might as well be called “Nostalgia: The Movie.” With a winning cast and a pitch-perfect 1950s soundtrack, this story of a group of kids hiking to find a dead body and becoming young men in the process helped inform how elegiac pop cinema would become in the ensuing years, and with good cause. It’s a beautifully written and earnestly directed saga of youth, in all its weird, uncomfortable, violent and heroic wonder.

8. Creepshow (1982)

Stephen King and George A. Romero pay homage to the outlandish and ironic E.C. Horror comics of yore in “Creepshow,” a collection of violent short stories presented as colorfully and dynamically as possible. The quality is impressively consistent across the board, and the adolescent glee King and Romero display in bringing these wicked tales to four-color life is infectious. Almost as infectious as the alien fungus that starts growing on King himself (who isn’t a great actor, but is a hoot as the ill-fated farmer who stumbles onto a meteorite).

7. Cujo (1983)

Dee Wallace gives one of the great horror performances in “Cujo,” a harrowingly simple shocker about a woman trapped in a car with her son by a deadly and rabid St. Bernard. As time ticks on, it becomes clear that they’ll die unless they do something. Lewis Teague keeps the single location exciting and the pacing completely taut. “Cujo” is one hell of a suspenseful film, and Wallace deserves more praise for her bravura work.

6. It: Chapter One (2017)

The first chapter of Andy Muschietti’s two-part remake of “It” transposes King’s idyllic 1950s to its modern nostalgic equivalent, the 1980s, and it works. This story of a group of loser kids who fend off an impossibly evil demon clown captures all the wonder and terror of youth, and then repeatedly bursts into surprising and shocking scares. The young cast is impeccable, and Bill Skarsgard somehow gives Tim Curry’s Pennywise, from the beloved 1990 TV mini-series, a run for his money.

5. Misery (1990)

Only one Stephen King adaptation has ever won an Academy Award, and it’s Rob Reiner’s “Misery.” Kathy Bates took home a well-deserved Oscar for her role as a mentally disturbed nurse who kidnaps her favorite author and forces him to make her fan-fiction canon. James Caan matches Bates scene for scene in a masterfully suspenseful yarn that explodes every writer’s greatest anxieties about their readers, and every reader’s love for their favorite author.

4. The Shawshank Redemption (1994)

Frank Darabont’s celebrated adaptation of “Rita Hayworth and the Shawshank Redemption” stars Tim Robbins as a mild-mannered accountant imprisoned for murdering his wife and struggling to adapt to the harsh, corrupt and violent prison environment. Along the way, he develops a lifelong friendship with Morgan Freeman’s lifer and pulls off one minor miracle after another. Inspired dramatic storytelling, with unforgettable performances from almost the entire cast, gorgeous cinematography, and beautiful music. “The Shawshank Redemption” is one of the great dramas of the 1990s.

3. Carrie (1976)

The very first Stephen King adaptation is still, rather impressively, one of the best. Brian De Palma’s screen version of King’s debut novel stars Sissy Spacek as the abused title character, Piper Laurie as her abusive zealot of a mother, and a cast of cruel young actors who take turns destroying Carrie’s life. When their pranks finally push Carrie too far, the film devolves into sheer, unbridled hell. Spacek and Laurie are on another level in “Carrie,” and De Palma captures the evils of the teen experience and religious oppression so powerfully that even the film’s strangest moments seem natural.

2. The Dead Zone (1983)

David Cronenberg’s adaptation of Stephen King’s psychic drama stars Christopher Walken as a teacher who falls into a coma and wakes up years later, having lost the love of his life but gaining the power to see the future. “The Dead Zone” is sometimes horrifying, but it’s mostly a potent Cassandra-esque tragedy, about a man with the power to change the future but who loses himself in the process.

1. The Shining (1980)

Stephen King famously disapproved of Kubrick’s adaptation of “The Shining,” but let’s agree to disagree. “The Shining” is a masterpiece of horror, a perfect marriage of material and filmmaker, with iconic performances and insidious scares. Jack Nicholson and Shelley Duvall are stuck at the Overlook Hotel throughout the summer, and madness takes hold, possibly (but not necessarily) urged on by supernatural forces. Kubrick’s camera glides down hallways, not so much filming as spying, and captures unthinkable moments that stick in your throat. “The Shining” might very well be the scariest movie ever made, and accuracy to the source material be damned, it’s the best King adaptation so far.

The 9th film from Quentin Tarantino.

After six months of working – from June to November of 2018 – Once Upon a Time in Hollywood is done and ready to be released this summer in America, on the 26th of July.

The film tells the story of Rick Dalton (Leonardo DiCaprio) – a once well-known actor trying to be famous again – and his stunt double Cliff Booth (Brad Pitt), in a Hollywood that is changing. They happen to be neighbors of Sharon Tate (Margot Robbie), during the time she will be murdered by Charles Manson’s followers, but not be mislead by the Manson’s topic. As Micheal Madsen said: ”it’s about the sixties”.

After four years since The Hateful Eight, Tarantino comes back on the big screen with this highly anticipated dark comedy.

These are six reasons why we should be excited about Once Upon a Time in Hollywood.

 

1. Unbelievable Cast

This could be the biggest cast ever in a Quentin Tarantino movie. And maybe the best one.

Of course, we can’t wait to see Leonardo DiCaprio and Brad Pitt acting together for the first time. DiCaprio stars as Rick Dalton, a former actor of the western tv series Bounty Law, while Pitt plays Cliff Booth, Rick Dalton’s stunt double.

DP Robert Richardson – who has been working with Tarantino since Kill Bill, except in Death Proof – said that they are “Butch Cassidy and the Sundance Kid, contemporary versions”. Just from the first part of the trailer – a black and white behind the scene interview of the two in a fictional set – we see that there is chemistry between them.

Another actor we are anxious to see is the mighty Al Pacino: this will be his first appearance in a Tarantino’s movie. He portrays Marvin Schwarzs, an Hollywood producer and Rick Dalton’s agent.

Again, DP Robert Richardson – referring to Pacino’s role – delighted us with two beautiful words: “remarkable monologues”. It seems like the part was cut specially for him, starring as a producer, a man of power – just like the other men of power he portrayed in the past – with his double breasted blue suit.

After the unforgettable performance in “I, Tonya”, this could be a cornerstone role for Margot Robbie, who portrays Sharon Tate, at the time pregnant and married to director Roman Polanski. Tate was murdered by proselytes of Charles Manson in her home.

Damon Herriman plays the infamous Charles Manson, cult leader of the so-called “Manson Family” and murderer, while Dakota Fanning stars as Lynette “Squeaky” Fromme, a follower of Manson, who attempted to assassinate U.S. president Gerald Ford.

One of the highlight of the teaser trailer was, undoubtedly, Mike Moh starring as Bruce Lee. It seamed like the Hong Kong-American actor and martial artist master was resurrected in order to appear on the big screen again. Bruce Lee was the choreographer in the fight scenes for Wrecking Crew – starred by Sharon Tate -and attended her funeral.

Moreover, this couldn’t be a Tarantino’s movie without some of his frequent collaborators: Tim Roth, Michael Madsen, Kurt Russell and Zoë Bell will all have minor undisclosed roles.

A bittersweet note: we’ll have the opportunity to experience the last performance by the late Luke Perry, who portrays the real actor Wayne Maunder.

 

2. Background Stories

The hippie revolution is at its peak; the counterculture movement, preaching peace and love, has conquered millions on young people. The “summer of love” is coming and the Woodstock Festival will be the testimony of that change. Meanwhile, Charles Manson is gathering faithful adepts in a violent and psychedelic drugs-infused cult, distorting the messages of the hippies.

Hollywood is witnessing its own revolution: the golden era of American cinema is coming to an end, while upcoming rebel directors take the lead of the industry, shaping a new wave of filmmakers, that will be called New Hollywood. These are the background stories of Once Upon a time in Hollywood. Quentin Tarantino sets the bar high with these premises.

It was obvious that this screenplay would cause outrage and scandal: everybody knows the movie style of Tarantino and many people thought that it wasn’t suitable for this heavy matter. Fortunately, Charles Manson is just a part of the story.

Manson was a cult leader and – under his influence – some of his followers, united in the “Manson Family”, killed Sharon Tate, her unborn child and five guests at her house. The night after, other followers – with Manson himself – killed the married couple Leno and Rosemary LaBianca at their house. The Manson’s murders are widely considered as the end of the idealism of the sixties.

It’ll be fascinating to see how Tarantino decided to portray the hippie movement, a strange and contradictory movement, that stuck together pacifism and spiritualism, drugs and oriental culture. The hippie movement was also political and, maybe, the director will use this movie to describe a part of American history, just like he did with Django Unchained and The Hateful Eight. Of course, with his own flavor.

Similarly and most importantly, the movie will show Tarantino’s take on Hollywood in a crucial moment of its life. Most of the filmmakers that inspired Tarantino throughout his career started making movies in that period. People like Brian De Palma, Martin Scorsese and William Friedkin.

The new Hollywood movement was crucial in the artistic upbringing of Tarantino and this will be clearly central in the movie. Talking about Hollywood is not always a good idea for a filmmaker, but Tarantino will be able, without a doubt, to get away with it.

 

3. Blast From The Past

This would be a blast from the past for Quentin Tarantino. Since 1997 – the release year of Jackie Brown – all his movies were set outside Los Angeles.

The town he grew up in is going to be an important part of the movie. We can expect that it will be a “main character” of Once Upon a Time in Hollywood.

Last summer, many spots, streets and blocks in Los Angeles were completely transformed, in order to be coherent with the era the movie is set. Like a time capsule, the city was invaded by 60’s style, from the cars to the fronts of the buildings; Los Angeles came back in time and witnessed again its psychedelic past of the late 1960’s.

Tarantino tried to represent his own personal version of what the city meant to him; he wants you to take a journey through the places he passed through and lived during all these years in Los Angeles.

The L.A. setting is not the only aspect that recalls the past of the American filmmaker. During his appearance – alongside Leonardo DiCaprio – at the 2018 CinemaCon in Las Vegas, Tarantino talked about the similarities between his new movie and his 1994 masterpiece Pulp Fiction: “This is probably the closest to Pulp Fiction I’ve done, (…) that really is a Los Angeles movie and it deals with a couple of lead characters”. Pulp Fiction was the breakthrough movie for him, it solidified his cult status and his trademark style, in terms of film structure, screenplay and themes.

By the way, Leo DiCaprio added that this screenplay is “one of the most amazing screenplay he’s ever written”. We can’t ask him for more.

Once Upon a Time in Hollywood couldn’t be more hyped after these comments. Another great reason to rush in movie theaters this summer.

Film editor Barry Malkin, a two-time Oscar nominee best known for his many collaborations with Francis Ford Coppola, died Thursday. He was 80.

Malkin began his career in 1963 as an apprentice to Dede Allen on Elia Kazan’s “America America.” He was first credited as an editor for his work on “The Patty Duke Show.” Through his friendship with editor and director Aram Avakian, Malkin was introduced to Francis Ford Coppola, and was hired to edit Coppola’s 1969 film “The Rain People.”

“The Rain People” began a long collaboration between the director and editor. Malkin would work either by himself or as part of the editing team on eight additional Coppola productions. Most significantly, Malkin worked on three “Godfather” projects: “The Godfather, Part II” alongside Richard Marks and Peter Zinner in 1974; “The Godfather Saga,” which edited “The Godfather” parts one and two into a chronological TV miniseries featuring scenes not included in the theatrical releases, in 1977; and “The Godfather Part III” alongside Lisa Fruchtman and Walter Murch in 1990.

Malkin also worked on Coppola’s “Apocalypse Now,” “The Cotton Club,” “Peggy Sue Got Married,” “Rumble Fish,” and “Gardens of Stone.” He’s also credited on 1992’s “The Godfather Trilogy,” which extended “The Godfather Saga” by adding “The Godfather Part III” to it.

Malkin’s other credits include the opening and closing credits on Arthur Penn’s “Little Big Man,” Jonathan Demme’s “Last Embrace,” and the Andrew Bergman films “Honeymoon in Vegas,” and “It Could Happen to You,” among many others.

Malkin was nominated for two Academy Awards — with Marks and Zinner for “The Godfather Part II,” and with Fruchtman and Murch for “The Godfather Part III.

He is survived by his wife Stephanie and daughter Sacha.

Variety first reported the news.

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Church the cat is at the center of the the horror maelstrom that is Pet Sematary, the latest Stephen King adaptation to hit theaters. So directors Dennis Widmyer and Kevin Kölsch had to make sure that Church had the right look to portray the adorable pet and the undead feline it becomes, apart from all the blood and gore make-up, of course. It turns out it takes more than one cat to play the purr-fect Church — it takes eight. And all eight of them were divas, according to Widmyer.

In Mary Lambert’s 1989 film, Church the cat was a British shorthair that became an icon of horror cinema. So Widmyer and Kölsch felt the pressure to live up to that.

“Kevin and I were like, we shouldn’t try and compete with that cat,” Widmyer said during a Q&A which followed the movie’s Los Angeles premiere at the Egyptian Theatre, according to Entertainment Weekly. “That cat is amazing. We have to do our own thing. And in the book, it’s a very basic cat. So, we went back to the hardcover… and we were like, oh, it’s like a Maine Coon, with, like, four exotic colors and long hair. And we were like that’s going to be our cat.”

But that distinctive look turned out to be a pain in more ways than one for the filmmakers. First the directors had to find eight of this one-of-a-kind cat, and train them to act like pets from hell — but only onscreen. It turns out they didn’t need training to act demonic in real life, Widmyer said:

“Little did we know how hard it was going to be to find, like, eight cats who looked exactly like that. It was really just about finding the trainers, and then we tasked the trainers with now finding a lot of cats that could do that, and to their credit they did. I mean, they say you can’t train a cat, and Kevin and I always joke around that our apartments are living testament to that, because our carpets and our couches are torn to hell, because we can’t train our cats not to scratch them. But these cats, they were able to train them and every cat had a different specialty. There was the cat that could hiss, the cat that could jump, the cat that could stare… They were like this pack of divas on set. You know, the cat would get on set and have to get acclimated, so all the actors would have to shut up and just kind of let the cat sniff everything for like ten minutes. So, we just sat there, and watched the cat.”

Luckily, one of the cats that Widmyer and Kölsch brought to the New York Brooklyn Horror Festival advanced screening of Pet Sematary seemed well-behaved enough. (I can attest to that, having attended the screening and seeing the cat walk by me and sniff my purse.) They even got him in a tie!

Pet Sematary is in theaters now.

Dr. Louis Creed and his wife, Rachel, relocate from Boston to rural Maine with their two young children. The couple soon discover a mysterious burial ground hidden deep in the woods near their new home. When tragedy strikes, Louis turns to his neighbour Jud Crandall, setting off a perilous chain reaction that unleashes an unspeakable evil with horrific consequences.

The post The Eight Cats Who Played Church in ‘Pet Sematary’ Were “A Pack of Divas” appeared first on /Film.

Screen adaptations of well-known books are a tricky art. Stray too far from the source material, and purists will be upset. Stick too close to the text, and you risk alienating others. “Native Son” sits somewhere in-between paint-by-number loyalty and artistic interpretation. Director Rashid Johnson and screenwriter Suzan-Lori Parks have added to and excised out enough of Richard Wright’s controversial 1940 novel to make their version of “Native Son” distinctly theirs. Yet, does this version of a tragic story, whose source material has not aged gracefully, have something new to tell audiences in the era of Black Lives Matter and #MeToo? 

Now set in the present day, Wright’s hero, Bigger Thomas (Ashton Sanders) is a young man in need of direction. He works a low-paying job as a bike messenger and the biggest events on his calendar seem to be dinners with his family, running into friends throughout Chicago or meeting up with his cute girlfriend, a hairstylist named Bessie (KiKi Layne). He rocks a metal meets Afro-punk look of green hair, DIY scrawled messages and buttons on his beat-up leather jacket, silver sings on every finger, black nail polish and the skinny pants that make him look even thinner. Like his role as Chiron in Barry Jenkins’ “Moonlight,” Sanders is painfully soft-spoken and meek, at least in the beginning of his saga. His shoulders stay haunched and guarded through much of the movie, as if trying to protect the character’s frail soul. The flashes of indignation and violence that comes later seem almost unthinkable in the character we see at the start of “Native Son.”

Cinematographer Matthew Libatique casts “Native Son” under a gloomy shadow in every frame. The clouds never seem to part, the lightbulbs always seem dim. It’s as if hopelessness follows Bigger through his every waking minute. The only things that break this monotonous gloom are occasional pops of brighter colors. Bigger’s green hair is an excellent standout feature, setting him apart from everyone else in the movie. There are also the vivid blue walls of Bigger’s bedroom at home and graffiti-lined spaces that inject a sense of life into the painful story. As if the overcast cinematography wasn’t ominous enough, the movie’s fatalist tone is driven home by a foreboding score by Kyle Dixon and Michael Stein. 

A new job opportunity comes Bigger’s way and he’s thrust into an uncomfortable sphere of privilege. His new employer, a real estate tycoon named Mr. Dalton (Bill Camp), wants to help him out while displacing families like his. The paradox is not lost on Bigger, but he takes the job of driving the Dalton family because he needs the money. Most of his time on the job, at least what’s shown onscreen, involves watching over Mr. Dalton’s spoiled college-aged daughter, Mary (Margaret Qualley), who sneaks off with her politically-minded boyfriend and cajoles Bigger to let her stay out late into the night. Hoping to earn her trust, and not lose his job, he reluctantly goes along with it, until one drug-fueled night where everything goes horribly wrong. 

<span class="s1" There’s something about how the camera lingers over the crime scene that didn’t sit well with me or with other members of the Sundance audience when I first watched the movie. The fears and anxiety shouldered by Bigger manifest into accidental manslaughter. That scene and one that follows involving an old furnace in the mansion basement feel exploitive and cruel. Bigger’s uncontrollable violence later reaches Bessie but stops short of what happens to her in the book.

“Native Son” has always had this uncomfortable gender divide, which feels even more pronounced as women have fought back against violence. While Johnson and Parks explore the troubled psyche of a black man afraid for his life, how it gets to that point remains complicated. “Native Son” posits Bigger is a victim of circumstance, someone reduced to cruelty and violence because of racism and systemic oppression. James Baldwin tangled with its legacy in Notes of a Native Son, calling Wright’s portrayal of Bigger stereotypical and his tragic story as one intended for white audiences. With this remake, it’s another generation’s chance to wrestle with Wright’s ideas. The movie is at once struggling with what it wants to say, what it needs to say and what history has said before it, and its message becomes muddled in the process.

Stan Lee has made no less than 37 appearances in movies based on Marvel Comics. But since we lost the legendary creator last year, those cameos are sadly coming to an end. Recently we heard that Avengers: Endgame will feature Stan Lee’s final cameo appearance in the Marvel Cinematic Universe, but it sounds like it’ll be his last Marvel cameo entirely too.

Dark Phoenix director Simon Kinberg has confirmed that there isn’t a Stan Lee cameo in the movie, but there is some kind of tribute to the man who helped make Marvel Comics what it is today.

While appearing at WonderCon, Simon Kinberg spoke to CinemaBlend about the possibility of a Dark Phoenix Stan Lee cameo, and here’s what he had to say:

“We don’t have a cameo. I’d rather say that than then keep it mysterious, out of respect for Stan. We do have some tribute to him, and it’s something that obviously we weren’t thinking about when we were making the movie because he was still very much alive. And he’s been such a huge part of making these films over the years. He’s had cameos; he’s had input into the process of making them.”

It’s a bit of a shame that Stan Lee didn’t shoot a cameo for Dark Phoenix, especially since X-Men was the very first Marvel Comics cameo that made it to the big screen. Initially, Stan Lee shot a cameo for the first Blade movie, but it ended up on the cutting room floor. But at the very least he’s getting a tribute, though we don’t know what it will be just yet.

Dark Phoenix was recently confirmed at CinemaCon to be the final chapter in the X-Men franchise that originated at 20th Century Fox. But now that Disney owns all the Marvel Comics properties that were situated at Fox, there will be a new X-Men franchise launched at some point. That’s still at least a couple years away though.

In Dark Phoenix, the X-Men face their most formidable and powerful foe: one of their own, Jean Grey. During a rescue mission in space, Jean is nearly killed when she is hit by a mysterious cosmic force. Once she returns home, this force not only makes her infinitely more powerful, but far more unstable. Wrestling with this entity inside her, Jean unleashes her powers in ways she can neither comprehend nor contain. With Jean spiraling out of control, and hurting the ones she loves most, she begins to unravel the very fabric that holds the X-Men together. Now, with this family falling apart, they must find a way to unite — not only to save Jean’s soul, but to save our very planet from aliens who wish to weaponize this force and rule the galaxy.

Dark Phoenix will be released in theaters on June 7, 2019.

The post ‘Dark Phoenix’ Will Have a Stan Lee Tribute Instead of the Usual Cameo appeared first on /Film.

Some of the biggest names in comedy got their start on Saturday Night Live, and many of them have returned to host in the years after they went off to begin the next chapter of their career. But one of the biggest success stories to come out of the late night sketch comedy series has never hosted in the 24 years since leaving the show. That’s about to change.

Fans will finally get to see Adam Sandler hosting Saturday Night Live next month for the first time ever. Though Sandler has returned to the show a couple times to make quick cameo appearances, this will be his first prominent return to the place that launched his comedy career.

NBC announced Adam Sandler hosting Saturday Night Live on May 4 in a press release and all over social media:

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Adam Sandler joined Saturday Night Live as a writer in 1990, and went on to become a cast member from 1991 to 1995, making a name for himself with goofy Weekend Update characters like Opera Man and Cajun Man. But his most famous contribution to SNL came in the form of his original songs, such as “The Hanukkah Song” and “Lunch Lady Land.” Since this is his first time hosting, surely this episode will bring out some SNL veterans to make cameo appearances, and we might see some of Sandler’s old characters make a return as well.

It’s a little bit of a bummer that Adam Sandler isn’t also the musical guest for the episode that he’s hosting. After all, he has plenty of new original songs from his outstanding Netflix comedy special, 100% Fresh:

Adam Sandler is certainly keeping himself busy in the coming months. Following his hosting debut on Saturday Night Live, he’ll be heading out on a 19-stop summer tour inspired by his Netflix comedy special. The tour is called 100% Fresher, and will run through the entire month of June. That month also happens to be when his next Netflix movie, Murder Mystery with Jennifer Aniston, is slated for released.

Honestly, it would be nice if this was the start of a resurgence in greatness for Adam Sandler. The actor’s early acting career had plenty of great comedies, but recent years have been mostly full of disappointments. But perhaps Sandler’s Netflix special has reinvigorated him creatively and we’ll see more of the old Adam Sandler. In the meantime, we’ll leave you with this Adam Sandler classic from Saturday Night Live with his old buddy Chris Farley:

The post Adam Sandler Returning to ‘Saturday Night Live’ in May to Host for the First Time Ever appeared first on /Film.

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“Morning Joe” co-host Mika Brzezinski criticized President Trump on Friday for a viral video the billionaire made mocking Joe Biden’s penchants for hugging — hinting ominously of an inappropriate moment Trump had on set.

“Talk about somebody with boundary issues,” Brzezinski said. “Kind of makes me want to share the story about Trump’s unbelievably inappropriate hug in our studio.”

Brzezinski’s co-host (and husband) Joe Scarborough seemed less keen on sharing, making a non-committal sound at the idea. He did, however, call out Trump for throwing stones at glass houses.

“The hypocrisy of that Joe Biden clip,” he said. “Can you imagine the clip that’s going to follow that and the words that’s going to be put into the president’s mouth, probably with Billy Bush lurking around the back of his head and Stormy Daniels and Playboy models?”

There was no further discussion about this inappropriate hug. Reps for the show and the White House did not immediately respond to request for comment on the matter. Though Trump and “Morning Joe” have become bitter rivals since he became president, the atmosphere used to be much chummier on the campaign trail.

Both Joe and Mika have frequently spoken about socializing with the billionaire off set and he frequently came in for softball interviews in 2015.

On Thursday, Trump ignited a minor stir after sharing a doctored video of Biden that featured the former vice president rubbing his own shoulders and smelling his own hair. The source material was a video from Biden, which stopped short of apologizing for his past “hands on” approach with women — but did promise to be more “mindful” and “respectful” of personal space.

On “Morning Joe,” Brzezinski has become one of Biden’s staunchest defenders, routinely downplaying the spate of accusations against him and suggesting his most prominent accuser, Lucy Flores, was “politically motivated.”

“Are we allowed to bring up that Lucy Flores is a huge Bernie person?” asked Brzezinski on Monday, warning that the #MeToo line was becoming dangerously opaque. “Democrats, you have to ask yourself, what exactly is the line — the #MeToo line — you want to draw? Because you will live and die by that line. It’s an important line. It’s very important. Don’t mock it.”

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