Hunter Schafer was taken into police custody while protesting for Palestine with Jewish Voice for Peace on Monday. The demonstration took place outside of President Joe Biden’s Late Night With Seth Meyers appearance in New York City.
“On Monday, February 26, 2024, at approximately 1630 hours, there was a demonstration at 30 Rockefeller Plaza, in the confines of the Midtown North Precinct,” an NYPD spokesperson tells Rolling Stone. “The demonstration concluded at 1800 hours. A total of 30 individuals were taken into custody. Thirty individuals were issued summonses for Trespass.”
Pro-Palestinian demonstrators gathered at the...
“On Monday, February 26, 2024, at approximately 1630 hours, there was a demonstration at 30 Rockefeller Plaza, in the confines of the Midtown North Precinct,” an NYPD spokesperson tells Rolling Stone. “The demonstration concluded at 1800 hours. A total of 30 individuals were taken into custody. Thirty individuals were issued summonses for Trespass.”
Pro-Palestinian demonstrators gathered at the...
- 2/28/2024
- by Charisma Madarang
- Rollingstone.com
Andrzej Bartkowiak got his start in the entertainment industry working as a cinematographer, working on such films as Terms of Endearment, Prizzi’s Honor, Twins, Falling Down, Speed, Species, Dante’s Peak, The Devil’s Advocate, U.S. Marshals, Lethal Weapon 4, Thirteen Days, and Trespass. But back at the turn of the century he also got into directing, working mainly in the action genre: Romeo Must Die, Exit Wounds, Cradle 2 the Grave, Street Fighter: The Legend of Chun-Li, Maximum Impact, Dead Reckoning. His most well-known movie, for better or worse, may be the action horror video game adaptation Doom. Now Deadline has announced that Bartkowiak is treading back into horror territory, as he has signed on to direct the supernatural thriller The Dire Wolf.
Coming our way from Steelyard Pictures, The Dire Wolf has a screenplay written by Ry Cook and is expected to start filming in New Mexico soon, aiming for a 2024 release.
Coming our way from Steelyard Pictures, The Dire Wolf has a screenplay written by Ry Cook and is expected to start filming in New Mexico soon, aiming for a 2024 release.
- 10/6/2023
- by Cody Hamman
- JoBlo.com
Spoilers for "The Bad Batch" Season 2 Episode 12 - "The Outpost" follow.
Once more, the Bad Batch (voiced by Dee Bradley Baker) takes a breather from the continuing narrative and this episode focuses solely on their former member, Crosshair. Crosshair watches on Coruscant as more clones are shipped off into forced retirement and the new Stormtroopers take over. Then, he's assigned to Lieutenant Nolan (Crispin Freeman)to head to a distant outpost to pick up crates of equipment "vital" to the Empire. On the planet Barton-4, they find a snowy wasteland defended by three clones led by one named Mayday. They've been on the planet defending the cargo for more than a year without reinforcements and insurgents have continued attacking them, consistently whittling down their numbers.
When another attack breaks out and the insurgents make off with two crates of important Imperial goods, Nolan assigns Mayday and Crosshair to personally recover them.
Once more, the Bad Batch (voiced by Dee Bradley Baker) takes a breather from the continuing narrative and this episode focuses solely on their former member, Crosshair. Crosshair watches on Coruscant as more clones are shipped off into forced retirement and the new Stormtroopers take over. Then, he's assigned to Lieutenant Nolan (Crispin Freeman)to head to a distant outpost to pick up crates of equipment "vital" to the Empire. On the planet Barton-4, they find a snowy wasteland defended by three clones led by one named Mayday. They've been on the planet defending the cargo for more than a year without reinforcements and insurgents have continued attacking them, consistently whittling down their numbers.
When another attack breaks out and the insurgents make off with two crates of important Imperial goods, Nolan assigns Mayday and Crosshair to personally recover them.
- 3/8/2023
- by Bryan Young
- Slash Film
Spoilers for "The Bad Batch" season 2 episodes 7 and 8 - "The Clone Conspiracy" and "Truth and Consequences" follow.
The Bad Batch takes a break from the story in "The Clone Conspiracy," the first half of these two episodes as the conspiracy unfolds. Admiral Rampart is on Coruscant garnering support for a new Defense Recruitment Bill that will phase out the clone army and replace it with their conscripted force of Stormtroopers. Standing in his way are a number of Senators, but mainly Riyo Chuchi, a Pantoran from Orto Plutonia. As she looks to better represent the clones and their interests in the legislation, she discovers a conspiracy. A clone named Slip tells her that Kamino wasn't destroyed in a cataclysmic storm as Admiral Rampart claims, but was instead destroyed by him. Knowledge of this would derail Rampart's plans and the legislation, so the clones with knowledge of this are systematically assassinated.
The Bad Batch takes a break from the story in "The Clone Conspiracy," the first half of these two episodes as the conspiracy unfolds. Admiral Rampart is on Coruscant garnering support for a new Defense Recruitment Bill that will phase out the clone army and replace it with their conscripted force of Stormtroopers. Standing in his way are a number of Senators, but mainly Riyo Chuchi, a Pantoran from Orto Plutonia. As she looks to better represent the clones and their interests in the legislation, she discovers a conspiracy. A clone named Slip tells her that Kamino wasn't destroyed in a cataclysmic storm as Admiral Rampart claims, but was instead destroyed by him. Knowledge of this would derail Rampart's plans and the legislation, so the clones with knowledge of this are systematically assassinated.
- 2/8/2023
- by Bryan Young
- Slash Film
Stranger Things 4 Vol. 1 logged 335.01M hours viewed in its first full week of release to shoot up to #3 on Netflix’s all-time list for English-language series with 621.80m hours viewed in just 10 days. With only Bridgerton Season 2 (656M) and Bridgerton S1 (625M) ahead of it on the list, which measures viewership in a season’s first 28 days on the service, Stranger Things is set to climb to the #1 spot in the next few days.
The sci-fi series also is guaranteed to finish at least second on Netflix’s overall all-time list for English- and non-English programming, with only phenom Squid Game standing in its way with its astonishing 1.65 billion hours viewed.
For the week of May 30-June 5, Stranger Things 4 Volume 1 became the most watched season of English-language TV in a single week on Netflix and hit #1 on the Top 10 lists in 91 countries, a first for an English TV series.
It...
The sci-fi series also is guaranteed to finish at least second on Netflix’s overall all-time list for English- and non-English programming, with only phenom Squid Game standing in its way with its astonishing 1.65 billion hours viewed.
For the week of May 30-June 5, Stranger Things 4 Volume 1 became the most watched season of English-language TV in a single week on Netflix and hit #1 on the Top 10 lists in 91 countries, a first for an English TV series.
It...
- 6/7/2022
- by Nellie Andreeva
- Deadline Film + TV
Film played 2021 BFI London, Sitges, Toronto.
Film Sales Company president Andrew Herwitz has announced territory sales in Cannes on Blumhouse Productions horror Dashcam.
The company has closed deals with Non Stop for Scandinavia and Baltics, Lanterna De Pedra Filmes for Portugal, Kriscoe Media for Middle East and M C Twist for Japan.
Herwitz said negotiations were underway for numerous other territories and added, “Even though the market has definitely changed since Covid, it is reassuring to see that quality still sells.”
Writer-director Rob Savage’s story centres on a live-streaming, abrasive musician’s night which takes a dangerous turn when...
Film Sales Company president Andrew Herwitz has announced territory sales in Cannes on Blumhouse Productions horror Dashcam.
The company has closed deals with Non Stop for Scandinavia and Baltics, Lanterna De Pedra Filmes for Portugal, Kriscoe Media for Middle East and M C Twist for Japan.
Herwitz said negotiations were underway for numerous other territories and added, “Even though the market has definitely changed since Covid, it is reassuring to see that quality still sells.”
Writer-director Rob Savage’s story centres on a live-streaming, abrasive musician’s night which takes a dangerous turn when...
- 5/22/2022
- by Jeremy Kay
- ScreenDaily
The “Percy Jackson” Disney+ series has found its leading man. Walker Scobell has been cast in the titular role in the Rick Riordian adaptation “Percy Jackson and the Olmypians.”
Scobell made waves earlier this year when he played the younger version of Ryan Reynolds in the Netflix sci-fi action film “The Adam Project.”
The Disney Branded Television series is produced by 20th Television, a part of Disney Television Studios, and will start production this summer.
“Percy Jackson and the Olympians” tells the fantastical story of a 12-year-old modern demigod, Percy Jackson, who’s just coming to terms with his newfound supernatural powers when the sky god Zeus accuses him of stealing his master lightning bolt. Now, Percy must trek across America to find it and restore order to Olympus.
Per a character description, Percy Jackson is described as a smart and compassionate kid with a sharp sense of humor. He...
Scobell made waves earlier this year when he played the younger version of Ryan Reynolds in the Netflix sci-fi action film “The Adam Project.”
The Disney Branded Television series is produced by 20th Television, a part of Disney Television Studios, and will start production this summer.
“Percy Jackson and the Olympians” tells the fantastical story of a 12-year-old modern demigod, Percy Jackson, who’s just coming to terms with his newfound supernatural powers when the sky god Zeus accuses him of stealing his master lightning bolt. Now, Percy must trek across America to find it and restore order to Olympus.
Per a character description, Percy Jackson is described as a smart and compassionate kid with a sharp sense of humor. He...
- 4/11/2022
- by Adam Chitwood
- The Wrap
Netflix is joining forces with Creative UK, the independent network for the country’s creative industries, on an initiative that will develop and fund debut feature films.
Dubbed ‘Breakout’, the program will support emerging filmmakers, with at least one feature project set to receive a production budget of approximately £1.5M ($2M) as well as a guaranteed berth on Netflix.
Six teams will be given £30,000 of development funding to take part in an intensive training and professional development program, delivered by Creative UK. The program will involve lab events, mentoring, and support and input from Netflix executives.
The streamer said it was looking for creative teams whose work has garnered industry or public attention, but they have not yet made a funded feature, and that diversity is a priority. Projects are being targeted from popular genres such as mystery and crime thrillers, bold and original horror, comedies and rom-com, young adult and family adventure.
Dubbed ‘Breakout’, the program will support emerging filmmakers, with at least one feature project set to receive a production budget of approximately £1.5M ($2M) as well as a guaranteed berth on Netflix.
Six teams will be given £30,000 of development funding to take part in an intensive training and professional development program, delivered by Creative UK. The program will involve lab events, mentoring, and support and input from Netflix executives.
The streamer said it was looking for creative teams whose work has garnered industry or public attention, but they have not yet made a funded feature, and that diversity is a priority. Projects are being targeted from popular genres such as mystery and crime thrillers, bold and original horror, comedies and rom-com, young adult and family adventure.
- 2/23/2022
- by Tom Grater
- Deadline Film + TV
Netflix has partnered with Creative U.K. to launch a program for U.K. filmmakers working on their debut feature,
Titled Breakout, the program will fund the films’ development, with the primary criteria being that they are high quality, genre-based and British.
“Breakout will give new U.K. based filmmakers the opportunity to take popular genres audiences love, from sci-fi, to thriller and horror, to comedy and romance, and reinterpret them through a distinctively British lens,” is how the program is being described. It is driven, according to Netflix and Creative U.K., “by the principle that daring, ambitious filmmaking can drive commercial as well as critical success and can emerge from all backgrounds.”
Participants will be made up of six teams, each of which will receive £30,000 worth of development funding in addition to a Creative U.K. training program comprised of mentoring and residential lab events. Netflix executives will also provide support and input.
Titled Breakout, the program will fund the films’ development, with the primary criteria being that they are high quality, genre-based and British.
“Breakout will give new U.K. based filmmakers the opportunity to take popular genres audiences love, from sci-fi, to thriller and horror, to comedy and romance, and reinterpret them through a distinctively British lens,” is how the program is being described. It is driven, according to Netflix and Creative U.K., “by the principle that daring, ambitious filmmaking can drive commercial as well as critical success and can emerge from all backgrounds.”
Participants will be made up of six teams, each of which will receive £30,000 worth of development funding in addition to a Creative U.K. training program comprised of mentoring and residential lab events. Netflix executives will also provide support and input.
- 2/23/2022
- by K.J. Yossman
- Variety Film + TV
The programmes aims to work wiith under-represented voices.
Netflix is partnering with non-profit organisation Creative UK, a merger between Creative England and Creative Industries Federation, on the low-budget filmmaking and training initiative Breakout.
Six teams, selected from an open application process, will receive £30,000 in development funding to take part in an intensive training and professional development programme, delivered by Creative UK. Following residential workshops, mentoring, support and input, including from Netflix executives, at least one film will be greenlit with an approximate £1.5m budget and a global launch on Netflix.
Breakout will be open to creative teams whose work has...
Netflix is partnering with non-profit organisation Creative UK, a merger between Creative England and Creative Industries Federation, on the low-budget filmmaking and training initiative Breakout.
Six teams, selected from an open application process, will receive £30,000 in development funding to take part in an intensive training and professional development programme, delivered by Creative UK. Following residential workshops, mentoring, support and input, including from Netflix executives, at least one film will be greenlit with an approximate £1.5m budget and a global launch on Netflix.
Breakout will be open to creative teams whose work has...
- 2/23/2022
- by Mona Tabbara
- ScreenDaily
A budget of £1.5m for a debut feature is up for grabs.
Netflix is partnering with non-profit organisation Creative UK, a merger between Creative England and Creative Industries Federation, on the low-budget filmmaking and training initiative Breakout.
Six teams, selected from an open application process, will receive £30,000 in development funding to take part in an intensive training and professional development programme, delivered by Creative UK. Following residential workshops, mentoring, support and input, including from Netflix executives, at least one film will be greenlit with an approximate £1.5m budget and a global launch on Netflix.
Breakout will be open to creative...
Netflix is partnering with non-profit organisation Creative UK, a merger between Creative England and Creative Industries Federation, on the low-budget filmmaking and training initiative Breakout.
Six teams, selected from an open application process, will receive £30,000 in development funding to take part in an intensive training and professional development programme, delivered by Creative UK. Following residential workshops, mentoring, support and input, including from Netflix executives, at least one film will be greenlit with an approximate £1.5m budget and a global launch on Netflix.
Breakout will be open to creative...
- 2/23/2022
- by Mona Tabbara
- ScreenDaily
A budget of £1.5m for a debut feature is up for grabs.
Netflix is partnering with non-profit organisation Creative UK, a merger between Creative England and Creative Industries Federation, on the low-budget filmmaking and training initiative Breakout.
Six teams, selected from an open application process, will receive £30,000 in development funding to take part in an intensive training and professional development programme, delivered by Creative UK. Following residential workshops, mentoring, support and input, including from Netflix executives, at least one film will be greenlit with an approximate £1.5m budget and a global launch on Netflix.
Breakout will be open to creative...
Netflix is partnering with non-profit organisation Creative UK, a merger between Creative England and Creative Industries Federation, on the low-budget filmmaking and training initiative Breakout.
Six teams, selected from an open application process, will receive £30,000 in development funding to take part in an intensive training and professional development programme, delivered by Creative UK. Following residential workshops, mentoring, support and input, including from Netflix executives, at least one film will be greenlit with an approximate £1.5m budget and a global launch on Netflix.
Breakout will be open to creative...
- 2/23/2022
- by Mona Tabbara
- ScreenDaily
Stars: Scott Adkins, Dolph Lundgren, Ida Lundgren, Scott Hunter, Kim DeLonghi, Jim E. Chandler, Dave Halls, | Written by Andrew Knauer | Directed by Dolph Lundgren
Castle Falls marks Dolph Lundgren’s first film as a director since he shot Icarus in 2010. It’s also his fifth teaming with co-star Scott Adkins. Toss in a plot that sounds slightly reminiscent of Walter Hill’s underrated 1992 film Trespass and you have a film with a lot of potential. The question is, can it live up to them?
Mike Wade is down on his luck. His career as a fighter is over, he can’t even make the cut for a local Mma event and he’s been evicted from his apartment. Now he’s living in his truck and working as a labourer on the demolition of Castle Heights Hospital. And then his luck turns around, he finds several bags full of money hidden in the abandoned building.
Castle Falls marks Dolph Lundgren’s first film as a director since he shot Icarus in 2010. It’s also his fifth teaming with co-star Scott Adkins. Toss in a plot that sounds slightly reminiscent of Walter Hill’s underrated 1992 film Trespass and you have a film with a lot of potential. The question is, can it live up to them?
Mike Wade is down on his luck. His career as a fighter is over, he can’t even make the cut for a local Mma event and he’s been evicted from his apartment. Now he’s living in his truck and working as a labourer on the demolition of Castle Heights Hospital. And then his luck turns around, he finds several bags full of money hidden in the abandoned building.
- 12/8/2021
- by Jim Morazzini
- Nerdly
Video Version of this Article Photo/Video: Miley Cyrus/Kathy Hutchins/Shutterstock People know the talented Miley Cyrus through the different avenues she has taken throughout her life. Some may know her as Hannah Montana from the hit Disney show ‘Hannah Montana,’ her numerous top-charting albums and singles like ‘Wrecking Ball’ or ‘Breakout,’ or from movies like ‘The Last Song.’ Everyone loves Miley Cyrus for the vibrant and carefree attitude that she presents and portrays through her music and her variety of appearances on several television shows and short videos. If there is one thing that always deems true for Miley, it is the fact that she is never afraid to be herself, and she encourages others to do the same through her personal expressions. Related article: Exclusive: 'Dune' Full Commentary, Reactions, Making Of - Timothee Chalamet, Zendaya, Oscar Isaac Related article: 'No Time to Die'...
- 10/26/2021
- by Chelsea Black
- Hollywood Insider - Substance & Meaningful Entertainment
“Black Widow” star Scarlett Johansson is producing a “Tower of Terror” movie at Disney, according to an individual with knowledge of the project.
“Toy Story 4” director and “Inside Out” writer Josh Cooley is writing the screenplay. Plot details are being kept under wraps.
“Tower of Terror,” a popular elevator-drop ride at Disneyland initially based on Rod Serling’s anthology series “The Twilight Zone,” takes place at the fictional Hollywood Tower Hotel. First opened in 1994, the Tower of Terror ride was revamped in 2017 as a Marvel Studios attraction called “Guardians of the Galaxy – Mission: Breakout!”
The “Tower of Terror” movie, which has been in development since 2015, previously had a treatment by John August that centered on five people in a posh hotel who take an elevator and disappear after it’s hit by lightning. Previously, a 1997 TV movie based on the attraction starred Steve Guttenberg and Kirsten Dunst.
Johansson will...
“Toy Story 4” director and “Inside Out” writer Josh Cooley is writing the screenplay. Plot details are being kept under wraps.
“Tower of Terror,” a popular elevator-drop ride at Disneyland initially based on Rod Serling’s anthology series “The Twilight Zone,” takes place at the fictional Hollywood Tower Hotel. First opened in 1994, the Tower of Terror ride was revamped in 2017 as a Marvel Studios attraction called “Guardians of the Galaxy – Mission: Breakout!”
The “Tower of Terror” movie, which has been in development since 2015, previously had a treatment by John August that centered on five people in a posh hotel who take an elevator and disappear after it’s hit by lightning. Previously, a 1997 TV movie based on the attraction starred Steve Guttenberg and Kirsten Dunst.
Johansson will...
- 6/23/2021
- by Umberto Gonzalez
- The Wrap
The Flash appears to be drawing its story about the various “forces” and the humans they’ve inhabited to a conclusion. The next chapter “Family Matters, Part 1” (which airs tonight on The CW) puts the Strength Force known as “Fuerza” back in the spotlight.
Of course, we first met Fuerza in all her rampaging glory much earlier in the season, and her notoriety was complete when she killed poor Abra Kadabra. But since then, amidst Team Flash’s ongoing quest for the other forces that have been unleashed, we’ve learned a little bit more about the host of the Strength Force, Alexa Rivera played by Sara Garcia.
Alexa has been played as a sympathetic character, a former drug addict who has become a health care professional in order to help those in need and help make up for the perceived sins of her past. She blacks out when transforming...
Of course, we first met Fuerza in all her rampaging glory much earlier in the season, and her notoriety was complete when she killed poor Abra Kadabra. But since then, amidst Team Flash’s ongoing quest for the other forces that have been unleashed, we’ve learned a little bit more about the host of the Strength Force, Alexa Rivera played by Sara Garcia.
Alexa has been played as a sympathetic character, a former drug addict who has become a health care professional in order to help those in need and help make up for the perceived sins of her past. She blacks out when transforming...
- 5/18/2021
- by Mike Cecchini
- Den of Geek
Now that Disneyland is back, the theme park is preparing to open up Avengers Campus to all the Marvel fanatics looks to take a walk through the Marvel Cinematic Universe. Fan will undoubtedly be happy to hop on Guardians of the Galaxy – Mission: Breakout and Web Slingers: A Spider-Man Adventure, followed by a walk […]
The post All the Avengers Campus Food, Drinks, Treats, and Novelties Assembling at Disneyland in June appeared first on /Film.
The post All the Avengers Campus Food, Drinks, Treats, and Novelties Assembling at Disneyland in June appeared first on /Film.
- 5/17/2021
- by Ethan Anderton
- Slash Film
Krishna elects Bangla Surf Girls director Elizabeth D. Costa to receive $5,000 cash prize.
Hot Docs has named Lalita Krishna, president of In Sync Media and producer of festival selection Bangla Surf Girls, this year’s recipient of the Don Haig Award.
Now in its 16th year, the Don Haig Award is presented to an “outstanding Canadian independent producer” with a feature-length film in competition at the festival and a record of mentoring emerging Canadian filmmakers.
Krishna will be presented with a $5,000 cash prize, courtesy of the Don Haig Foundation.
“Documentary has given so much meaning to my life that it...
Hot Docs has named Lalita Krishna, president of In Sync Media and producer of festival selection Bangla Surf Girls, this year’s recipient of the Don Haig Award.
Now in its 16th year, the Don Haig Award is presented to an “outstanding Canadian independent producer” with a feature-length film in competition at the festival and a record of mentoring emerging Canadian filmmakers.
Krishna will be presented with a $5,000 cash prize, courtesy of the Don Haig Foundation.
“Documentary has given so much meaning to my life that it...
- 5/3/2021
- by Jeremy Kay
- ScreenDaily
Exclusive: iZombie alum Malcolm Goodwin, Willa Fitzgerald (Scream) and Chris Webster (Most Dangerous Game) have been tapped as series regulars opposite Alan Ritchson in the upcoming Amazon original series Jack Reacher, based on the character from Lee Child’s international bestselling books.
Ritchson stars as the title character in the series, produced by Amazon Studios, Skydance Television and Paramount Television Studios. The first season, written, exec produced and showrun by Nick Santora, is based on the first Jack Reacher novel, The Killing Floor, which is set in Georgia.
Goodwin will star as Chief Detective Oscar Finlay, a Harvard-educated, tweed suit-wearing Northerner who recently relocated to the small town of Margrave to take a job in the Margrave Police Department.
Fitzgerald stars as Roscoe Conklin, who was born and raised in Margrave and is a smart and proud officer in the Margrave Pd. She is resilient and is intimidated by nothing and no one.
Ritchson stars as the title character in the series, produced by Amazon Studios, Skydance Television and Paramount Television Studios. The first season, written, exec produced and showrun by Nick Santora, is based on the first Jack Reacher novel, The Killing Floor, which is set in Georgia.
Goodwin will star as Chief Detective Oscar Finlay, a Harvard-educated, tweed suit-wearing Northerner who recently relocated to the small town of Margrave to take a job in the Margrave Police Department.
Fitzgerald stars as Roscoe Conklin, who was born and raised in Margrave and is a smart and proud officer in the Margrave Pd. She is resilient and is intimidated by nothing and no one.
- 3/22/2021
- by Nellie Andreeva
- Deadline Film + TV
Genesis offered fans a 50-second sneak peek of their upcoming reunion tour last week along with an announcement that it will now kick off September 15th at 3Arena in Dublin, Ireland. It’s the first glimpse the public has had of the band in action since the end of their 2007 Turn It On Again tour, and the first time we’ve seen Phil’s son Nic drumming for the band.
The footage seems to show them playing bits of various songs, though the only music we hear is a live...
The footage seems to show them playing bits of various songs, though the only music we hear is a live...
- 1/26/2021
- by Andy Greene
- Rollingstone.com
Redbox has launched Free On Demand, an ad-supported streaming destination promising hundreds of titles arriving weekly that are “curated to the tastes of Redbox audiences.”
Some of the initial titles are films like Trespass, Lord of War, The Illusionist, Haywire and Maggie. Redbox said the mix will cover “fan favorites, cult classics and popular titles.”
As of now, Redbox Free On Demand is currently available on Roku, iOS, Android mobile and TVs, and Vizio, with LG, Xbox, Samsung, and Google Chromecast among the platforms to be added soon.
“Today’s audiences are fueling an unprecedented demand for premium quality on-demand content that is free with advertising. We expect to see continued growth in AVOD, making Free on Demand a significant addition to our free streaming platform,” Chris Yates, Gm of Redbox On Demand, said in a press release.
While most consumers know Chicago-based Redbox for its 41,000 disc-dispensing kiosks, which have...
Some of the initial titles are films like Trespass, Lord of War, The Illusionist, Haywire and Maggie. Redbox said the mix will cover “fan favorites, cult classics and popular titles.”
As of now, Redbox Free On Demand is currently available on Roku, iOS, Android mobile and TVs, and Vizio, with LG, Xbox, Samsung, and Google Chromecast among the platforms to be added soon.
“Today’s audiences are fueling an unprecedented demand for premium quality on-demand content that is free with advertising. We expect to see continued growth in AVOD, making Free on Demand a significant addition to our free streaming platform,” Chris Yates, Gm of Redbox On Demand, said in a press release.
While most consumers know Chicago-based Redbox for its 41,000 disc-dispensing kiosks, which have...
- 12/8/2020
- by Dade Hayes
- Deadline Film + TV
Rebecca Drysdale has exited as head writer of The Tonight Show.
This comes just over six months after she was named head writer on the NBC late-night show and follows a busy week for the Jimmy Fallon-hosted show, which earlier this week saw showrunner Gavin Purcell leave, replaced by Jamie Granet-Bederman, and Fallon himself extend his contract with the network.
Drysdale, in a private Facebook post first picked up by the Chicago Sun-Times, said that the decision to leave was mutual. “They made it clear that I was not a good fit for the show, and I did not disagree. I wish it had gone differently and I had been able to be what they needed but that is not how it shook out,” she wrote.
Drysdale added that she decided to never to write another sketch about Donald Trump again, saying that she doesn’t believe making fun...
This comes just over six months after she was named head writer on the NBC late-night show and follows a busy week for the Jimmy Fallon-hosted show, which earlier this week saw showrunner Gavin Purcell leave, replaced by Jamie Granet-Bederman, and Fallon himself extend his contract with the network.
Drysdale, in a private Facebook post first picked up by the Chicago Sun-Times, said that the decision to leave was mutual. “They made it clear that I was not a good fit for the show, and I did not disagree. I wish it had gone differently and I had been able to be what they needed but that is not how it shook out,” she wrote.
Drysdale added that she decided to never to write another sketch about Donald Trump again, saying that she doesn’t believe making fun...
- 11/5/2020
- by Peter White
- Deadline Film + TV
As one of the most enduringly popular characters in any form of media, it shouldn’t come as a surprise that fans across the world celebrate Batman Day every year. Since first appearing in the pages of Detective Comics all the way back in 1939, the Dark Knight has been constantly reinvented and updated for the modern age, but has always remained a relevant and integral fabric of pop culture.
The first Batman Day was held in July 2014 to celebrate the character’s 75th anniversary and coincide with that year’s San Diego Comic-Con. Since then, though, the festivities have been moved to September, and tomorrow marks 2020’s edition. Fittingly, there’s been a lot of huge news surrounding the Caped Crusader recently with Michael Keaton and Ben Affleck both returning to suit up in The Flash, while Matt Reeves dropped the first full-length trailer for The Batman at DC FanDome...
The first Batman Day was held in July 2014 to celebrate the character’s 75th anniversary and coincide with that year’s San Diego Comic-Con. Since then, though, the festivities have been moved to September, and tomorrow marks 2020’s edition. Fittingly, there’s been a lot of huge news surrounding the Caped Crusader recently with Michael Keaton and Ben Affleck both returning to suit up in The Flash, while Matt Reeves dropped the first full-length trailer for The Batman at DC FanDome...
- 9/18/2020
- by Scott Campbell
- We Got This Covered
Warner Bros.’ 10th anniversary rerelease of Christopher Nolan’s “Inception” topped the U.K. and Ireland box office with £207,675, according to final numbers released by Comscore.
“Inception” released midweek on Aug. 12 at 313 sites, ahead of Nolan’s keenly anticipated Aug. 26 bow for “Tenet.”
Russell Crowe’s road rage holdover “Unhinged,” released by Altitude Film Distribution, collected £136,347 from 282 locations in its third week, a surge of 16% from the previous week. “Unhinged” has collected a total of £675,916 so far.
Matteo Garrone’s “Pinocchio,” starring Roberto Benigni, distributed by Vertigo U.K. debuted in third position with £108,626 from 272 sites.
Among the other new releases, Breakout’s Dublin film festival winner “Broken Law” opened in sixth place with £52,748 from 35 sites, while another festival favorite Picturehouse Entertainment’s “Babyteeth” bowed in eighth position with £38,977 from 139 locations.
The biggest gainers of the week as more cinemas opened their doors were holdovers, Disney’s “Onward” and Vertigo’s “100% Wolf,...
“Inception” released midweek on Aug. 12 at 313 sites, ahead of Nolan’s keenly anticipated Aug. 26 bow for “Tenet.”
Russell Crowe’s road rage holdover “Unhinged,” released by Altitude Film Distribution, collected £136,347 from 282 locations in its third week, a surge of 16% from the previous week. “Unhinged” has collected a total of £675,916 so far.
Matteo Garrone’s “Pinocchio,” starring Roberto Benigni, distributed by Vertigo U.K. debuted in third position with £108,626 from 272 sites.
Among the other new releases, Breakout’s Dublin film festival winner “Broken Law” opened in sixth place with £52,748 from 35 sites, while another festival favorite Picturehouse Entertainment’s “Babyteeth” bowed in eighth position with £38,977 from 139 locations.
The biggest gainers of the week as more cinemas opened their doors were holdovers, Disney’s “Onward” and Vertigo’s “100% Wolf,...
- 8/18/2020
- by Naman Ramachandran
- Variety Film + TV
The African American Film Critics Association (Aafca) has set a virtual edition for their 2nd Annual Aafca TV Honors. The private celebration will take place on August 22.
Hosted by comedian and actress Aida Rodriguez, Aafca will to honor a number of outstanding shows, creators and performers in TV including Curtis “50 Cent” Jackson’s For Life for Best Drama and HBO’s Insecure for Best Comedy.
Viola Davis (How To Get Away with Murder) and Sterling K. Brown (This is Us) will be honored as Best Actress and Best Actor respectively while Hollywood‘s Jeremy Pope and Laura Harrier will be honored as Breakout Performers.
In addition, Rashida Jones will present Black-ish and #blackAF creator Kenya Barris with the Icon Award for his groundbreaking contributions to television.
A full list of honorees can be read below:
TV Icon – Kenya Barris
Inclusion Award – MacRo Television Studios
Best Actress – Viola Davis, How To Get Away With Murder...
Hosted by comedian and actress Aida Rodriguez, Aafca will to honor a number of outstanding shows, creators and performers in TV including Curtis “50 Cent” Jackson’s For Life for Best Drama and HBO’s Insecure for Best Comedy.
Viola Davis (How To Get Away with Murder) and Sterling K. Brown (This is Us) will be honored as Best Actress and Best Actor respectively while Hollywood‘s Jeremy Pope and Laura Harrier will be honored as Breakout Performers.
In addition, Rashida Jones will present Black-ish and #blackAF creator Kenya Barris with the Icon Award for his groundbreaking contributions to television.
A full list of honorees can be read below:
TV Icon – Kenya Barris
Inclusion Award – MacRo Television Studios
Best Actress – Viola Davis, How To Get Away With Murder...
- 8/5/2020
- by Dino-Ray Ramos
- Deadline Film + TV
Alex White.
Babyteeth producer Alex White has joined Causeway Films as a development producer.
White will work with company co-founders Samantha Jennings and Kristina Ceyton to advance the company’s slate while it heads into simultaneous production on two feature films: Del Kathryn Barton’s drama Puff and Goran Stolevski’s supernatural You Won’t Be Alone.
Babyteeth is currently in cinemas after its world premiere in competition at Venice last year, where it received rave reviews. The bittersweet comedy directed by Shannon Murphy was White’s debut feature, following on from successful short films such as Trespass and Florence Has Left the Building. The producer spent years working alongside Jan Chapman (who EP’d Babyteeth), and was also the associate producer on Simon Stone’s The Daughter.
Other projects on the Causeway Films slate include Danny and Michael Philippou’s Talk to Me, due to go into production in...
Babyteeth producer Alex White has joined Causeway Films as a development producer.
White will work with company co-founders Samantha Jennings and Kristina Ceyton to advance the company’s slate while it heads into simultaneous production on two feature films: Del Kathryn Barton’s drama Puff and Goran Stolevski’s supernatural You Won’t Be Alone.
Babyteeth is currently in cinemas after its world premiere in competition at Venice last year, where it received rave reviews. The bittersweet comedy directed by Shannon Murphy was White’s debut feature, following on from successful short films such as Trespass and Florence Has Left the Building. The producer spent years working alongside Jan Chapman (who EP’d Babyteeth), and was also the associate producer on Simon Stone’s The Daughter.
Other projects on the Causeway Films slate include Danny and Michael Philippou’s Talk to Me, due to go into production in...
- 8/5/2020
- by jkeast
- IF.com.au
‘Babyteeth’. (Photo: Lisa Tomasetti)
Alex White and Jan Chapman went to see Rita Kalnejais’ hit play Babyteeth at Sydney’s Belvoir St Theatre on the same night back in 2012. By interval, the two had made a beeline to each other: they knew it had to be adapted for screen.
At that stage, White had already been working for Chapman for several years. For some time, The Piano producer had been trying to help her find her first feature – White having produced successful shorts such as Trespass and Florence Has Left the Building.
“Jan was going ‘This is it, this is it’,” White tells If.
Both were drawn to the play’s “raw, visceral, irreverent and heartbreaking” tone and dialogue. The play was set on a revolve, with distinctive scenes and sound design, allowing White to clearly sense how it would feel on screen.
“It was just a very vivid experience...
Alex White and Jan Chapman went to see Rita Kalnejais’ hit play Babyteeth at Sydney’s Belvoir St Theatre on the same night back in 2012. By interval, the two had made a beeline to each other: they knew it had to be adapted for screen.
At that stage, White had already been working for Chapman for several years. For some time, The Piano producer had been trying to help her find her first feature – White having produced successful shorts such as Trespass and Florence Has Left the Building.
“Jan was going ‘This is it, this is it’,” White tells If.
Both were drawn to the play’s “raw, visceral, irreverent and heartbreaking” tone and dialogue. The play was set on a revolve, with distinctive scenes and sound design, allowing White to clearly sense how it would feel on screen.
“It was just a very vivid experience...
- 7/24/2020
- by jkeast
- IF.com.au
Joel Schumacher, the colorful director of 23 feature films including Flatliners, Falling Down and perhaps the two most polarizing entries in the Batman franchise, has died at the age of 80 after a year-long battle with cancer, according to Deadline.
Other films on his resume included one of the defining movies of the “Brat Pack” era, St. Elmo’s Fire, along with the John Grisham adaptations A Time to Kill and The Client, the highly influential horror film The Lost Boys and the screen version of the long-running Broadway musical The Phantom of the Opera.
But Schumacher was arguably best known for directing 1995’s Batman Forever and its follow-up, 1997’s Batman and Robin, which veered the series away from the dark, psychologically twisted tone established on Tim Burton’s Batman (1989) and Batman Returns (1992) and into campier territory closer in spirit to the 1960s TV show.
Schumacher was born in New York City on...
Other films on his resume included one of the defining movies of the “Brat Pack” era, St. Elmo’s Fire, along with the John Grisham adaptations A Time to Kill and The Client, the highly influential horror film The Lost Boys and the screen version of the long-running Broadway musical The Phantom of the Opera.
But Schumacher was arguably best known for directing 1995’s Batman Forever and its follow-up, 1997’s Batman and Robin, which veered the series away from the dark, psychologically twisted tone established on Tim Burton’s Batman (1989) and Batman Returns (1992) and into campier territory closer in spirit to the 1960s TV show.
Schumacher was born in New York City on...
- 6/22/2020
- by Don Kaye
- Den of Geek
It is with deep sadness that we share the news that filmmaker Joel Schumacher has passed away at the age of 80.
Multiple sources, including Variety, confirm the news that Schumacher has passed away from cancer, which he battled over the past year.
Schumacher began his career in filmmaking as a costume designer and production designer before stepping behind the camera as a director. Over the course of five decades, Schumacher brought his unique visual eye to a truly eclectic set of films, including St. Elmo's Fire, The Lost Boys, Flatliners, Batman Forever, Batman & Robin, 8Mm, Phone Booth, The Phantom of the Opera (2004), The Number 23, Blood Creek, and Trespass, to name just a few.
Although his films spanned diverse genres, they all shared the common denominator of being visual showcases that linger long in the memory after their end credits roll.
For horror fans in particular, The Lost Boys...
Multiple sources, including Variety, confirm the news that Schumacher has passed away from cancer, which he battled over the past year.
Schumacher began his career in filmmaking as a costume designer and production designer before stepping behind the camera as a director. Over the course of five decades, Schumacher brought his unique visual eye to a truly eclectic set of films, including St. Elmo's Fire, The Lost Boys, Flatliners, Batman Forever, Batman & Robin, 8Mm, Phone Booth, The Phantom of the Opera (2004), The Number 23, Blood Creek, and Trespass, to name just a few.
Although his films spanned diverse genres, they all shared the common denominator of being visual showcases that linger long in the memory after their end credits roll.
For horror fans in particular, The Lost Boys...
- 6/22/2020
- by Derek Anderson
- DailyDead
In some shocking and sad news, it was announced today that prolific director Joel Schumacher – probably most notable for his two DC movies, 1995’s Batman Forever and 1997’s Batman & Robin – has passed away at the age of 80 after a year-long battle with cancer. This news was revealed by his representatives at ID PR.
Schumacher started his career in the fashion industry before crossing over to the movie business to work as a costume designer. His real passion was for filmmaking, though, which he successfully transitioned into after a stint as a screenwriter. His debut directorial effort was 1981’s The Incredible Shrinking Woman, starring Lily Tomlin.
His first major hit was 1985 coming-of-age drama St. Elmo’s Fire. He then followed that up with another smash – 1987’s cult vampire flick The Lost Boys. It’s no surprise, then, that he was Warner Bros.’ top choice to replace Tim Burton as the custodian...
Schumacher started his career in the fashion industry before crossing over to the movie business to work as a costume designer. His real passion was for filmmaking, though, which he successfully transitioned into after a stint as a screenwriter. His debut directorial effort was 1981’s The Incredible Shrinking Woman, starring Lily Tomlin.
His first major hit was 1985 coming-of-age drama St. Elmo’s Fire. He then followed that up with another smash – 1987’s cult vampire flick The Lost Boys. It’s no surprise, then, that he was Warner Bros.’ top choice to replace Tim Burton as the custodian...
- 6/22/2020
- by Christian Bone
- We Got This Covered
Joel Schumacher, the outspoken and shameless American filmmaker whose often flamboyant productions have become cult classics, died Monday morning at the age of 80. He passed away peacefully after a year-long battle with cancer, Schumacher’s representatives confirmed to IndieWire. His last efforts behind the camera were directing two episodes of the Netflix series “House of Cards” in 2013, though he’d since continued to regale with his unfiltered stories of Hollywood lore, most recently in a 2019 profile of the filmmaker in New York Magazine.
Born in New York City, Schumacher studied at Parsons New School for Design and the Fashion Institute of Technology — an education that informed his dazzling visual style as a filmmaker — before moving to Los Angeles to study at UCLA. His earliest credits in Hollywood included as costume designer on “Play It as It Lays” and Woody Allen’s “Sleeper” and “Interiors,” and as screenwriter of cult favorites “Sparkle,...
Born in New York City, Schumacher studied at Parsons New School for Design and the Fashion Institute of Technology — an education that informed his dazzling visual style as a filmmaker — before moving to Los Angeles to study at UCLA. His earliest credits in Hollywood included as costume designer on “Play It as It Lays” and Woody Allen’s “Sleeper” and “Interiors,” and as screenwriter of cult favorites “Sparkle,...
- 6/22/2020
- by Ryan Lattanzio
- Indiewire
Joel Schumacher, the outspoken and shameless American filmmaker whose often flamboyant productions have become cult classics, died Monday morning at the age of 80. He passed away peacefully after a year-long battle with cancer, Schumacher’s representatives confirmed to IndieWire. His last efforts behind the camera were directing two episodes of the Netflix series “House of Cards” in 2013, though he’d since continued to regale with his unfiltered stories of Hollywood lore, most recently in a 2019 profile of the filmmaker in New York Magazine.
Born in New York City, Schumacher studied at Parsons New School for Design and the Fashion Institute of Technology — an education that informed his dazzling visual style as a filmmaker — before moving to Los Angeles to study at UCLA. His earliest credits in Hollywood included as costume designer on “Play It as It Lays” and Woody Allen’s “Sleeper” and “Interiors,” and as screenwriter of cult favorites “Sparkle,...
Born in New York City, Schumacher studied at Parsons New School for Design and the Fashion Institute of Technology — an education that informed his dazzling visual style as a filmmaker — before moving to Los Angeles to study at UCLA. His earliest credits in Hollywood included as costume designer on “Play It as It Lays” and Woody Allen’s “Sleeper” and “Interiors,” and as screenwriter of cult favorites “Sparkle,...
- 6/22/2020
- by Ryan Lattanzio
- Thompson on Hollywood
Joel Schumacher, who directed some two dozen films including Batman Forever, Batman & Robin, Brat Pack pics St. Elmo’s Fire and The Lost Boys along with Falling Down and John Grisham adaptations The Client and A Time to Kill, died today. He was 80.
His publicists at ID PR said he had a yearlong battle with cancer.
Schumacher was revered as one of Hollywood’s great storytellers. He had enormous charm and wit and could walk onto a tense set and instantly change everyone’s mood. It was magic chemistry.
His credits also include the 1980s pics D.C. Cab and The Incredible Shrinking Woman. He also helmed The Phantom of the Opera, Flatliners, Flawless, 8Mm Phone Booth, Trespass and most recently two 2013 episodes of Netflix’s House of Cards.
Notable Hollywood & Entertainment Industry Deaths In 2020: Photo Gallery
The native New Yorker also wrote the 1976 low-budget comedy Car Wash and the...
His publicists at ID PR said he had a yearlong battle with cancer.
Schumacher was revered as one of Hollywood’s great storytellers. He had enormous charm and wit and could walk onto a tense set and instantly change everyone’s mood. It was magic chemistry.
His credits also include the 1980s pics D.C. Cab and The Incredible Shrinking Woman. He also helmed The Phantom of the Opera, Flatliners, Flawless, 8Mm Phone Booth, Trespass and most recently two 2013 episodes of Netflix’s House of Cards.
Notable Hollywood & Entertainment Industry Deaths In 2020: Photo Gallery
The native New Yorker also wrote the 1976 low-budget comedy Car Wash and the...
- 6/22/2020
- by Erik Pedersen
- Deadline Film + TV
The many clones Tatiana Maslany played on Orphan Black banded together to fight Neolution, and this was when it mainly was a belief for people who’d undergone technological enhancements, like tails. The Immortality or Bust trailer follows the man who invented volcano surfing as he rides a transhuman wave to Washington.
On The Six Million Dollar Man, Lee Major’s astronaut Steve Austin was rebuilt into the world’s first bionic man. Government scientists made him “better, stronger and faster” through biotechnical enhancements. The man at the center of Immortality or Bust wants to take that one step further. “Do you want to live forever and become a cyborg,” asks the official website. “In the last Presidential election, one man embarked on an impossible expedition to defeat aging and forever change the human being through science. Running for President as the Transhumanist Party nominee, Zoltan Istvan took his message to bio hacking labs,...
On The Six Million Dollar Man, Lee Major’s astronaut Steve Austin was rebuilt into the world’s first bionic man. Government scientists made him “better, stronger and faster” through biotechnical enhancements. The man at the center of Immortality or Bust wants to take that one step further. “Do you want to live forever and become a cyborg,” asks the official website. “In the last Presidential election, one man embarked on an impossible expedition to defeat aging and forever change the human being through science. Running for President as the Transhumanist Party nominee, Zoltan Istvan took his message to bio hacking labs,...
- 6/14/2020
- by Alec Bojalad
- Den of Geek
Today would have marked the 65th birthday for the late, great, Bill Paxton. The actor sadly passed away in 2017 following complications from open heart surgery, but despite leaving us far too soon, his career spanned nearly 40 years with performances in some of the biggest movies in history. He also has the rare distinction of being the only person to be killed by a Terminator, Xenomorph and Predator.
His role as “Punk Leader” in The Terminator was a turning point in his career. Yes, he dies within the first 10 minutes of the movie at the hands of a very naked Arnold Schwarzenegger, but that part proved to be a seminal moment for him because it was the first of many times working with director James Cameron.
Cameron definitely saw something in Paxton because the director cast him as Private William Hudson in Aliens two years later. It’s perhaps his most...
His role as “Punk Leader” in The Terminator was a turning point in his career. Yes, he dies within the first 10 minutes of the movie at the hands of a very naked Arnold Schwarzenegger, but that part proved to be a seminal moment for him because it was the first of many times working with director James Cameron.
Cameron definitely saw something in Paxton because the director cast him as Private William Hudson in Aliens two years later. It’s perhaps his most...
- 5/17/2020
- by Ryan Beltram
- We Got This Covered
This week marks the 50th anniversary of the Kent State massacre, in which the Ohio National Guard murdered four student protestors during an anti–Vietnam War demonstration on campus. “For a moment, time stood still,” Devo’s Jerry Casale told Rolling Stone in a chilling recounting of the events of that day. “It was like a Scorsese film, like Raging Bull, where suddenly Jake Lamotta is getting hit in the face and it goes into slow motion. And then it snaps back just like a Hollywood movie, and, bang! Back to real time.
- 5/5/2020
- by Andy Greene
- Rollingstone.com
This Star Wars: The Clone Wars article contains spoilers.
At last, the Clone Wars have come to an end. “Victory and Death” is an action-packed episode that not only crosses over with Revenge of the Sith but shows us the rise of the Galactic Empire from a new perspective. As Ahsoka and Rex try to escape Order 66 with their lives, we’re treated to a few easter eggs and callbacks to other parts of the Star Wars saga.
Here’s the stuff we found in the episode:
Darth Vader
The biggest moment of the episode comes in the final scene when the character we’d all been waiting for finally makes his first and only appearance in The Clone Wars. Darth Vader walks into the scene, as menacing as ever, to inspect the wreckage of the Republic cruiser. He finds Ahsoka’s lightsaber and takes it back with him to...
At last, the Clone Wars have come to an end. “Victory and Death” is an action-packed episode that not only crosses over with Revenge of the Sith but shows us the rise of the Galactic Empire from a new perspective. As Ahsoka and Rex try to escape Order 66 with their lives, we’re treated to a few easter eggs and callbacks to other parts of the Star Wars saga.
Here’s the stuff we found in the episode:
Darth Vader
The biggest moment of the episode comes in the final scene when the character we’d all been waiting for finally makes his first and only appearance in The Clone Wars. Darth Vader walks into the scene, as menacing as ever, to inspect the wreckage of the Republic cruiser. He finds Ahsoka’s lightsaber and takes it back with him to...
- 5/4/2020
- by John Saavedra
- Den of Geek
This article contains major Hollywood spoilers. You can find our easter egg guide for the previous episode here.
Don’t you just love a happy ending? Ryan Murphy clearly did with regards to Hollywood, and while we had mixed ideas of our own about that conclusion, there is no denying how gratifying it is to see representation shared with those whom society marginalized for years and centuries. There is a real sugar rush of “what if” good cheer about the series’ version of Oscar night 1948. Here are some of the facts the series changed, and some other shout-outs it enjoyed in its closing moments.
Hollywood Episode 7
-The Meg editor admits he didn’t shtup Gloria Swanson. He only got to third base while she was on the rebound after Joe Kennedy dumped her. This would’ve placed the screening room action around 1928 or ’29—an affair Swanson denied until she finally admitted it in her 1980 autobiography.
Don’t you just love a happy ending? Ryan Murphy clearly did with regards to Hollywood, and while we had mixed ideas of our own about that conclusion, there is no denying how gratifying it is to see representation shared with those whom society marginalized for years and centuries. There is a real sugar rush of “what if” good cheer about the series’ version of Oscar night 1948. Here are some of the facts the series changed, and some other shout-outs it enjoyed in its closing moments.
Hollywood Episode 7
-The Meg editor admits he didn’t shtup Gloria Swanson. He only got to third base while she was on the rebound after Joe Kennedy dumped her. This would’ve placed the screening room action around 1928 or ’29—an affair Swanson denied until she finally admitted it in her 1980 autobiography.
- 5/3/2020
- by David Crow
- Den of Geek
Former Runaways frontwoman Cherie Currie will digitally release her long-awaited, star-studded album, Blvds of Splendor, via former Runaways guitarist Joan Jett’s Blackheart Records on April 28th.
The album previously came out as a vinyl-only release for Record Store Day last year, but didn’t get a wide release; the digital version includes three bonus tracks.
Currie first began teasing the album — which features guest appearances by Billy Corgan, Guns N’ Roses’ Slash, Duff McKagan, Matt Sorum, Juliette Lewis and Brody Dalle, among others — in 2016. She shelved the project at...
The album previously came out as a vinyl-only release for Record Store Day last year, but didn’t get a wide release; the digital version includes three bonus tracks.
Currie first began teasing the album — which features guest appearances by Billy Corgan, Guns N’ Roses’ Slash, Duff McKagan, Matt Sorum, Juliette Lewis and Brody Dalle, among others — in 2016. She shelved the project at...
- 4/8/2020
- by Kory Grow
- Rollingstone.com
The penultimate episode of Star Wars Resistance wants to inspire the need to fight, but doesn’t dig deep enough.
facebook
twitter
tumblr
This Star Wars Resistance review contains spoilers.
Star Wars Resistance Season 2 Episode 17
There’s a point in “Rebuilding the Resistance” where Tierny calls Tam into her office. She praises Tam in that coy, sly, manipulative way that she’s been doing all season. She then mentions that she wasn’t born into the First Order. It’s an intriguing statement, made more intriguing when she then says she had to “scrape by” for years in the New Republic. “Scrape” does a lot of heavy lifting here. Was she harmed or disillusioned by the New Republic’s “shining beacon” ideology, its false sense of an “American Dream” that left her pinching pennies or worse?
But Tierny never gets into details about her life or upbringing. She just jumps...
tumblr
This Star Wars Resistance review contains spoilers.
Star Wars Resistance Season 2 Episode 17
There’s a point in “Rebuilding the Resistance” where Tierny calls Tam into her office. She praises Tam in that coy, sly, manipulative way that she’s been doing all season. She then mentions that she wasn’t born into the First Order. It’s an intriguing statement, made more intriguing when she then says she had to “scrape by” for years in the New Republic. “Scrape” does a lot of heavy lifting here. Was she harmed or disillusioned by the New Republic’s “shining beacon” ideology, its false sense of an “American Dream” that left her pinching pennies or worse?
But Tierny never gets into details about her life or upbringing. She just jumps...
- 1/19/2020
- Den of Geek
After Hurricane Katrina turned New Orleans into a wasteland, visiting film and television productions looked further north for their Louisiana gothic vibes. Over the years, the riverfront city of Shreveport, with a population of some 260,000 (including the adjacent Bossier City), has been a popular location, the backdrop for supernatural thrillers, multiple actioners, comedies and everything Nic Cage. There’s been a lot less such activity in recent years, as the Crescent City got back on its feet […]...
- 10/14/2019
- by Steve Dollar
- Filmmaker Magazine-Director Interviews
After Hurricane Katrina turned New Orleans into a wasteland, visiting film and television productions looked further north for their Louisiana gothic vibes. Over the years, the riverfront city of Shreveport, with a population of some 260,000 (including the adjacent Bossier City), has been a popular location, the backdrop for supernatural thrillers, multiple actioners, comedies and everything Nic Cage. There’s been a lot less such activity in recent years, as the Crescent City got back on its feet […]...
- 10/14/2019
- by Steve Dollar
- Filmmaker Magazine - Blog
Hello, readers, and welcome to a new year of releases! We may already be well into the month of January, but this is our first official weekly Blu-ray and DVD recap of 2019, since last week was a quiet one on the home media front, and we already have a ton of titles to get excited for this Tuesday. If you happened to miss Hell Fest when it was in theaters last year, you can now catch up with Gregory Plotkin’s slasher on various formats, and as far as recent genre series are concerned, the first seasons of both The Purge and Castle Rock are making their way home tomorrow as well.
Scream Factory is kicking off another great year of releases with the Nic Cage thriller 8Mm, and Scorpion Releasing has put together a special edition Blu for Blind Date that cult fans are going to want to pick up.
Scream Factory is kicking off another great year of releases with the Nic Cage thriller 8Mm, and Scorpion Releasing has put together a special edition Blu for Blind Date that cult fans are going to want to pick up.
- 1/8/2019
- by Heather Wixson
- DailyDead
"You can't prepare for where the truth will take you." Coming to Blu-ray on January 8th from Scream Factory is 8Mm, the 1999 thriller starring Nicolas Cage, Joaquin Phoenix, and James Gandolfini. Ahead of the film's new home media release, Scream Factory revealed that this Blu-ray will include one new special feature that should thrill fans of 8Mm: a new interview with director/producer Joel Schumacher.
Press Release: Academy Award®-winner Nicolas Cage stars in 8Mm, an electrifying thriller about one man’s obsessive search for the truth about a six-year-old crime and his ultimate discovery of the truth about himself. On January 8, 2019, Scream Factory™ is proud to present 8Mm on Blu-ray™. Directed by Joel Schumacher and written by Andrew Kevin Walker, the film stars Nicolas Cage, Joaquin Phoenix, James Gandolfini, Peter Stormare, Anthony Heald, and Chris Bauer. A must-have for movie collectors and thriller enthusiasts, this definitive Blu-ray release contains special bonus content.
Press Release: Academy Award®-winner Nicolas Cage stars in 8Mm, an electrifying thriller about one man’s obsessive search for the truth about a six-year-old crime and his ultimate discovery of the truth about himself. On January 8, 2019, Scream Factory™ is proud to present 8Mm on Blu-ray™. Directed by Joel Schumacher and written by Andrew Kevin Walker, the film stars Nicolas Cage, Joaquin Phoenix, James Gandolfini, Peter Stormare, Anthony Heald, and Chris Bauer. A must-have for movie collectors and thriller enthusiasts, this definitive Blu-ray release contains special bonus content.
- 11/28/2018
- by Derek Anderson
- DailyDead
The Complete Works Ep. 60 The Complete Works is an in-depth, introspective, and, quite frankly, insane idea – FilmBook contributor Mike Smith and his co-host Mike DeCriscio are going to take a look at every film in the filmography of Nicolas Cage, one crazy screaming scene at a time. This week, Mike and [...]
Continue reading: The Complete Works Ep. 60: Nicolas Cage – Trespass (2011)...
Continue reading: The Complete Works Ep. 60: Nicolas Cage – Trespass (2011)...
- 9/27/2018
- by Michael Smith
- Film-Book
Paris-based sales house Celluloid Dreams has boarded Australian comedy “Babyteeth.’ The film stars Ben Mendelsohn and Essie Davis and is the feature directorial debut of Shannon Murphy. Celluloid will pitch the film at next week’s Cannes Film Market.
The story involves a couple whose seriously ill teenage daughter has fallen madly in love with a drug dealer. The girl doesn’t want to play it safe any more, morals go out the window, and the family’s friends and neighbors get sucked into the maelstrom. The script was based on a successful stage play by Rita Kalnejais, which debuted at Sydney’s Belvoir theater in 2012.
“Babyteeth” is produced by Alex White and executive produced by Jan Chapman. It is a Whitefalk Films production with major production investment from Screen Australia, in association with Create Nsw, and was financed with the support of WeirAnderson.com, Whitefalk Films, Jan Chapman Films and Spectrum Films.
The story involves a couple whose seriously ill teenage daughter has fallen madly in love with a drug dealer. The girl doesn’t want to play it safe any more, morals go out the window, and the family’s friends and neighbors get sucked into the maelstrom. The script was based on a successful stage play by Rita Kalnejais, which debuted at Sydney’s Belvoir theater in 2012.
“Babyteeth” is produced by Alex White and executive produced by Jan Chapman. It is a Whitefalk Films production with major production investment from Screen Australia, in association with Create Nsw, and was financed with the support of WeirAnderson.com, Whitefalk Films, Jan Chapman Films and Spectrum Films.
- 5/2/2018
- by Patrick Frater
- Variety Film + TV
Bittersweet comedy is adapted from Rita Kalnejais’s critically-acclaimed play.
Celluloid Dreams has boarded world sales on Australian director Shannon Murphy’s debut feature Babyteeth, starring Ben Mendelsohn and Essie Davis as the parents of a seriously-ill teenage daughter who falls for a drug addict and dealer.
The bittersweet comedy, which is entering pre-production, is adapted from the hit play by Australian playwright Rita Kalnejais, whose work has enjoyed successful theatre runs at home and in the UK.
Rising Australian producer Alex White is producing, under her burgeoning Sydney-based Whitefalk Films banner, with the veteran, Oscar-nominated producer Jan Chapman on board as executive producer.
Celluloid Dreams has boarded world sales on Australian director Shannon Murphy’s debut feature Babyteeth, starring Ben Mendelsohn and Essie Davis as the parents of a seriously-ill teenage daughter who falls for a drug addict and dealer.
The bittersweet comedy, which is entering pre-production, is adapted from the hit play by Australian playwright Rita Kalnejais, whose work has enjoyed successful theatre runs at home and in the UK.
Rising Australian producer Alex White is producing, under her burgeoning Sydney-based Whitefalk Films banner, with the veteran, Oscar-nominated producer Jan Chapman on board as executive producer.
- 5/2/2018
- by Melanie Goodfellow
- ScreenDaily
Composer Ronit Kirchman felt like she’d “hit the jackpot” with “The Sinner” because “the plot unfolds a little bit like an onion,” which allowed for musical development. This USA series stars Jessica Biel as Cora Tannetti, a young mother who brutally murders a man for no apparent reason. As a police detective (Bill Pullman) searches for a motive, he uncovers hidden secrets in the woman’s past. “She herself is unaware of big portions of her memory and psyche due to trauma,” says Kirchman. So as the series goes along “you actually get to connect what shaped the psychology of this person,” which “opens up a whole area for music to speak as the voice of that.” Watch our exclusive video interview with Kirchman above.
See ‘The Sinner’ competes as a limited series at 2018 Emmys and will be back for season 2
Kirchman wanted her score to evolve as the...
See ‘The Sinner’ competes as a limited series at 2018 Emmys and will be back for season 2
Kirchman wanted her score to evolve as the...
- 4/24/2018
- by Zach Laws
- Gold Derby
Author: Cai Ross
The summer movie season of 1992 opened under a cloud; a dark cloud from the still-smouldering buildings that had burned to the ground during the La riots in April. Racial tension after the disastrous acquittal of Rodney King’s uniformed attackers had reached an all-time high and Hollywood appealed for calm.
Thus, in a touchingly bold demonstration of selfless generosity, Walter Hill’s unremarkable urban thriller, The Looters, was hastily withdrawn and held back until Christmas, re-christened Trespass (memorably starring two Bills – Paxton and Sadler – and a pair of Ices – T and Cube). Elsewhere, it was business as usual.
The Rodney King affair was briefly alluded to in Lethal Weapon 3, the second-biggest hit of the summer and one of only a handful of ‘sure things’ on the menu. Though there were mutterings about the dominance of sequels in the summer movie season, there were weird things afoot in most of the other returnees. Aside from Lethal Weapon 3 – which was essentially a watered down Lethal Weapon 2 with too much added Joe Pesci – the rest of the sequels veered off into strange tangents, with varying results.
Alien 3, for example strayed dangerously far from the template set down by the first two classics. Bravely, it has to be said, David Fincher tried to create a quasi-religious epic, following Scott’s horror movie and Cameron’s war film. Latterly, Fincher’s frustrations and behind-the-scenes interferences became legendary, but audiences didn’t click with his compromised vision and it became the first in a long line of Alien movies to fall a bit flat.
Another major sequel, Honey, I Blew Up The Baby was in fact the complete opposite of 1989’s Honey, I Shrunk The Kids, culminating in the spectacle of a 99 foot toddler stomping through Las Vegas. It was directed without enthusiasm by Grease director Randal Kleiser, reminding audiences once again why no one remembers who directed Grease.
It wasn’t just sequels that dared to be different. One of the strangest mainstream offerings of the year was Robert Zemeckis’s black comedy, Death Becomes Her, which might have been a delicious satire on America’s vain obsession with cosmetic surgery if only Bruce Willis had stopped shouting at everyone like he was trying to prevent a plane crash.
Back in the ‘90s, much more so than today, comedies were a vital part of the summer success story – an inexpensive sop for the grown-ups while their teenage kids watched things explode in Screen 7. There were high hopes for Steve Martin and Goldie Hawn’s Housesitter, which was only a medium-sized hit, despite the bit where Steve Martin sings ‘Tura Lura Lura’ to his dad, and the other bit when his falls over his couch.
Boomerang was a bigger hit and restored some credibility to Eddie Murphy’s career after the crippling one-two punches of Harlem Nights and Another 48 Hours. It was also responsible for one of the great ironic ‘First Dance At a Wedding’ songs, Boys II Men’s The End of The Road.
Nicolas Cage embarked on a three year long career as a romantic comedy star with the rather wonderful Honeymoon in Vegas, famed for its skydiving Elvis finale. Tom Hanks and his Big director Penny Marshall reteamed to great success with wartime baseball comedy A League of Their Own, which also saw Geena Davis giving a star performance and Madonna giving a bearable one. “There’s no crying in baseball!!!” was probably the most quoted line of the summer.
As with City Slickers in 1991, comedy provided the biggest sleeper hit of the summer: Sister Act, with Whoopi Goldberg excelling as a murder witness hiding out in a convent. As with City Slickers, an unwise sequel was hastily made and hastily forgotten. The original though, was the sixth biggest film of the year and is still going strong as a west-end show to this day.
It wasn’t just the many and varied comic tastes of adults that were appeased; semi-literate young people were also provided for by Encino Man (or California Man as we knew it, since we don’t know where Encino is. It’s in California). Noted for Brendan Fraser’s first stab at the big time, this grungy caveman caper will be of interest to young contemporary archeologists keen to investigate who or what Pauly Shore was.
Teenagers were also palmed off with a silly-sounding comedy called Buffy The Vampire Slayer, written by first-time screenwriter Joss Whedon. Starring Kristy Swanson as the eponymous heroine, but marketed as a vehicle for Beverly Hills 90210 heart-throb Luke Perry, the producers had hoped for a chunk of the Bill & Ted audience that Encino Man hadn’t swallowed up. Sadly, they had to make do with a long-running spin-off television show regularly cited as one of the greatest ever made. Gnarly.
The stalking killer thriller phenomenon that started with The Silence of The Lambs and Cape Fear echoed into 1992 with solid hits like Unlawful Entry and Single White Female. Even Patriot Games – a sort-of sequel to The Hunt For Red October with Harrison Ford rebooting Alec Baldwin’s Jack Ryan – for all its CIA espionage and partial understanding of “The Troubles” in Northern Ireland, was basically a slasher movie, with Sean Bean doing to Harrison Ford what Robert De Niro had done to Nick Nolte the year before. (Sean Bean dies, obviously).
Crimes against the Emerald Isle weren’t restricted to the gratuitous amounts of Clannad in Patriot Games. Tom Cruise’s Irish accent in Ron Howard’s Far and Away was the benchmark for all bad Irish accents until Brad Pitt graciously took the relay baton in The Devil’s Own. The film, shot in glorious 70mm was the biggest risk of the summer and proved to be the dampest squib, considering the star power of Cruise and (then-wife) Nicole Kidman. Despite looking ravishing, the script had all the depth of a bottle-cap. It desperately wanted to be a timeless classic in the David Lean tradition but held up against Unforgiven, which was released in August, Far & Away was shown up as the glorified Cbbc TV special it was.
Unforgiven came out of nowhere. Clint Eastwood’s previous movie, The Rookie, was somehow even worse than 1989’s Pink Cadillac. However, he’d been sitting on David Webb Peoples’ script for years until he was finally old enough to play William Munny. An extraordinary, mature and masterful critique of Western mythology, Unforgiven was hailed as Eastwood’s best work from the get-go, took the summer’s number five spot and would later win a handful of Oscars, including Pest Picture.
So who was the box office champion of Summer ’92? Well, that question was never in any doubt. Tim Burton’s Batman was the cultural phenomenon of 1989, redefining the parameters of box office limitations and merchandise licensing in a way not seen since Star Wars. Speculation as to who Batman would fight next and who would play him/her began immediately. Dustin Hoffman was touted to play The Penguin and Annette Bening was actually cast as Catwoman, before pregnancy forced her to drop out.
On the 19th of June, all was revealed when Batman Returns opened to a spectacular $45m weekend, $5m more than the original. Michael Keaton returned as The Caped Crusader (having split up with the creditably tight-lipped Vicki Vale), while not one but three villains put up their dukes. Danny DeVito played the Penguin as a deformed, subterranean leader of a gang of circus act drop-outs. Michelle Pfeiffer as Catwoman (perhaps her signature role) was transformed from a clumsy secretary into a vengeful whip-wielding dominatrix. Christopher Walken borrowed ‘Doc’ Emmett Brown’s hair to play new villain, Max Shreck.
Despite the enormous opening weekend, things took a downward turn almost immediately. Audiences expecting more of the same were treated to a dark, nose-bitingly violent combination of German Expressionism, kinky S&M and oversized rubber ducks. The box office the following week dropped by 40%, and there was further controversy when McDonalds had to deal with the ire of horrified parents across America, ‘tricked’ by their Batman Returns Happy Meals into taking their kids to watch Burton’s deranged fairy tale, pussy jokes et al.
The backlash (against what is now considered a unique high-water mark in the superhero genre), meant that Batman Returns wound up making $100m less than its predecessor and it placed third for the year, behind Home Alone 2: Lost in New York, a film so determined to give its audience a familiar experience that it simply changed the first film’s screen directions from Int. Kevin’S House – Night to Ext. New York – Night and reshot the entire script. (The box office crown for the year was taken eventually by Disney’s Aladdin.)
Warner Bros. took evasive action, hiring Joel Schumacher to sweeten the mix, which would help to restore Batman’s fortunes in 1995, before everything, literally absolutely everything went wrong in 1997 and the world had to wait for Christopher Nolan to finish attending Ucl, become a director and save the Dark Knight from the resultant ignominy.
Hollywood was given a crash course in the perils of straying too far from a winning formula in the summer of ’92. Sadly, for a while at least, it learned its lesson.
The post Tamed Aliens, Harmonic Nuns and a Leather Catsuit: Strange Tales from 1992’s Summer of Cinema appeared first on HeyUGuys.
The summer movie season of 1992 opened under a cloud; a dark cloud from the still-smouldering buildings that had burned to the ground during the La riots in April. Racial tension after the disastrous acquittal of Rodney King’s uniformed attackers had reached an all-time high and Hollywood appealed for calm.
Thus, in a touchingly bold demonstration of selfless generosity, Walter Hill’s unremarkable urban thriller, The Looters, was hastily withdrawn and held back until Christmas, re-christened Trespass (memorably starring two Bills – Paxton and Sadler – and a pair of Ices – T and Cube). Elsewhere, it was business as usual.
The Rodney King affair was briefly alluded to in Lethal Weapon 3, the second-biggest hit of the summer and one of only a handful of ‘sure things’ on the menu. Though there were mutterings about the dominance of sequels in the summer movie season, there were weird things afoot in most of the other returnees. Aside from Lethal Weapon 3 – which was essentially a watered down Lethal Weapon 2 with too much added Joe Pesci – the rest of the sequels veered off into strange tangents, with varying results.
Alien 3, for example strayed dangerously far from the template set down by the first two classics. Bravely, it has to be said, David Fincher tried to create a quasi-religious epic, following Scott’s horror movie and Cameron’s war film. Latterly, Fincher’s frustrations and behind-the-scenes interferences became legendary, but audiences didn’t click with his compromised vision and it became the first in a long line of Alien movies to fall a bit flat.
Another major sequel, Honey, I Blew Up The Baby was in fact the complete opposite of 1989’s Honey, I Shrunk The Kids, culminating in the spectacle of a 99 foot toddler stomping through Las Vegas. It was directed without enthusiasm by Grease director Randal Kleiser, reminding audiences once again why no one remembers who directed Grease.
It wasn’t just sequels that dared to be different. One of the strangest mainstream offerings of the year was Robert Zemeckis’s black comedy, Death Becomes Her, which might have been a delicious satire on America’s vain obsession with cosmetic surgery if only Bruce Willis had stopped shouting at everyone like he was trying to prevent a plane crash.
Back in the ‘90s, much more so than today, comedies were a vital part of the summer success story – an inexpensive sop for the grown-ups while their teenage kids watched things explode in Screen 7. There were high hopes for Steve Martin and Goldie Hawn’s Housesitter, which was only a medium-sized hit, despite the bit where Steve Martin sings ‘Tura Lura Lura’ to his dad, and the other bit when his falls over his couch.
Boomerang was a bigger hit and restored some credibility to Eddie Murphy’s career after the crippling one-two punches of Harlem Nights and Another 48 Hours. It was also responsible for one of the great ironic ‘First Dance At a Wedding’ songs, Boys II Men’s The End of The Road.
Nicolas Cage embarked on a three year long career as a romantic comedy star with the rather wonderful Honeymoon in Vegas, famed for its skydiving Elvis finale. Tom Hanks and his Big director Penny Marshall reteamed to great success with wartime baseball comedy A League of Their Own, which also saw Geena Davis giving a star performance and Madonna giving a bearable one. “There’s no crying in baseball!!!” was probably the most quoted line of the summer.
As with City Slickers in 1991, comedy provided the biggest sleeper hit of the summer: Sister Act, with Whoopi Goldberg excelling as a murder witness hiding out in a convent. As with City Slickers, an unwise sequel was hastily made and hastily forgotten. The original though, was the sixth biggest film of the year and is still going strong as a west-end show to this day.
It wasn’t just the many and varied comic tastes of adults that were appeased; semi-literate young people were also provided for by Encino Man (or California Man as we knew it, since we don’t know where Encino is. It’s in California). Noted for Brendan Fraser’s first stab at the big time, this grungy caveman caper will be of interest to young contemporary archeologists keen to investigate who or what Pauly Shore was.
Teenagers were also palmed off with a silly-sounding comedy called Buffy The Vampire Slayer, written by first-time screenwriter Joss Whedon. Starring Kristy Swanson as the eponymous heroine, but marketed as a vehicle for Beverly Hills 90210 heart-throb Luke Perry, the producers had hoped for a chunk of the Bill & Ted audience that Encino Man hadn’t swallowed up. Sadly, they had to make do with a long-running spin-off television show regularly cited as one of the greatest ever made. Gnarly.
The stalking killer thriller phenomenon that started with The Silence of The Lambs and Cape Fear echoed into 1992 with solid hits like Unlawful Entry and Single White Female. Even Patriot Games – a sort-of sequel to The Hunt For Red October with Harrison Ford rebooting Alec Baldwin’s Jack Ryan – for all its CIA espionage and partial understanding of “The Troubles” in Northern Ireland, was basically a slasher movie, with Sean Bean doing to Harrison Ford what Robert De Niro had done to Nick Nolte the year before. (Sean Bean dies, obviously).
Crimes against the Emerald Isle weren’t restricted to the gratuitous amounts of Clannad in Patriot Games. Tom Cruise’s Irish accent in Ron Howard’s Far and Away was the benchmark for all bad Irish accents until Brad Pitt graciously took the relay baton in The Devil’s Own. The film, shot in glorious 70mm was the biggest risk of the summer and proved to be the dampest squib, considering the star power of Cruise and (then-wife) Nicole Kidman. Despite looking ravishing, the script had all the depth of a bottle-cap. It desperately wanted to be a timeless classic in the David Lean tradition but held up against Unforgiven, which was released in August, Far & Away was shown up as the glorified Cbbc TV special it was.
Unforgiven came out of nowhere. Clint Eastwood’s previous movie, The Rookie, was somehow even worse than 1989’s Pink Cadillac. However, he’d been sitting on David Webb Peoples’ script for years until he was finally old enough to play William Munny. An extraordinary, mature and masterful critique of Western mythology, Unforgiven was hailed as Eastwood’s best work from the get-go, took the summer’s number five spot and would later win a handful of Oscars, including Pest Picture.
So who was the box office champion of Summer ’92? Well, that question was never in any doubt. Tim Burton’s Batman was the cultural phenomenon of 1989, redefining the parameters of box office limitations and merchandise licensing in a way not seen since Star Wars. Speculation as to who Batman would fight next and who would play him/her began immediately. Dustin Hoffman was touted to play The Penguin and Annette Bening was actually cast as Catwoman, before pregnancy forced her to drop out.
On the 19th of June, all was revealed when Batman Returns opened to a spectacular $45m weekend, $5m more than the original. Michael Keaton returned as The Caped Crusader (having split up with the creditably tight-lipped Vicki Vale), while not one but three villains put up their dukes. Danny DeVito played the Penguin as a deformed, subterranean leader of a gang of circus act drop-outs. Michelle Pfeiffer as Catwoman (perhaps her signature role) was transformed from a clumsy secretary into a vengeful whip-wielding dominatrix. Christopher Walken borrowed ‘Doc’ Emmett Brown’s hair to play new villain, Max Shreck.
Despite the enormous opening weekend, things took a downward turn almost immediately. Audiences expecting more of the same were treated to a dark, nose-bitingly violent combination of German Expressionism, kinky S&M and oversized rubber ducks. The box office the following week dropped by 40%, and there was further controversy when McDonalds had to deal with the ire of horrified parents across America, ‘tricked’ by their Batman Returns Happy Meals into taking their kids to watch Burton’s deranged fairy tale, pussy jokes et al.
The backlash (against what is now considered a unique high-water mark in the superhero genre), meant that Batman Returns wound up making $100m less than its predecessor and it placed third for the year, behind Home Alone 2: Lost in New York, a film so determined to give its audience a familiar experience that it simply changed the first film’s screen directions from Int. Kevin’S House – Night to Ext. New York – Night and reshot the entire script. (The box office crown for the year was taken eventually by Disney’s Aladdin.)
Warner Bros. took evasive action, hiring Joel Schumacher to sweeten the mix, which would help to restore Batman’s fortunes in 1995, before everything, literally absolutely everything went wrong in 1997 and the world had to wait for Christopher Nolan to finish attending Ucl, become a director and save the Dark Knight from the resultant ignominy.
Hollywood was given a crash course in the perils of straying too far from a winning formula in the summer of ’92. Sadly, for a while at least, it learned its lesson.
The post Tamed Aliens, Harmonic Nuns and a Leather Catsuit: Strange Tales from 1992’s Summer of Cinema appeared first on HeyUGuys.
- 6/23/2017
- by Cai Ross
- HeyUGuys.co.uk
Kirsten Howard Feb 24, 2017
Last year we watched ten of the recent straight-to-dvd films of Mr Nicolas Cage. Since then, he's made six more...
This article has been updated to include six new films: Dog Eat Dog, The Trust, USS Indianapolis: Men Of Courage, Southern Fury, Army Of One and Vengeance: A Love Story.
See related Grimm to end after season 6 Grimm season 6 episode 7 review: Blind Love Grimm season 6 episode 6 review: Breakfast In Bed Grimm season 6 episode 5 review: The Seven Year Itch
The first Nicolas Cage movie I saw wasn’t one of the cool ones. It wasn’t Wild At Heart, Raising Arizona or even Valley Girl. It was the Cher rom-com, Moonstruck.
My mum, having just gone through an acrimonious divorce, was trying to drum up the optimism to find love again, and apparently that involved watching a lot of rom-coms where an idealised – or at least intrinsically whimsical...
Last year we watched ten of the recent straight-to-dvd films of Mr Nicolas Cage. Since then, he's made six more...
This article has been updated to include six new films: Dog Eat Dog, The Trust, USS Indianapolis: Men Of Courage, Southern Fury, Army Of One and Vengeance: A Love Story.
See related Grimm to end after season 6 Grimm season 6 episode 7 review: Blind Love Grimm season 6 episode 6 review: Breakfast In Bed Grimm season 6 episode 5 review: The Seven Year Itch
The first Nicolas Cage movie I saw wasn’t one of the cool ones. It wasn’t Wild At Heart, Raising Arizona or even Valley Girl. It was the Cher rom-com, Moonstruck.
My mum, having just gone through an acrimonious divorce, was trying to drum up the optimism to find love again, and apparently that involved watching a lot of rom-coms where an idealised – or at least intrinsically whimsical...
- 7/4/2016
- Den of Geek
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.