I didn’t think it was possible to run this many directors out of the running for a superhero film, but Warner Brothers has managed to break that record with ease. Clearly the studio is going at a pace that doesn’t allow it’s directors to take appropriate amounts of time to just make the project they want to make. With a report from The Hollywood Reporter, Matt Reeves has and the studio have stalled discussions for him to come on as director of The Batman.
Reeves is still in vigorous post-production for his much anticipated sequel to Dawn of the Planet of the Apes and claimed that he would bring his own spin to the Batman film if signed on.
The studio has been trying to court some of the biggest names in Hollywood for their films as proven with them courting Mel Gibson for Suicide Squad and having Ridley Scott (The Martian, Alien Covenant) along with Fede Alverez (Don’t Breathe) in the wings to hopefully sign on for The Batman. For now, it’s still possible that Reeves could come back into negotiations with the studio once both parties can take a breath and attack the film like they need too.
DC and Warner Bros. may officially be fast tracking their films to a point that it’s more panic than it is a cohesive plan for the future of DC films. The Batman doesn’t come out for another two years, but the fact there is not a script anyone can agree on nor a director to bring it to life only adds to the constant concern.
Source: The Hollywood Reporter
I hate the Patriots, I genuinely despise their guts as a franchise, and whatever it is they represent. I didn’t want them to win the Superbowl, but clearly Atlanta did so that makes this all the more frustrating to even report, well guess what? They want to make a movie about Tom Brady, but not a biopic that tells the heartbreaking true story about how he played at Michigan only to get drafted into the NFL to later leave his pregnant girlfriend and sponsor UGG boots, no, they’re going to write a film that centers around the bullsh** that has been on ESPN for what feels like an eternity… deflate gate. Oh! They also want to write a movie that chronicles his amazing comeback in this years Superbowl.
Even with the writing talents of the dudes that wrote The Finest Hours and Patriots Day, I still don’t see how a movie can be made about this when this stuff happened only a month ago. That’s not to say the film comes out tomorrow, but even then, it will all be still fresh in our heads.
Who’s going to play the dopey Superbowl winning QB is the next question Mark Wahlberg? Matt Damon? Ben Affleck? You know what? Make it a comedy, cast Bill Burr as Tom Brady and just make the most incredible spoof of all time. Please, please, please do it. That would bring me such joy and happiness that flowers may start growing out of my ears.
You may have heard about a little film recently that centers around what may be one of the more surprising subjects in history that has never been told. You have NASA, the iconic space program that advances almost everyday in the hopes of traveling beyond our atmosphere and exploring planets, stars, and galaxies far far away, but beyond the men in suits there are women making sure they hold down the fort the best they can. Starring Taraji P. Henson, Janelle Monae, Octavia Spencer, Kirsten Dunst, and Kevin Costner is unabashedly uplifting, warm, and overall empowering.
Some of you will scoff at the idea of a film depicting women, in this case black women, succeeding because you haven’t dropped your spears yet, but for the rest of us, there is a film that shows us that film-making in the realm of drama doesn’t always have to be depressing. Based on the astounding true story of three women who defied the odds with their intellect, perseverance, and the desire to better themselves and the American people. Leading the film is Henson as math genius who must figure out how to make it in a program dominated the white men, but contrary to popular belief, not all of them are so bad. Janelle Monae and Octavia Spencer play Dorothy Vaughn and Mary Jackson, respectively, in ways only they can, with charisma, heart, and a genuine fire that you know burns through them both.
While the racially segregated 1960’s weren’t the prettiest of times, director Theodore Melfi (St. Vincent) doesn’t choose to give us that rugged look like we’ve seen in other movies of that, but rather a more lightly colorized depiction of what is very much an optimists look at the hardships these women of color faced at NASA, and beyond. There will be scenes that satisfy your squishiest of muscles and joints, as what happened to me, with certain scenes that confirm that Melfi is a man of happiness and romance without draining it of it’s honeymoon like bliss. It’s only fitting that the music makes you feel the same way. Thanks to super producer Pharrell – a Virginia native himself – produced the music, and the main theme for Katherine Johnson (Henson) which will be sure to give you a vibe that will make you want to groove in your sticky theater seat.
Even through the killer soundtrack – that also throws in some Ray Charles for good measure – you resist the charm these women use in order to cope with the realities of their struggles as not just women, but working mothers of color in a time when bathrooms and water fountains become the most unbearable and inconvenient delays in a time when they want to work on their assignments, only to be ignored through ignorance, and condescension from their white colleagues. There’s a great scene involving Octavia Spencer and her boys that will hopefully perk you up like it did me. No spoilers of course, but it does make you appreciate a certain inconvenience we all can obtain nowadays.
All in all, this is such a charming and inspiring film that is unapologetic for being sensitive and bathed in warmly conceived emotions while being, motivating, and lighthearted all at once. It’s a film that will make you wonder who and where else these “hidden figures” are in our histories and why we haven’t made films on them either. The team for this film brought a film that you can all watch without the stresses of something like 12 Years A Slave or give the overly realistic view of what life was really like for these brilliant women. It makes it’s points and entertains you with ease thanks to a snappy, but never preachy nor pretentious manor, thanks to former NASA employee and screenwriter Allison Schroeder. The box office hasn’t lied thus far, people want to see this film, and you should follow suit.
The American remake of the Indonesian martial arts masterpieces that are The Raid movies is getting colonized by American studios, oh, I meant remade for American audiences. The part that should make you bananas (in a bad way) about this news is that these movies came out within a span of only six years…six years!
It’s not like foreign films films haven’t been remade for American audiences and done well in the past, but damn Hollywood, unless you’re getting Scorsese to do a whole The Departed type thing here, I don’t think any of us want it that much. The talent is at least solid – let me get back on the positive side here – and Frank Grillo and Joe Carnahan sounds like a cool duo to fuse for a badass action movie. Carnahan did films such The Grey and Smokin Aces. If anything, at least they got a writer/director who has done wild and fun action before with the star to bring it all to life.
Still, a remake of a film that is still fresh in the minds of movie fans everywhere seems a bit aggressive even for a rabid film fan. Why not try to make a third film in The Raid franchise and involve the Indonesian cast or crew while supporting it and throwing some of those American dollars to it? Just a thought, but I want to hear what you guys have to say for The Raid remake starring Frank Grillo.
I’m not sure if the phrase, “it was only a matter of time” is appropriate in any way when talking about Mel Gibson in a positive way, but I guess Hollywood can forgive pretty easily if you make great movies. Do you know what DC has been lacking overall? Good movies. From what it sounds like, David Ayer will not return to direct the sequel to his first attempt at Suicide Squad which grossed over $745 million dollars at the worldwide box office.
Ayer was last rumored to be directing Margot Robbie’s Harley Quinn spin-off Birds of Prey which would bring many other female villains and heroes of the DC universe in one film.
With the studio considering Gibson as the director for one of their DC properties is baffling to me to some degree. It’s not that Gibson can’t direct because clearly he can, but it’s a matter of fit. At this point, I’m not sure it matters, and I look at this as DC bringing in an enforcer to their properties so they can get their heads out their butts and get everything on some type of track.
The studio is not keeping it a secret that they are also looking at other directors, one other being Daniel Espinosa (Safe House, Child 44) along with Jonathan Levine (Warm Bodies) as well as Ruben Fleischer (Zombieland). Nothing is set in stone, but what do you think of Mel Gibson possibly up for director of Warner Brothers Suicide Squad sequel?
Source: The Hollywood Reporter
The live-action films from Disney keep coming along and it’s no secret that they’ve wanted Mulan to be one of the many projects on their list for quite some time. Disney is making sure to be “culturally sensitive” and focus on making sure that the cast is Chinese and that they can bring on people who represent and understand the gender and culture that the film originally boasted beyond the voices.
Disney has Tim Burton (Dumbo), Guy Ritchie (Dumbo), and could now get the woman that was eyed for their other Disney property in Captain Marvel, but if she doesn’t direct Mulan she could still do Captain Marvel or vice-versa.
The film will also bring on Crouching Tiger, Hidden Dragon producer Bill Kong to oversee the feature while the script gets a rework from Jurassic World and Avatar sequel writers Rick Jaffa and Amanda Silver.
The parties seem to be in agreement with the vision of the film which could bode well for Caro and her future with Disney properties later on down the road. Mulan is eyeing a 2018 release date.
Award season, not just for the Oscars, but for Emmy’s and Grammy’s, and other gold statues that sound like names of old relatives. It’s around this time that you often see the lesser known films get recognition for the biggest awards of them all, but that doesn’t mean everyone wants to give out respect for those movies. As I always do, it’s important to preface this essay with the always constant statement of “all film (and art) are subjective”, but that doesn’t mean you should be a dick about it.
We saw the turn of events once everyone saw Titanic and Avatar and some of the other high grossing films, but what happened was this innate desire in some people to reverse engineer their original thoughts simply because other people loved or liked it. It’s a sad psychology that happens every year and every day with something that you may or may not hold dearly. With La La Land being the award favorite from all angles at the 89th Academy Awards the trolls are sneaking out their dungeons and caves to throw shade at something that has only tried to create light.
La La Land has all of a sudden become the victim of butt-hurt internet warriors who think the movie is over-hyped or in a ridiculous case “racist”. 1. The film is not even close to being racist 2. I don’t think people know what racism is 3. If you didn’t like the movie then don’t like the movie. What I’m noticing happens when people don’t like something and can’t figure out why, they alter their own perception into something the general audience can get twitchy, the usage of buzz words become constant, and then the seeds start growing in the easily malleable minds of the general public.
See the movie, create your own opinion, but if you don’t like something because of X, Y, and Z, just either keep it to yourself or think of a thought provoking idea that can be discussed with people outside of your bubble. Don’t be a dick.