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New Fate of the Furious trailer is all about a family crisis, 'splosions, fast things

Mar 09 // Hubert Vigilla
Well, what did you think? So dumb and over-the-top it's brilliant, or so dumb and over-the-top it's just dumb and over-the-top? Let us know below in the comments. The Fate of the Furious will be out on April 14th.
The Fate of the Furious photo
Let's play the feud!
The first trailer for The Fate of the Furious featured an unexpected heel turn from series anchor Dominic Toretto (Vin Diesel). The latest trailer for the Fast franchise sequel is even bigger and sillier, with a plot point in...

Thor: Ragnarok pics photo
Thor: Ragnarok pics

New Thor: Ragnarok pics include Technicolor Goldblum, Goth Blanchett, GladiaThor


This looks like a gaudy 80s sci-fi epic!
Mar 09
// Hubert Vigilla
Yesterday we showed the Entertainment Weekly cover that revealed the first look at Thor: Ragnarok. Hemsworth got a gladitorial haircut, Cate Blanchett got Hela mascara and eye shadow, and Tessa Thompson has tapped into t...
Thor: Ragnarok photo
Thor: Ragnarok

First look at Thor's new look in Thor: Ragnarok


Are you not entertained?
Mar 08
// Matthew Razak
Thor: Ragnarok has long be toted as a bit of a tonal shit for the franchise, and to really emphasize this it appears that Thor himself is getting a new look. The long, luxurious, flowing blonde locks of Chris Hemsworth's...

Review: My Scientology Movie

Mar 08 // Hubert Vigilla
[embed]220428:43450:0[/embed] My Scientology MovieDirector: John DowerRating: NRRelease Date: March 10, 2017 Gibney's documentary--an adaptation of Lawrence Wright's book of the same name--is a top-to-bottom takedown of the entire Church of Scientology, looking at the group's origins via the eccentric L. Ron Hubbard to its current state. Sweeney's Panorama pieces were more upsetting. The first, Scientology and Me, featured Sweeney getting stalked and harassed by high-level members of the Church of Scientology; the follow-up, The Secrets of Scientology, revealed how the Scientology operatives intimidated Sweeney, with the go-ahead coming from Scientology leader David Miscaviage himself. I mention the above works for their clarity of purpose and strong execution. Theroux's movie is far lighter on substance and information to its detriment, and much more impish by comparison just based on circumstance. He'd originally intended to make a documentary on Scientology and sought full cooperation of the cult. The Church of Scientology declined his request. They no longer allow journalists access to the church, perhaps because of Sweeney's damning work, which revealed just how nuts the organization is at its core. Undeterred, Theroux makes his own movie about Scientology featuring dramatic recreations and reinterpretations of events. There's an open casting call for people to play David Miscaviage and Tom Cruise, the former played by an alarmingly talented guy named Andrew Perez. For accuracy and insight into his film (and to bait the Church of Scientology), Theroux also contacts Mark Rathbun to help as a consultant. Rathbun was a former high-ranking member of the Church of Scientology, at times a brutal protector and enforcer for the church. He's now an apostate. My Scientology Movie sort of reminded me of Theorux's 2003 special Louis, Martin & Michael, in which he tried to get an interview with Michael Jackson but instead wound up hanging out with Michael's father and Uri Gellar. By not getting directly to Michael Jackson, Theroux got a great portrait of the strange world that Michael lives in. Similarly, by not working directly with the Church of Scientology, Theroux gets an oblique portrait of Scientology. The film isn't a takedown in the Gibney mode and it's nowhere near as intense as Sweeney's pieces (it's not even as good as Louis, Martin & Michael, to be honest), but Theroux's ability to disarm offers an all right roundabout look at how Scientology affects former members. Long-time Theroux fans like myself might be left wanting. One of the film's recreations centers around a detention center for misbehaving Scientologists. We witness the kind of intimidation and humiliation that church members endured at the hands of their leader. Perez shifts into Miscaviage mode, becoming an abusive, self-righteous demon eager to demean as he is to shove and to strike and to break furniture to make a point. The Church of Scientology sends its team of stalkers to see what Theroux is up to. What might be unnerving is oddly undone thanks to Theroux's unshakable calm. Theroux does what he's always done best in these sorts of situations: he renders scary things absurd. Theroux applies his trademark naivete, though it's on Rathbun rather than a current cult official. Rathbun's the closest that Theroux can get to the church directly, and he tries to ask questions, discern original motives, and get into the mind of a high-level Scientologist. Rathbun is practiced in the art of manipulation and intimidation, however, and a resentment builds between them. Those awkward moments in a Theroux piece are compelling to watch because they are such unguarded moments. Theroux gets a slight glimpse at the innerworkings of Rathbun, a complicated man who is much more of a mystery than whatever's going on in the Church of Scientology.
My Scientology Movie photo
A Theroux perspective, but not thorough
Louis Theroux won me over many years ago with the show Weird Weekends. In each episode, Theroux embedded himself in a subculture and use his extreme mild-mannered niceness to disarm his subjects. He'd hang out with porn stars...

Just Cause photo
Just Cause

Just Cause film casts Jason Momoa in lead


Open world fun confined
Mar 08
// Matthew Razak
One of the problems with movie video game adaptations is that the games they're adapting are basically action movie adaptations with the player able to interact. So adapting it back into a movie just takes away the interactiv...
Logan photo
Logan

Logan nets $85 million at box office


And you execs were so scared
Mar 06
// Matthew Razak
With the amount of buzz going into Logan and the positive flooding out from it it may be hard to understand why studio execs were nervous about the film. It was a risky movie, but that risk has paid off with Logan p...
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Logan has a "Post-credits" scene: Oh hey, it's Deadpool!


First teaser for Deadpool 2
Mar 05
// Rick Lash
The good news: you don't have to stay into or to the end of the credits after viewing Logan to see this particular post-credits scene. It airs right before the movie; indeed, I wasn't initially sure if it weren't part of the ...

Review: Your Name

Mar 03 // Hubert Vigilla
[embed]221337:43448:0[/embed] Your Name (Kimi no Na wa, 君の名は。)Director: Makoto ShinkaiRating: PGRelease Date: August 26, 2016 (Japan); April 7, 2017 (USA)Country: Japan Our two body-swapped and star-crossed heroes are a country girl named Mitsuha and a city boy named Taki. Apropos of nothing, the two teens swap bodies. At first they think they're dreaming--as Mitsuha in Taki's body struggles as a waiter in a restaurant, she wonders when her long and bizarre dream will end. Taki in Mitsuha's body begins each morning copping a feel like a creeper. They intermittently lead each other's lives, and they come to enjoy the ability to live a life so different from their own day-to-day. The allure, like most body swap films, is in the contrast of experiences--metropolitan and pastoral, modern and traditional, the social norms of male and female, etc. My enjoyment of Your Name can be broken into quarters. I loved the first quarter of the movie, which was a great modern take on the body swap genre. The city boy and the country girl get to know each other obliquely, corresponding through their own cellphones with do's and don'ts about each other's lives. Shinkai closes that opening quarter with a fantastic montage of the joys and frustrations of living another life only to return to the mucked-up nature of your own. I liked the second quarter of Your Name, which, without spoilers, involves a mystery and a journey. Tonally it reminded me a little of Hirokazu Koreeda's charming I Wish, though an adolescent version. As for the last half of Your Name? It was all right. "Generally acceptable" may be a more accurate phrase. So much about Your Name hinges on a major plot twist and the way the narrative treats this revealed information. If I wasn't on board with the first portion of the film, the swerve at the halfway mark would have soured me on the whole movie. It's all dependent on a series of narrative conveniences that the story doesn't attempt to explain: spotty memory, technological failure, the loose rules of the body swapping, a lack of common sense from the characters, lapses in human curiosity. And yet, somehow, I think Your Name still works by the end because it is so earnest about its teenage feelings. There's the desire to be understood by someone, to forge a lasting connection, to make sense of your own life. That's all there. I watched the movie in a crowded theater full of teens and young adults. As a plot twist occurred in the second half, gasps rustled through the crowd. After that emotional gut reaction, the analytical bits in my brain stepped forward and processed the information. No, a little too convenient, but just go with it. This kept happening in the last half of the movie. I found myself liking moments even though I was of two minds about them. There's a gorgeous scene set at dusk before a dimming sky. It's quiet, it's memorable, it was enough for me to disregard a lapse in logic a few scenes before. A young woman in the crowd, excited by the connection that occurred on screen, whispered an elated "Yes". Minutes later, sighs from the crowd, crestfallen, like everyone had breathed out at once. I couldn't help but be moved as well--I felt what someone else was feeling, which is what Your Name is about at its best. Oddly, some of my qualms come from understanding Shinkai's point of view as a storyteller. To affect the audience the way he wants to, Shinkai needs to move the story in direction P, therefore actions L, M, N, and O have to occur. I saw the movie with Steve over at Unseen Films, and his immediate feelings for the movie were far more tepid than mine. The logical lapses were so apparent to him. My own fondness for the first half of the film led me to justify those logical lapses to him even though I noticed them as well. And I have to admit, my justification was because I understood Shinkai's storytelling motivations rather than any diegetic explanation provided by the film. I can't recall who said this or if I'm even getting it right, but there's a sandwich rule when it comes to storytelling. Say you make a movie. Part of it doesn't make sense. If an audience member doesn't realize there's a lapse in logic until hours later when they're making a sandwich, the story is successful. Your Name didn't pass the sandwich test with me, but I could sense it did with many others in the crowd. Even without the sandwich test, there was a lot to admire. If only the last half had hooked me more, not by plot twists but through the characters, not by letters signifying Shinkai's moves but rather that ineffable emotional stuff that's harder to figure out and impossible to name.
Review: Your Name photo
The body swap movie with a swerve
Makoto Shinkai's Your Name is the highest-grossing anime film of all-time, and it hasn't even come out in the United States yet. It beat Hayao Miyazaki's Spirited Away; give it a few more months and Your Name may beat Spirite...

Review: My Life as a Zucchini

Mar 03 // Hubert Vigilla
[embed]221336:43439:0[/embed] My Life as a Zucchini (Ma vie de Courgette)Director: Claude BarrasRating: PG-13Release Date: October 19, 2016 (France/Switzerland); February 24, 2017 (limited)Country: France/Switzerland My Life as a Zucchini opens with the accidental death of a boy's abusive, alcoholic mother. His father isn't around and never shows up, but he draws an idealized, superhero version of him on a homemade kite. The boy calls himself Zucchini (Erick Abbate), and as a police officer drives him to an orphanage, he flies the kite out of the car window. The moment is both beautiful and sad, just like so many other moments in My Life is a Zucchini. The other children at the orphanage are neglected, have had their parents deported, lost their parents in violent ways, or were physically or sexually abused. They're each around 10 years old. This is absolutely bleak material, and it's reflected in the look of the stop-motion puppets of the children. When a new girl named Camille (Ness Krell) arrives, one of the children remarks that she has sad eyes. It's a quality all of the children share. They all have huge, Margaret Keane-painting eyes, but they look wounded rather than doe-like, as if each of them might burst into tears at any moment out of sadness or a fleeting joy. While the situations these children face are so dark, My Life as a Zucchini is a hopeful film, and brimming with sympathy and empathy. I found myself crying through a lot of the film, which is a testament to the effectiveness of the animation. There's something important about the tactile nature of stop-motion I can't put my finger on. Maybe it's because the characters look like toys, and the settings feel like playsets--like the entire film functions as a space for a child to work through the dark things in their head. The English-language voice acting is commendable. The child actors sounded like actors rather than kids acting, if the distinction makes sense. Abbate and Krell have to do so much heavylifting whenever their characters are on screen, but there's no strain to it. I was so wrapped up in the emotion of the film that I didn't sense a flat line read or a sour delivery. Somehow, effortlessly, the child actors sounded vulnerable and true. The adult voice cast was good as well, with Nick Offerman, Will Forte, and Ellen Page disappearing into their roles as caretakers. Amy Sedaris' voice was distinct--very Strangers with Candy--though it fits with the brash, prickly character she portrays. Barras depicts kindness in various gestures between the kids and their caretakers at the orphanage. There's a snow trip with a tiny techno dance party in a cabin. There's play time. There's dress up and parties. When the children grow up, the psychological repercussions of what they've faced might be daunting, but at least there's this orphanage and these people who care about them. The adults try to create some semblance of a normal life free from from solitude and abuse. Things that seems so commonplace are suddenly imbued with a tremendous expression of love and humanity. How good it is, even if just briefly, to give someone the joy of a carefree childhood. My Life as a Zucchini is about children, but it's not a children's movie. That may have held it back in awards season. It was such a longshot to win a Golden Globe or an Oscar (Zootopia took both awards), and its bleakness didn't help matters. The film did wind up winning Best Animated Film and Best Adapted Screenplay at the Cesar Awards, however. Saying all this, part of me wonders how traumatized children might respond to the film. Would they feel less alone? Would they feel loved? Those concerns are more important than a statuette; they're what's most important in life.
My Life as a Zucchini photo
About kids but not a children's movie
There's this pervasive idea that children are resilient, that they're able to cope well even in dire circumstances. In stories about forlorn kids, a combination of optimistic pluck and boundless imagination helps them through...

Review: Before I Fall

Mar 03 // Alec Kubas-Meyer
[embed]221343:43441:0[/embed] Before I FallDirector: Ry Russo-YoungRelease Date: Rating: PG-13  Up front (well, after the intro): I did not like the first third of Before I Fall. There are a variety of potential reasons for this, though most of them boil down to an inability to connect to the characters. They're popular girls; it's like a modern version of Mean Girls but without the funny. They're just terrible. And with a lack of humor, I had nothing to latch onto. I was never a teenage girl, but it's less that than the fact that I was never a popular teenager of any gender. I just simply couldn't relate. So, I was upset, because I wanted to like it, and the film was just making it so hard. But then things changed. Before I Fall's conceit is that its protagonist, Samantha (Zoey Deutch), dies in a car crash and then wakes up at the beginning of the same day. And even when she doesn't die in the car crash, she still wakes up the same day. It's "Cupid Day," a semi-bizarre variation on Valentine's Day. I've never heard anyone call it Cupid Day before, and at first I thought maybe it was a Pacific Northwest thing, since that's where the film is set, but apparently not; it comes from the book (which was actually set in New England). Looking up "Cupid Day" on Google brings up as its first result a question on Yahoo Answers specifically asking about its use in the book upon which this film is based (look at all the research I did for this review!). Still, it's definitely Valentine's Day because someone is like, "Happy Cupid Day" and someone else is like "THAT'S VALENTINE'S DAY TO YOU" and I dunno if that part was in the book. It felt kinda expository, like the moment was only there for the purpose of clarification... but whatever. Point is, its Cupid Day and that's what everyone says. (It's best not to get hung up on things like that.) We see the day play out. We see Samantha and her friends as garbage people. We see that there's something in Samantha that could be not garbage, but that only matters so much when she also shouts that the sad girl is a "Psycho." She piles on like everyone else. She's still a bad person. And then she dies, and she spends the rest of the film atoning for that sin.  Her first repeated day is whatever. I knew the conceit, so I more-or-less knew how it was gonna go down. She was still not a good person, but she was a not-good person who was starting her transition. But even if those glimmers of worthwhileness began around here, she was still fundamentally not worth caring about.  I don't remember if it's the next day or the one after, but at some point she decides to dress differently. She dresses like a goth kid. She wears all black, gets all made up, and then she starts speaking her mind to people. She calls out her friends on their shit. She then has a really awkward interaction with her teacher (I cringe just thinking about it), and she does it all because she has realized that it doesn't matter. That she is going to wake up the next day the same as ever. So why not be a different her for a day (maybe one that's closer to the real her? At this point, we don't actually know, though the answer seems to be "not quite" (though that begs the question of why she had those clothes in the first place))?  And that was interesting, of course, because we see different sides of the character, but it wasn't even that that did it for me; she goes in to the bathroom that I guess has been designated the one lesbian girl's bathroom, and then the two of them talk. And the talk that they have is genuinely interesting. It wasn't just showing more of Samantha, though it did do that; it was making a point about everything that those characters were. To paraphrase (because I didn't write down the actual line): "In two years, I won't remember any of you." And you look at Samantha's friends, the popular kids, and you think about where they're going to be in two years. After high school: Will they Matter? Will anyone remember them? The sickest parties and the cutest boys in high school are, one would assume, chump change compared to what's to come. But that's what they care about. Being cool. People thinking their cool. And the people who are actually cool are just biding their time until they don't have to deal with that shit anymore. (They'll have to deal with other shit, but that's not the point.) At that point, it becomes like a different movie, a movie about misfits. Because the truth is that, though Samantha somehow joined up with the popular girls, it's not really who she is. She isn't as "weird" as some of the people are, but she's definitely a lot less judgmental of oddities than she puts on. And as Before I Fall begins to explore that, it's suddenly like watching a different, much better movie. Samantha became multi-faceted, and her relationships became compelling. What happens with the family I found to be particularly feels-worthy, and it was this stuff, actually, that made me cry. Yeah. Before I Fall made me cry. And it wasn't like a cheap thing either. They didn't have to kill a cute animal (or even a person); they just had to start to mend something that was on the verge of being broken. I have a sister who is quite a bit younger than I am. I was definitely dismissive of her in the way that Samantha is of hers. But Samantha, as the day repeats and repeats, decides to own up to this and try to make things better. I felt that so freaking hard. (After the film ended, I immediately texted my sister to tell her I loved her.) And it wasn't just that. Many of the character arcs pay off in ways that feel honest in an almost surprising way, because sometimes the ways they get to those conclusions don't make a lot of sense. Certain characters do things that seem out of place, but where they end up as a result of them still works. It could be an adaptation thing: In the pages of the book, there is more time to get a character from A to B to C and so on, but we have to skip a few letters to get it into a film. But whatever the reason, it doesn't ultimately matter. What matters is how it feels right. Very right. In the first third of the film, I was just thinking, "Man, I want to go home and watch The Edge of Seventeen again." And, admittedly, I think that a lot, but after the switch, I thought, "No... this is the only thing I want to be watching. This is the thing that matters." And it does matter, because it really does get into some of the seedier aspects of high school popularity, and the gross things people do in order to move up a level. Also, it made me cry.
Before I Fall Review photo
Putting it on replay
If you read my Top 15 Movies of 2016 list, then you'll know that at the very top (number 0) was The Edge of Seventeen. Also worth noting: my favorite movie of ever continues to be Joseph Kahn's Detention. From that, we can de...

Donnie Yen Sleeping Dogs photo
Donnie Yen Sleeping Dogs

Donnie Yen will star in a Sleeping Dogs adaptation, probably punch things really fast


The American Donnie Yenaissance
Mar 03
// Hubert Vigilla
Donnie Yen stole the show in Rogue One: A Star Wars Story and was featured prominently in the promos for xXx: Return of Xander Cage. At 53 years old, Yen may be on the verge of a well-deserved Hollywood breakthrough. It may c...

How To Do It: Mighty Morphin' Power Rangers Reboot

Mar 03 // Nick Valdez
1. Start over from the beginning. In the press release, the new film is classified as a "re-imagining" of the old show. This makes perfect sense given most of the audience of the first couple of seasons have now grown up and are willing to thrown down major cash on a nostalgic property. The problem with this is, those same people have too fond memories of the show. They've built it up to some pedestal, so any new film is already needing to prove itself. What most of you all out there need to remember is, Mighty Morphin Power Rangers is really, really bad. Bad dialogue, bad acting, and some of the most 90s situations you'll find on children's television.  But that's also not a bad thing. If we go into this new movie with an open mind, and the new film starts over from the beginning,  then we're in for a good time. So to be successful, the reboot needs to use the bankable names of the original five (maybe six) "teenagers with attitude" (Zack, Kimberly, Billy, Trini, Jason) because those are the names we'll remember. Most old fans won't remember who played those characters, so it's not important to bring the actors back, but we will remember the names. Start over from the beginning, tell the same simple origin story (teenagers are chosen by a floating space man to fight monsters), and we're golden. No need to reinvent the wheel.  2. Don't bring back old actors from the show.  When movie studios "reimagine" properties, they cast an entirely new set of people to play the characters we all know and love. That's going to be the case here. In order to completely separate itself (and thus create a new universe of movies), keep the television actors away. For example, Jason David Frank (who played Tommy in over 242 episodes of Power Rangers, and is arguably the most popular actor in the series) is already lobbying his fans to write to "lion gates" in order to get in the new movie. If they have to bring him (or anyone) back, and chances are they will, make sure it's only in a cameo capacity. Maybe have Tommy run the juice bar (like in the Wild Force episode, "Forever Red"), pass the torch to the new kids, and then disappear forever. As much as we might like the guy, seeing a thirty year old man run over in a tight spandex suit for a kid's show (like he is in the upcoming Power Rangers Super Megaforce finale) is kind of sad. Besides, the new kids watching this movie won't really know or care who Jason David Frank or any of these older actors are.  3. Use actors who can believably do their own stunts (and real suits!) One of the reasons Power Rangers became such a hit was because it delivered on things we've never had before. Although the acting and dialogue were bad, it had great action. It had cartoon action brought to real life, and it was pretty f**king cool. The series also still has some of the best fight choreography around. It's important to bring that back. Can you imagine what the fight effects could look like with a larger budget? Remember what the fights looked like in Mighty Morphin' Power Rangers: The Movie? Never mind, those were terrible. But a bigger budget could lead to bigger things. It's simple. Keep the suits real, but CG everything else. Like any other superhero, it's all about tangibility.  And that comes from the actors too. In the show, the teens would still kick butt out of the suits. Story wise, it shows the audience the effect of the power coins, and quality wise, it helps the audience attach the person to the hero. It's very important for us to remember who's in the suits. It's not enough for people to put them on, we have to believe people are in them.  4. Have a good villain.  Whether the new film goes with Rita Repulsa, Lord Zedd or even Ivan Ooze, it's important to have a memorable bad guy. Once again, don't reinvent the wheel. Don't create a new, generic villain for the film unless the right person is behind it (Paul Freeman was the only reason Ivan Ooze worked in the movie), and there's plenty of material to draw from so there's no reason to create a new one anyway. If I could have it my way, I'd go for Rita Repulsa. She's the greater villain since she posed a threat, her powers led to the "Green With Evil" storyline which introduced a sixth ranger, and she has some of the best catchphrases ("You're giving me a headache!" "Magic wand, make my monster grow!").  If they went that route, they could introduce Lord Zedd for the sequel (just don't make him overtly dark or scary, remember it's for kids!), lead in to their wedding, Serpentera, and the possible stories are endless. All I'm saying is the material is there, so Lionsgate would be wise to use it.  5. Do it for the kids.  This is hardest thing to say, but this new movie isn't going to be for me or you, it's for the kids. Although the name is there to get butts to the seats, Saban's probably trying to make this work into a children's franchise. It's going to be an all ages affair, so don't expect a dark and gritty take on these heroes. No blood, no adult situations, and the word "kill" will be replaced with "destroy." But that's the way it's always been, and it's always worked, so no reason to be worried about that now.  As long as the new movie gets the tone right. That's actually the most important thing on this list. Please don't take this movie seriously as nothing about the Power Rangers is serious. And even when the show decides to lean toward heavier subjects, it's only because they're destroying all of the current zords to introduce a new line of zords/toys to kids.  6. Don't forget to have fun.  With the rising amount of gritty reboots these days (just look at Man of Steel, Teenage Mutant Ninja Turtles, Spider-Man, and Transformers), I'm a little worried about how this'll turn out. Power Rangers has survived all these years despite its bevy of bad decisions because it's so lovably goofy. It's always so sincere about its laughably bad puns, heavy handed messages of protecting the environment and teamwork, and telling its stories with a half baked seriousness. Although every week a new monster threatens to destroy the world, there's still time to ride dirt bikes as part of the high school dirt bike club or something. It just all meshes together in a tone that works for everyone.  There's action, comedy, giant robots punching other giant things in the face, and lots of attractive men and women. If the new movie gets even one of those right, that'll be morphinominal. 
HTDI: Power Rangers photo
There's a wrong way, and there's a Morphinominal way
The Power Rangers series is an odd one. It started out as one of Saban Entertainment's many attempts to re-dub a Japanese kids show for American audiences and turned into a juggernaut spanning 21 seasons, comics, videogames, ...

Review: Ugetsu

Mar 03 // Hubert Vigilla
[embed]221341:43446:0[/embed] Ugetsu (Ugetsu Monogatari, 雨月物語)Director: Kenji MizoguchiRating: NRRelease Date: March 3, 2017 (limited)Country: Japan  Watching Ugetsu felt like walking into an austere room where an ancient handscroll has been unrolled, spread out, and hung up to observe. Its meters and meters of period narrative are told along the four walls. The scroll starts in one corner, traces the length of the room, and ends in the corner it began. Ugetsu is wonderfully looped and completed, wrapped neatly like an old-fashioned fable or tale. The return to the starting point of the story, that initial tableau, is marked by change, much like the lives of characters in the film. Ugetsu is an adaptation of two braided plots from Ueda Akinar's 1776 book of ghost stories of the same name. One story follows Tobei (Eitaro Ozawa), a bumbling peasant who dreams of becoming a samurai. The other story follows Genjuro (Masayuki Mori), a potter who is seduced and waylaid by a mysterious noblewoman called Lady Wakasa (Machiko Kyo). In the backdrop is a senseless war that ravages the countryside, with samurais pillaging and looting from peasants. In a tense moment early in the film, Genjuro risks his life waiting at a kiln as samurai approach on a rampage. His wife tells him to wise up and flee, yet Genjuro knows that the only future he and his family has are those pots that are firing away, just not fast enough. Throughout the film, the gentry and the warrior classes disregard the people beneath them, while Tobei and Genjuro dream of wealth and status. Both will risk everything for armor and kimonos. Ugetsu contains those perennial critiques of greed and vanity, sins for which the wives of the two men suffer. Even before researching Mizoguchi's background, I could sense his love of kabuki and painting in the visual style and rhythms of the Ugetsu. The film ushers itself in with traditional song, and there's a measured theatricality to the blocking, staging, and performances of this period ghost story. The first time Lady Wakasa appears on screen, she is an otherworldly presence. It's not just the manner of dress, but a manner of being. Her servant follows to her side slowly, and she approaches Genjuro at a pace of her own that defies the bustle of the market. She is not one of these people, that much is clear. Mizoguchi's extended takes are marvels of deliberation. Contemporary filmmakers tend to use long takes as a sort of spectacle, calling attention to ballsy filmmaking craft (i.e., the long-takeness of the long-take) while paradoxically aiming at audience immersion (i.e., this unfolds continuously like real life). There's little sense of how form and content are wed in the contradictory presentation. For Mizoguchi, the extended take is part of the period storytelling. I mentioned the wall scroll idea earlier, which is a fitting way to depict a period tale. The story is fantasy touched by reality; its form and content are rooted in a time and a place and an art tradition that is tied to said time and said place. The 4K restoration of Ugetsu looks excellent, and I was actually thrown by it for a moment. It may have been the digital projection, but there was an uncanny sense of movement about some objects in the frame. They moved a little too smooth, a little too fast, sort of like when watching a new movie on a new TV with the settings just a little off. I don't know if that's a flaw since I eventually adjusted to it, but maybe it speaks to the film being so much an evocation of a period centuries ago that a contemporary presentation made uncanny movement more apparent. But hey, a classic is a classic.
Review: Ugetsu photo
A wall scroll on ghosts, war, and class
The films of Kenji Mizoguchi have been a major blind spot in my life as a filmgoer. I've seen plenty of Akira Kurosawa and Yasujiro Ozu films, but for some reason Mizoguchi had always hovered on my to-watch list, always put o...

Why Logan is the bravest studio film of the year

Mar 03 // Matthew Razak
We all like to complain that Marvel superhero films have become codified (and DC's just suck), but one of the reasons they have is because the formula works. It works over and over and over again. Hollywood sticks to formulas that work, and they do not tip the boat. When you're putting millions and millions of dollars into something you want that money back. It's a simple reason why studios are insanely risk adverse. For every Deadpool there's five John Carters. John Carters lead to people getting fired.  That's why Logan stands out so boldly among every studio film we'll see this year. The studio actually let it take risks. They actually let it do what it needed to do. Let's start with the R rating. Wolverine as a character desperately needed this, though, the comic books never had him or Professor X cussing this much. Anyone who saw the underrated The Wolverine knows that a good sharp dose of blood and violence would have made the character actually work. Constraining a wild beast to a PG-13 was not helping. You may say that this wasn't a big risk thanks to Deadpool pulling in massive money, but that's a completely different situation. The Pool isn't as well known as Wolverine, and didn't already have an established, and young, fan base. An R rating is alienating every kid out there who loves superhero movies, and there are a lot of them. That's a huge audience that was able to see the previous films that won't be able to see this one, and that makes Logan's R rating that much more risky than Deadpool's. But it's not just the rating that makes Logan brave as hell. In fact a lot of the risk comes despite the R. With that rating they could have gone full blood bath (Logan has plenty bloody, don't worry), with action sequence after action sequence. Instead director James Mangold rolls the film at a incredibly slow pace. While it doesn't pull this off perfectly, Logan is far more character study than superhero movie. It may fall into a few traps here and there, but just getting this screenplay greenlit must have been one hell of an uphill battle. The film goes long periods without a single claw being "snikted." For a film franchise that could barely stop the action when it first launched with X:Men Origins: Wolverine this is a major divergence. Though it may have been hinted at when Mangold deftly maneuvered The Wolverine into a samurai-style film, only to abandon that in that film's latter third, Logan fully commits to treating its characters as just that. Instead of action pieces to be moved around we get characters who happen to have claws and psychic powers. In the vein of the classic westerns the film apes a little too on-the-nose, our heroes are flawed and violent, but human. Other comic franchises do have well developed characters to be sure, but we rarely see such a focus like this that character. It was a hell of a risky move for a big studio considering no major superhero film as gone this headlong into thematic development.  On top of this the screenplay calls for an aging hero and a dying Professor X set in a future that is stunningly disconnected from the rest of the X universe. Logan could easily be a stand alone film, an almost alternate universe. Comic books do this all the time with one off or limited runs, but movie studios have been remiss to push outside their universes. Part of this resistance is because the idea of a cinematic universe is still so new. Marvel is defining and re-defining what having one means with every film they release. But Fox has finally decided to go their own route. Instead of mimicking Marvel's Avenger's universe they're branching out and defining theirs by a unique one-shot. If their plan is to bridge their X-Men tentpoles with smaller character studies then its a bold stroke in creating a cinematic universe differently from Marvel's cohesive whole and DC's... clusterfuck.  And now I really need to warn you about spoilers because probably the biggest and ballsiest move comes at the end of the film. They killed their star. No wait, they didn't just kill their start, they killed two of their stars. I doubt anyone is going to give this movie enough credit for doing this. You do not kill your heroic lead in an action blockbuster. Yes, it happens here and there as I'm sure many could point out, but it doesn't happen with established franchise characters twice in the same movie. Sure, you could argue that it was easier because the story is set in the future so it doesn't affect the current universe's "present" timeline, but that just makes the entire thing more of a risk. In order to execute this movie correctly they not only had to set up an entire separate time frame, but then pull the trigger on killing two X-Men (and major Hollywood actors) in one film. Hollywood doesn't do it like this, and yet here we have Logan. A movie that knew to be as truly powerful as it could be it had to break our hearts... twice. And they let it. The studio let them do it.  I am well aware that this is Jackman's goodbye to the character so a death makes sense, but that's just it. It makes sense! That's not something I'm use to saying about studio decisions when it comes to money making franchises.  It feels weird to commend a Hollywood studio for taking risks and doing things that make sense. This is what they should be doing, right? They don't, though. For many of the reasons outlined above it is not the norm for a studio to go out on a limb like Fox did with Logan. Yet in this case it truly paid off. By allowing Logan to be the film that it needed to be instead of meddling in what they thought it should be Fox let Mangold make the Wolverine film that everyone had always wanted, and then take it even further. So here's to a studio doing what it should be doing. Here's to Fox showing some guts, bub. Here's to more like it in the future. 
Logan photo
Balls of adamantium
By now we've all seen Logan, and if you haven't then you wasted your Thursday night by not going to it. My guess is that it's a bit of a divisive film. Some people are going to come out of it loving it, like we did, and other...

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Pirates of the Caribbean: Dead Men Tell No Tales New Trailer


Mar 03
// Rick Lash
As we've expressed here on Flixist before, there's just something about the Pirates of the Caribbean franchise that is fun and makes you eager to see another--wait, not like, 'Oh boy I can't wait for them to make another POTC...

Review: Logan

Mar 03 // Nick Valdez
[embed]221303:43419:0[/embed] LoganDirector: James MangoldRelease Date: March 3, 2017Rating: R  Logan is both a sequel to 2013's The Wolverine and a ending to the entire X-Men franchise. In the far-ish future of 2029, we find Logan (Hugh Jackman) making his way across El Paso, driving a limo for money. It turns out mutants have essentially gone extinct, and he is only doing odd jobs in order to take care of the now dementia-suffering Charles Xavier (Patrick Stewart), who's loss of control over his mind has made him a threat. But one day he's approached by a woman accompanied by a silent girl named Laura (Dafne Keen) who needs help getting to the Canadian border and some place they call an "Eden for mutants." Begrudgingly accepting the task when he sees Laura shares a few similarities with him, revelations come to light as Logan has to come to terms with the man he's become. Logan is dramatically different than the rest of the X-Men films, and that's notably due to its R rating.  While I was initially afraid Deadpool's R rated success would mean Logan was full of extraneous foul language and violence (but without the cheekiness), what is present feels incredibly natural. Like we're actually seeing Wolverine for who he is for the first time, making every other performance seem neutered in comparison. This Logan is older, broken, and incredibly violent. He brutalizes enemies, but it's never portrayed as monstrous as his attacks could be because Jackman fills the role with a much needed humanity. The film always makes a point to note that he never initiates the attacks (unlike the brash Logan seen in, say, the first X-Men). The added caveat of slowly losing his healing abilities also grounds this comic book film in an unprecedented way. For all intents and purposes, Logan is a lonely, introspective character drama. While the character work admittedly will be more effective if you've seen some of the other X-Men films (at least the first one to explain some of the world's elements), it's not completely necessary. The film opens with a scene heartily establishing everything you need to know about this character, and I'll go as far to say it's the best opening scene in the franchise to date.  Logan is full of outstanding performances. While some kitchy turns from Boyd Holbrook's Pierce (a mysterious guy in sunglasses who's chasing after Laura, but Logan's not about that so mentioning his role in the story seems unnecessary), Stephen Merchant's Caliban, and a villain revealed later in the film tend to remind you it's a comic book film, the three central cast members anchor Logan's harsh reality. Hugh Jackman, drawing on his years of experience with the character, puts forth a stellar performance. As mentioned earlier, with the amenities afforded by the film's R rating, Jackman's performance rings more palpable than ever. Like this is the character he's wanted to portray since he signed on to these films all those years ago. His rapport with the sickly Charles is one of the best features in the film as he and Patrick Stewart have developed a mentor/pupil-father/son relationship over the years. Or at least ably portrayed as such. Then there's the young Dafne Keen, who's Laura is defined entirely through her physicality and manages to carve a distinct presence between the two.  Now Logan isn't perfect. One of the film's overlying themes of fighting one's past becomes a little too literal, the tone is so well established the encroaching X-Men talk feels out of place, and some of the dialogue unfortunately I felt I had to forgive under the "comic book film" qualifier, but thinking back on it, these issues didn't bother me as much as I thought they would have. Logan's imperfections lend credibility to the central character's imperfections. The film's problems mirror Logan's distraught sense of self. Is he the colorful hero of years past? Is he the beaten down man who's lost his sense of purpose after years of struggle? There's a distinct push and pull between the two tones as they blend into something not seen before in the genre. In fact, it seems, dare I say realistic?  Above all else, Logan is a film of consequence. It's the first comic book film weighted with actual drama and character work. There's an overwhelming sense of finality and dread permeating throughout making every one of Logan's struggles more tense than the last. If you've followed Wolverine through every one of his adventures, you're sure to be satisfied with Logan. If you haven't, there's still enough tactile emotion here seeping through Logan's ever-worsening wounds to draw you in even slightly.  I don't need to see another X-Men film, or another comic book film ever again. Thanks to Logan, they've become irrelevant. 
Logan Review photo
Brutal, harsh, and absolutely glorious
(This is a republishing of the original review, which posted two weeks ago.) Logan is a response to a litany of unprecedented events. Comic book films are more popular than ever, the X-Men series is still a via...

Top 10 Weirdest Power Rangers Episodes

Mar 01 // Nick Valdez
[embed]221257:43435:0[/embed] 10. "And...Action!" (Power Rangers RPM, Episode 23)  While Power Rangers RPM definitely earns a spot as one of the better seasons of the series, it was no stranger to strangeness. After losing the season's showrunner (whether it was his own volition or not is still up in the air to this day) and finding a replacement, one episode of RPM was dedicated to catch-up. With a behind the scenes special breaking up the series just as it was heading into the final plot of the season. this was just an anomaly. As everyone stayed in character, fans didn't even get a full-on behind the scenes special. It was this weird, half-assed thing ultimately only making sense when all of the production trouble came to light years later.  9.  "Once a Ranger" (Power Rangers Operation Overdrive, Episodes 20-21)  As the series went on, the central cast changed several times leading to fan-favorite crossover episodes when a previous Ranger team joined forces with a current one. For the show's 15th anniversary, then current owner Disney decided to have a special team-up episode featuring a few of their seasons. The resulting episode highlighted how the series can put a ton of effort into being lazy. Shortcuts (they found Alpha in a box), Adam returning without the MMPR theme music yet everyone else having theirs, a supposed son of Zedd and Rita with a weird costume, and showcasing how terrible of a team Overdrive was, this was the weirdest crossover ever. It's just strange that they did it at all considering how it felt like everyone involved hated the idea.  8. "Rocky Just Wants to Have Fun" (Mighty Morphin' Power Rangers S2, Episode 32)  Most of Power Rangers' early seasons had episodes dedicated to teaching all sorts of values and moral lessons. My personal favorite also happened to be the weirdest one of the bunch. Sure there were episodes featuring ugly troll dolls and rapping pumpkins, but I still can't believe there was an episode about how much Rocky loved gambling. When the Juice Bar gets a pachinko machine, Rocky gets hooked to thing. Every time someone asks him to do things, he's like "I'm just going to play." It's kind of like that one episode about humans dating robots on Futurama when the kid says "No thanks, I'd rather just make out with my Monroe-bot." Then the pachinko machine takes monster form and turns the Power Rangers into balls. I almost went with the football monster episode here (because that's another case of the Rangers being turned into inanimate objects) but that was goofy rather than weird and this is my list anyway so whatever.  7. "Movie Madness" (Power Rangers Time Force, Episodes 24-25)  Power Rangers Time Force was the closest the series had come to great B-movie territory. The best actors in the series to date, and honestly the best story overall at that point. But as with RPM, being a good series didn't save it from Power Rangers' trademark weirdness. In this episode, a monster named Cinecon traps the team inside of their favorite movie genres. A jungle movie, a samurai film, a Western, an even a kung-fu flick featuring the Jackie Chan knock-off Frankie Chang. It sticks out like a sore thumb among the other episodes of this season since it's really the only time any of them have any fun. Also, there hadn't been an episode like it (other than "Wild West Rangers," which almost took the spot here for the Mexican Cactus monster) yet or since, really.  [embed]221257:43436:0[/embed] 6. "Shell Shocked" (Power Rangers In Space, Episode 4) While not the first crossover episode, and not even the first crossover with another series, this one is definitely the weirdest by far. Since Fox was promoting Ninja Turtles: The Next Mutation at the time, the cast managed to pop up in an episode of Power Rangers. When the turt bros and sis get a little too turnt on Astronema's mind control, they take control of the Rangers' space ship and almost ruin everything. But without any of the good stuff from crossover episodes (fights between teams showcasing why each team is great), this was just a weird, clear-cut commercial for a bad show.  5. "Another Song and Dance" (Power Rangers Zeo, Episode 46) When a show runs as long as Power Rangers has, there are bound to be musical episodes. It's a standard trope of TV and, when done well, can be great. But in Zeo's case, it sure was awful. When a spell causes Tommy and Aisha to sing all of their dialogue, you've got some hokey weirdness because 1.) No one else is singing and 2.) It's all sans music. So you've got two singing fools just singing instead of speaking normally for no reason.  4. "Lost and Found in Translation" (Power Rangers Dino Thunder, Episode 19)  Dino Thunder was Disney's attempt to wrangle in old fans of the series (with Jason David Frank's return as Tommy) and this all came to a head with this episode. As Power Rangers borrowed footage from Toei's Super Sentai series, there had been an unspoken rule about not saying it out loud. But with Dino Thunder's cheeky in-jokes, came this episode. Showing a poorly dubbed over episode of its parent series, Bakuryuu Sentai Abaranger, Dino Thunder poked fun at the idea of fans preferring one over the other. But I can't imagine how off-putting this must've been for kids at the time. Here they were told Japan stole the Power Rangers idea and decided to make a knock-off version while their Power Rangers just sat on a couch all episode laughing at it. Just a weird experiment that was really for older fans of the show.  3. "Island of Illusion" (Mighty Morphin' Power Rangers S1, Episodes 28-29)  The first season had its fair share of terrible, experimental ideas (fighting literal Frankenstein, the vagina monster), but the one that always stuck out to me the most was this two-parter. Here, Rita trapped the team on an island where they all had to fight off depressing memories otherwise they'd fade away forever. But the weirdest/worst part about all of this is there's a little person who only speaks in rhyme and plays the flute every time one of the Rangers goes through their whole thing. It's not like he was put there by Rita but he's just some mystical guy that likes to mess with people. This was one of the series' first forays into multi-part storytelling (after the famous "Green With Evil" story) without heavy use of overseas footage. It's all pretty much self-contained nonsense.  2. "Trouble By the Slice" (Power Rangers Turbo, Episode 22)  When Power Rangers Turbo villain Divatox loses her memory and takes a job at a pizza place, her henchman try and save her by distracting the Power Rangers with a monster created from the pizza place's logo. The villain, Mad Mike, speaks with a heavy, stereotypical Italian accent, uses pizzas to take control of their super cars (long story), and then proceeds to famously bake them into a pizza. Then a police alien comes to save the day with a stoplight and I still can't believe this was an episode. Turbo had episodes like this with even worse ideas like a bicycle that forces you to ride it forever, but this was the episode which inspired the list in the first place. At the end of the day, however, this was still just another average Power Rangers episode. 1. "The Rescue Mission" (Power Rangers Lost Galaxy, Episode 18)  But this entry wasn't an average episode of Power Rangers. When a distress signal reaches Terra Venture (the home base of the Lost Galaxy team), two of the Rangers are sent to check out a seemingly abandoned ship in search for a mystical book of some sort. Before long a spider monster begins abducting the team one by one in a low-rent Alien story. This episode was a dramatic departure from the rest of the series and featured almost no actual Ranger action. It was the best episode of the season, and the weirdest. In fact, it's the weirdest episode of Power Rangers. You should check this one out above all else. 
Power Rangers Month photo
Ninja Turtles, gambling, and pizza
One of the more popular throwaway quotes among Power Rangers diehards comes from the "Forever Red" episode of Wild Force. T.J., the Red Turbo Ranger, says "Did I ever tell you guys about the time I got baked into a giant...

War Machine photo
War Machine

Brad Pitt won't wait in War Machine trailer


No, not Marvel
Mar 01
// Matthew Razak
If you thought Netflix movies were going to continue to be a bunch of bad Adam Sandler comedies with a smattering of quality you better take a long look at 2017. The studio, because that's what it is now, is going all out. We...
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New Alien Covenant Trailer Indistinguishable from Old Alien Trailers


Mar 01
// Rick Lash
The latest trailer for the latest Alien feature, the third to be directed by Ridley Scott, shows us more of what is to come in the second Alien prequel (this will be the sixth film in the series, and the eight to feature the ...
Guardians 2 trailer #2 photo
"The Chain" by Fleetwood Mac
Hey, Flixist readers. You up? Come and get your love. Here's a brand new trailer for Guardians of the Galaxy Vol. 2 which just premiered tonight on Jimmy Kimmel Live. While the first trailer for the sequel had an adorable Bab...

Okja trailer photo
Okja trailer

Watch a teaser trailer for Bong Joon-Ho's Okja with Tilda Swinton, which hits Netflix in June


It's like an adorable hippo monster
Feb 28
// Hubert Vigilla
It's been nearly a decade since I watched The Host. It was my first Bong Joon-Ho film, and I was hooked. Anything he makes, I'll give it a watch, whether it's something like 2003's Memories of Murder or as ambitiously off the...
Cars 3 trailer photo
Cars 3 trailer

New Cars 3 trailer looks sort of like Rocky III


Ka-chow of the Tiger
Feb 27
// Hubert Vigilla
That first trailer for Cars 3 was surprisingly somber. It teased tough times ahead for Lightning McQueen (voiced by Owen Wilson). I sensed a troubling fall from grace, and maybe even a death. Okay, maybe not a death. But it w...

Full list of 2017 Oscar winners, and an official statement on the insane Best Picture mistake

Feb 27 // Hubert Vigilla
PricewaterhouseCoopers, the firm responsible for overseeing the awards results, issued the following statement about the mistake: We sincerely apologize to "Moonlight," "La La Land," Warren Beatty, Faye Dunaway, and Oscar viewers for the error that was made during the award announcement for Best Picture. The presenters had mistakenly been given the wrong category envelope and when discovered, was immediately corrected. We are currently investigating how this could have happened, and deeply regret that this occurred. We appreciate the grace with which the nominees, the Academy, ABC, and Jimmy Kimmel handled the situation. Below is a full list of your Academy Award winners. Best Picture MoonlightArrivalFencesHacksaw RidgeHell or High WaterHidden FiguresLa La LandLionManchester by the Sea   Best Director Damien Chazelle (La La Land)Denis Villeneuve (Arrival)Mel Gibson (Hacksaw Ridge)Kenneth Lonergan (Manchester by the Sea)Barry Jenkins (Moonlight)   Best Actress Emma Stone (La La Land)Isabelle Huppert (Elle)Ruth Negga (Loving)Natalie Portman (Jackie)Meryl Streep (Florence Foster Jenkins)   Best Actor Casey Affleck (Manchester by the Sea)Andrew Garfield (Hacksaw Ridge)Ryan Gosling (La La Land)Viggo Mortensen (Captain Fantastic)Denzel Washington (Fences)   Best Supporting Actress Viola Davis (Fences)Naomie Harris (Moonlight)Nicole Kidman (Lion)Octavia Spencer (Hidden Figures)Michelle Williams (Manchester by the Sea)   Best Supporting Actor Mahershala Ali (Moonlight)Jeff Bridges (Hell or High Water)Lucas Hedges (Manchester by the Sea)Dev Patel (Lion)Michael Shannon (Nocturnal Animals)   Best Original Screenplay Manchester by the SeaHell or High WaterLa La LandThe Lobster20th Century Women   Best Adapted Screenplay MoonlightArrivalFencesHidden FiguresLion   Best Cinematography La La LandArrivalLionMoonlightSilence   Best Film Editing Hacksaw RidgeArrivalHell or High WaterLa La LandMoonlight   Best Animated Feature ZootopiaKubo and the Two StringsMoanaMy Life As a ZucchiniThe Red Turtle   Best Foreign Language Film The SalesmanLand of MineA Man Called OveTannaToni Erdmann   Best Documentary OJ: Made in AmericaFire at SeaI Am Not Your NegroLife, Animated13th   Best Score La La LandJackieLionMoonlightPassengers   Best Song City of Stars (La La Land)Audition (La La Land)Can’t Stop the Feeling! (Trolls)The Empty Chair (Jim: The James Foley Story)How Far I’ll Go (Moana)   Best Live-Action Short SingEnnemis InterieursLa Femme et le TGVSilent NightsTimecode   Best Documentary Short The White Helmets4.1 MilesExtremisJoe’s ViolinWatani: My Homeland   Best Animated Short PiperBlind VayshaBorrowed TimePear Cider and CigarettesPearl   Best Visual Effects The Jungle BookDeepwater HorizonDoctor StrangeKubo and the Two StringsRogue One: A Star Wars Story   Best Production Design La La LandArrivalFantastic Beasts and Where to Find ThemHail, Caesar!Passengers   Best Sound Editing ArrivalDeepwater HorizonHacksaw RidgeLa La LandSully   Best Sound Mixing Hacksaw RidgeArrivalLa La LandRogue One: A Star Wars Story13 Hours   Best Costume Design Fantastic Beasts and Where to Find ThemAlliedFlorence Foster JenkinsJackieLa La Land   Best Makeup and Hairstyling Suicide SquadA Man Called OveStar Trek Beyond
2017 Oscar results photo
Moonlight wins Best Picture
Last night's Oscar ceremony seemed to be going as expected, with La La Land taking the most awards (six total), though everything was thrown into chaos during the announcement of Best Picture. It turned out that presenters Wa...

RIP Bill Paxton (1955-2017)

Feb 26 // Hubert Vigilla
RIP Bill Paxton photo
He was 61 years old
Actor Bill Paxton has passed away after suffering complications from surgery. He was 61 years old. According to Variety, Paxton's family has requested privacy and respect as they mourn. A consummate professional and reliable ...

Honest Trailers: Oscars photo
Honest Trailers: Oscars

Honest Trailers runs through the 2017 Oscars' Best Picture nominees


All the noms
Feb 24
// Hubert Vigilla
The Oscars are this weekend, which means everyone gets to complain about the Academy letting them down in some way. This is an annual tradition. It's like getting into an argument with your dad around Christmas, or getting to...
Seth Meyers' Oscar Bait photo
Seth Meyers' Oscar Bait

Seth Meyers' Oscar Bait takes jabs at all the awards season tropes


Snot and feels
Feb 24
// Hubert Vigilla
Ahh, Oscar bait. We know it when we see the trailer--the pandering tone, the appeal to non-denominational spiritual uplift, the all-star cast or the stunt-cast star, the Hallmark greeting card ruminations on the meaning of li...
Uncharted screenplay photo
Uncharted screenplay

Joe Carnahan talks about his R-rated Uncharted script and its crazy action sequences


Let's get crazy
Feb 24
// Hubert Vigilla
The Uncharted movie looks like it's finally moving forward. Yes fellas, honestly and for reals this time. Joe Carnahan finished his screenplay not too long ago, and Shawn Levy was plucked from left field to direct. In an inte...
Nightwing movie in DCEU photo
Nightwing movie in DCEU

Warner Bros. adds Nightwing movie to DCEU because no one knows what they're doing


Lego Batman's Chris Kay to direct
Feb 24
// Hubert Vigilla
The Batman family is growing in the DC cinematic universe. For one, Matt Reeves agreed to direct the new Batman movie. On top of that, Warner Bros. is now planning a live-action Nightwing movie. The Lego Batman Movie dir...
Matt Reeves Batman photo
Hello Matt Reeves my old friend
Finally some good news for Ben Affleck's The Batman. Matt Reeves (War of the Planet of the Apes, Let Me In) has decided to direct the new solo Batman movie. This comes just days after talks broke down and Reeves declined the ...

Alien: Covenant photo
Alien: Covenant

Alien: Covenant gets a prologue with food and drinking


These people will die
Feb 23
// Matthew Razak
Yesterday we got our first good look at the crew of Alien: Covenant and today we have a bit of a prologue to the film that's been released. "Prologue: Last Supper" doesn't really tell us much, but it has fun playing with...

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