Teen love is simply too pure for this compromised world. (In the movies, anyhow. In real life, the love between teens is like a knockoff version of love you’d buy in Chinatown for eight dollars.) Cancer drove Shailene Woodley and Ansel Elgort apart in The Fault in Our Stars, and in the new film The Space Between Us, the vague atmospheric chemistry of Earth separates Asa Butterfield from his one true love Britt Robertson. Butterfield’s coming back for seconds at the teen-weepie-romance buffet, too, as a new report from Deadline indicates today.
Because Hollywood continues to keep him employed and because he’s got a symmetrical, reassuring face, it’s easy to forget that Michael Fassbender’s had something of a rough year. He started 2016 off by losing the Academy Award in February, having been nominated for the already-aging-poorly Steve Jobs. He then served up a hat-trick of dismally-reviewed starring roles in X-Men: Apocalypse (yikes), The Light Between Oceans (double yikes), and Assassin’s Creed (inadvertently fun in a goofy way, but mostly yikes). He‘s geared to get back on track in 2017, however, with the festival-vetted family crime drama Trespass Against Us slated for a release later this month and the more hotly anticipated The Snowman on the way as well.
Ah, the Super Bowl: the one magical night each year in which the nation unites under the binding forces of domestic macrobrewed beer, buffalo chicken wings, and good ol’ American football. Everyone’s got something to enjoy at the big game, whether that’s the competition itself or, for those of us unable to enjoy sporting events due to PTSD over a childhood of getting picked last, trailers for a movie in which Scarlett Johansson plays a sexy police robot. The Super Bowl regularly doubles as the premiere for a handful of brand new previews of upcoming blockbusters, and Paramount has done us all the solid of giving us a three-day jump on the fun.
Leonardo DiCaprio’s got quite a bit of experience when it comes to portraying characters on either side of the law. He was a dooly appointed federal mahshal in Shuttah Island, played the Boston mob against itself for Martin Scorsese in The Departed, and took on more dastardly roles in such films as Django Unchained and The Wolf of Wall Street. With an Oscar now under his belt, DiCaprio is on the hunt for new roles, and today brings the news that Paramount has given him one squarely in his wheelhouse.
It’s been a topsy-turvy week for awards prognosticators, relative even to the usual topsy-turviness of an industry based entirely on guesswork and speculation. Deadpool frightened and confused Oscar oddsmakers when it unexpectedly snatched up a Best Picture nomination from the Producers Guild Awards program on Tuesday, and then officially rejiggered everyone’s slate of predictions when director Tim Miller earned a nomination from the Directors Guild of America. What had been all but forgotten as a superhero oddball is staging a late-phase charge among the groups of professionals that vote for Oscar nominees — nothing is out of the question.
It’s the inevitable question money-minded executives must ask when an original movie musical starts to gain traction with the general public: “So,” he asks, bitten-down cigar chomped between his teeth, “we taking this thing to Broadway or what?”
At the Golden Globes on Sunday night, both Jenna Bush and Michael Keaton made the embarrassing faux pas of conflating new releases Hidden Figures and Fences into the single title Hidden Fences. It’s an easy enough mistake to make — when there are a whopping two movies featuring black ensembles in theaters at the same time, who can expect anyone to keep them straight, least of all people whose one job revolves around the ability to keep them straight? It was a real foot-in-mouth moment for both celebrities, reflective of the minimal attention that white audiences pay to film championing black performers and creators.
Among the many problems of Revenge of the Sith — Hayden Christensen’s hair, overly tidy plot resolution, a marked lack of Darth Maul — was the wooden dialogue. One fan, however, has found a workaround to the stilted conversations that the boy who would be Vader has with everyone in his orbit; Youtube user GratefulDeadpool re-dubbed the entirety of Episode III using an automated translation from the Mandarin bootleg, creating a word-salad edit of the film that makes even the most tedious moments into something surreal, entertaining, and occasionally hilarious.
The first trailer for Denis Villeneuve’s hotly anticipated Blade Runner 2049 materialized earlier this week, giving sci-fi diehards an eyeful of one of next year’s biggest-name tentpoles. There were appetizing visuals aplenty, a foreboding showdown between stars Ryan Gosling and Harrison Ford, reprising his role as Rick Deckard, and yet still so much remains unknown. What will this film’s rating be? How dreamy will Ryan Gosling’s eyes look, on a scale from 9 to 10? Will the blades get runned? Those last two will remain up in the air until the film’s release on October 6 of next year, but we do have a definitive answer for that first one.
A bruise-black crime comedy about a pair of tough-guy partners working in a dark-grey moral area to unravel a larger crime syndicate, executed with a '70s flair. It sure looks like 2017 will find its The Nice Guys in John Michael McDonagh's upcoming feature War on Everyone, the trailer for which debuted today in advance of its February 3 debut. The new Gosling/Crowe power couple is none other than Michael Peña (poised to rebound from the career cyanide of Collateral Beauty) and Alexander Skarsgård (also in need of a rebound, from this summer's dud Tarzan), as a pair of police officers who make typical cop-on-the-edge types look like they're not even on the edge, like they're a safe distance from the cliff.
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