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‘Star Trek’ Actor Anton Yelchin Dies at 27

19 June 2016 11:11 AM, PDT | Variety - TV News | See recent Variety - TV News news »

Anton Yelchin, known for roles in “Star Trek” and “Alpha Dog,” died early Sunday morning in a freak accident, a spokeswoman confirmed to Variety. He was 27.

“Actor Anton Yelchin was killed in a fatal traffic collision early this morning,” said a statement from his representative. “His family requests you respect their privacy at this time.”

The Lapd said he was pinned by his own car at his Studio City home. Friends apparently became concerned when Yelchin did not show up for a band performance. They found him at his home pinned between his car and a brick mailbox pillar.

“It appears he had exited his car and was behind it when the vehicle rolled down a steep driveway,” the Lapd said in a statement.

Police reportedly told TMZ that the engine was still running when he was found, and that his car was in neutral. It’s not clear why he got out of his car with »

- Brent Lang and Alex Stedman

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‘Star Trek’ Actor Anton Yelchin Dies at 27

19 June 2016 11:11 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Anton Yelchin, known for roles in “Star Trek” and “Alpha Dog,” died early Sunday morning in a freak accident, a spokeswoman confirmed to Variety. He was 27.

“Actor Anton Yelchin was killed in a fatal traffic collision early this morning,” said a statement from his representative. “His family requests you respect their privacy at this time.”

The Lapd said he was pinned by his own car at his Studio City home. Friends apparently became concerned when Yelchin did not show up for a band performance. They found him at his home pinned between his car and a brick mailbox pillar.

“It appears he had exited his car and was behind it when the vehicle rolled down a steep driveway,” the Lapd said in a statement.

Police reportedly told TMZ that the engine was still running when he was found, and that his car was in neutral. It’s not clear why »

- Brent Lang and Alex Stedman

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Warner Bros, and its disastrous movie summer of 1997

13 June 2016 2:21 PM, PDT | Den of Geek | See recent Den of Geek news »




Warner Bros has struggled with its blockbusters of late. But back in summer 1997 - Batman & Robin's year - it faced not dissimilar problems.

Earlier this year it was revealed that Warner Bros, following a string of costly movies that hadn’t hit box office gold (Pan, Jupiter Ascending, The Man From U.N.C.L.E., In The Heart Of The Sea), was restructuring its blockbuster movie business. Fewer films, fewer risks, more franchises, and more centering around movie universes seems to be the new approach, and the appointment of a new corporate team to oversee the Harry Potter franchise last week was one part of that.

In some ways, it marks the end of an era. Whilst it retains its relationships with key directing talent (Ben Affleck, Clint Eastwood, Christopher Nolan for instance), Warner Bros was, for the bulk of the 1990s in particular, the studio that the others were trying to mimic. It worked with the same stars and filmmakers time and time again, and under then-chiefs Terry Semel and Robert Daly, relationships with key talent were paramount.

Furthermore, the studio knew to leave that talent to do its job, and was also ahead of the pack in developing franchises that it could rely on to give it a string of hits.

However, whilst Warner Bros is having troubles now, its way of doing business was first seriously challenged by the failure of its slate in the summer of 1997. Once again, it seemed to have a line up to cherish, that others were envious of. But as film by film failed to click, every facet of Warner Bros’ blockbuster strategy suddenly came under scrutiny, and would ultimately fairly dramatically change. Just two summers later, the studio released The Matrix, and blockbuster cinema changed again.

But come the start of summer 1997? These are the movies that Warner Bros had lined up, and this is what happened…

February - National Lampoon’s Vegas Vacation

Things actually had got off to a decent enough start for the studio earlier in the year, so it's worth kicking off there. It brought Chevy Chase and Beverly D’Angelo back together, for the fourth National Lampoon movie, and the first since 1989’s National Lampoon’s Christmas Vacation. Interestingly, it dropped the National Lampoon moniker in the Us, and instead released the eventual movie as Vegas Vacation. It was a belated sequel, back when belated sequels weren’t that big a thing.

The film was quickly pulled apart by reviewers, but it still just about clawed a profit. The production budget of $25m was eclipsed by the Us gross of $36m, and the movie would do comfortable business on video/DVD. Not a massive hit, then, but hardly a project that had a sense of foreboding about it.

Yet the problems were not far away.

May – Father's Day

Warner Bros had a mix of movies released in the Us in March and April 1997, including modest Wesley Snipes-headlined thriller Murder At 1600, and family flick Shiloh. But it launched its summer season with Father’s Day, an expensive packaged comedy from director Ivan Reitman, starring Robin Williams and Billy Crystal. It had hit written all over it.

Father’s Day was one of the movies packaged by the CAA agency, and its then-head, Mike Ovitz (listed regularly by Premiere magazine in the 1990s as one of the most powerful men in Hollywood, if not the most powerful man). That he brought together the stars, the director and the project, gave a studio a price tag, and the studio duly paid it. Given Warner Bros’ devotion to star talent (Mel Gibson, then one of the biggest movie stars in the world, and a major Warner Bros talent, was persuaded to film a cameo), it was a natural home for the film. It quickly did the deal. few questions asked.

That package, and CAA’s fees for putting it together, brought the budget for a fairly straightforward comedy to a then-staggering $85m. The problem, though, was that the film simply wasn’t very good. It’s one of those projects that looks great on paper, less great when exposed on a great big screen. Warner Bros has snapped it up, without - it seems - even properly reading the script. 

Premiere magazine quoted a Warner Bros insider back in November 1997 as saying “when [CAA] calls and says ‘we have a package, Father’s Day, with Williams and Crystal and Reitman, we say ‘great’”, adding “we don’t scrutinise the production. When we saw the movie, it took the wind out of us. We kept reshooting and enhancing, but you can’t fix something that’s bad”.

And it was bad.

The movie would prove to be the first big misfire of the summer, grossing just $35m in the Us, and not adding a fat lot more elsewhere in the world. Warner Bros’ first film of the summer was a certified flop. More would soon follow.

May - Addicted To Love

A more modestly priced project was Addicted To Love, a romantic comedy starring Meg Ryan and Matthew Broderick. Just over a year later, Warner Bros would hit big when Meg Ryan reunited with Tom Hanks for Nora Ephron’s You’ve Got Mail. But here? The film was a modest success, at best.

Directed by Griffin Dunne (making his directorial debut), and put together in partnership with Miramax, Addicted To Love was based around the Robert Palmer song of the same name. But whilst it was sold as a romcom, the muddled final cut was actually a fair bit darker. There was an underlying nastiness to some moments in the film, and when the final box office was tallied, it came in lower than the usual returns for pictures from Ryan or Broderick. Counter-programming it against the release of The Lost World: Jurassic Park didn’t massively help in this instance either, especially as the Jurassic Park sequel would smash opening weekend records.

Addicted To Love ended up with $34.6m at the Us box office. It would eke out a small profit.

June - Batman & Robin

And this is when the alarm bells started to ring very, very loudly. Summer 1997 was supposed to be about a trio of sure-fire hit sequels: Batman 4, Jurassic Park 2 and Speed 2. Only one of those would ultimately bring home the box office bacon, the others being destroyed by critics, and ultimately leaving far more empty seats than anticipated in multiplexes.

Batman & Robin, it’s easy to forget, came off the back of 1995’s Joel Schumacher-steered Batman reboot, Batman Forever that year's biggest movie). It had one of the fastest-growing stars in the world in the Batsuit (George Clooney), and the McDonald’s deals were signed even before the script was typed up. You don’t need us to tell you that you could tell, something of a theme already in Warner Bros' summer of '97.

That said, Batman & Robin still gave Warner Bros a big opening, but in the infancy of the internet as we know it, poisonous word of mouth was already beginning to spread. The film’s negative cost Warner Bros up to $140m, before marketing and distribution costs, and it opened in the Us to a hardly-sniffy $42m of business (although that was down from previous Batman movies).

But that word of mouth still accelerated its departure from cinemas. It was then very rare for a film to make over 40% of its Us gross in its first weekend. But that’s just what Batman & Robin did, taking $107.3m in America, part of a worldwide total of $238.2m. This was the worst return for a Batman movie to date, and Warner Bros had to swiftly put the brakes on plans to get Batman Triumphant moving.

It would be eight years until Batman returned to the big screen, in Christopher Nolan’s Batman Begins. Warner Bros would undergo big changes in the intervening period.

As for the immediate aftermath of Batman & Robin? Warner Bros co-chief Robert Daly would note at the end of '97 that “we’d have been better off with more action in the picture. The movie had to service too many characters”, adding that “the next Batman we do, in three years – and we have a deal with George Clooney to do it – will have one villain”.

Fortunately, Warner Bros’ one solid hit of the summer was just around the corner…

July - Contact

And breathe out.

Warner Bros bet heavily again on expensive talent here, with Robert Zemeckis bringing his adaptation of Carl Sagan’s Contact to the studio for his first film post-Forrest Gump. Warner Bros duly footed the $90m bill (back when that was still seen as a lot of money for a movie), a good chunk of which went to Jodie Foster. It invested heavily in special effects, and gave Zemeckis licence to make the film that he wanted.

The studio was rewarded with the most intelligent and arguably the best blockbuster of the summer. I’ve looked back at Contact in a lot more detail here, and it remains a fascinating film that’s stood the test of time (and arguably influenced Christopher Nolan’s more recent Interstellar).

Reviews were strong, it looked terrific, and the initial box office was good.

But then the problem hit. For whilst Contact was a solid hit for Warner Bros, it wasn’t a massively profitable one. Had Father’s Day and Batman & Robin shouldered the box office load there were supposed to, it perhaps wouldn’t have been a problem. But when they failed to take off, the pressure shifted to Contact.

The movie would gross $100.9m in the Us, and add another $70m overseas (this being an era were international box office rarely had the importance it has today). But once Warner Bros had paid its bills, there wasn’t a fat lot over for itself. Fortunately, the film still sells on disc and on-demand. Yet it wasn’t to be the massive hit the studio needed back in 1997.

July - One Eight Seven

From director Kevin Reynolds, the man who helmed Robin Hood: Prince Of Thieves and Waterworld, came modestly-priced drama 187, starring Samuel L Jackson (in a strong performance). Warner Bros wouldn’t have had massive box office expectations for the film (although it can't have been unaware that the inspirational teacher sub-genre was always worth a few quid), and it shared production duties on the $20m movie with Mel Gibson’s Icon Productions. But still, it would have had its eye on a modest success. What it got in return was red ink.

The film’s not a bad one, and certainly worth seeking out. But poor reviews gave the film an uphill struggle from the off – smaller productions arriving mid-summer really needed critics on their side, as they arguably still do – and it opened to just $2.2m of business (the less edgy, Michelle Pfeiffer-headlined school drama Dangerous Minds had been a surprise hit not two years before).

By the time its run was done, 187 hadn’t even come close to covering its production costs, with just under $6m banked.

Warner Bros’ summer slate was running out of films. But at least it had one of its most reliable movie stars around the corner…

August - Conspiracy Theory

What could go wrong? Mel Gibson and Julia Roberts were two of the biggest movie stars in the world in 1997, at a time when movie stars still equated to box office gold. Director Richard Donner, one of Warner Bros’ favourite directors, had delivered the Lethal Weapons, Maverick, Superman, The Goonies and more for the studio. Put them altogether, with Patrick Stewart (coming to wider public consciousness at the time off the back of his Star Trek: The Next Generation work) as a villain, and it should have been a big hit.

Conspiracy Theory proved to be one of the more ambitious summer blockbusters of the era. It lacks a good first act, which would be really useful in actually setting up more of what’s going on. But Gibson played an edgy cab driver who believes in deep government conspiracies, and finds himself getting closer to the truth than those around him sometimes give him credit for.

Warner Bros was probably expecting another Lethal Weapon with the reunion of Gibson (who had to be persuaded to take Conspiracy Theory on) and Donner (it’s pretty much what it got with the hugely enjoyable Maverick a few years’ earlier), but instead it got a darker drama, with an uneasy central character that didn’t exactly play to the summer box office crowd.

The bigger problem, though, was that the film never quite worked as well as you might hope. Yet star power did have advantages. While no juggernaut, the film did decent business, grossing $137m worldwide off the back of an $80m budget ($40m of which was spent on the salaries for the talent before a single roll of film was loaded into a camera). That said, in the Us it knocked a genuine smash hit, Air Force One, off the top spot. Mind you in hindsight, that was probably the film that the studio wished it had made (the cockpit set of Warner Bros' own Executive Decision was repurposed for Air Force One, fact fans).

Still: Warner Bros did get Lethal Weapon 4 off Gibson and Donner a year later…

August - Free Willy 3: The Rescue


Warner Bros opened its third Free Willy film on the same day as Conspiracy Theory (can you imagine a studio opening two big films on the same day now), but it was clear that this was a franchise long past its best days (and its best days hardly bring back the fondest of memories).

Still, Free Willy movies were relatively modest in cost to put together, and Warner Bros presumably felt this was a simple cashpoint project. But in a year when lots of family movies did less business than expected (Disney’s Hercules, Fox’s Home Alone 3, Disney’s Mr Magoo), Free Willy 3 barely troubled the box office. It took in just over $3m in total, and Willy would not be seen on the inside of a cinema again.

August - Steel

Not much was expected from Steel, a superhero movie headlined by Shaquille O’Neal. Which was fortunate, because not much was had.

It had a mid-August release date in the Us, at a point when a mid-August release date was more of a dumping ground than anything else. And even though the budget was set at a relatively low $16m, the film – and it’s an overused time – pretty much bombed. It took $1.7m at the Us box office, and given that its appeal hinged on a major American sports star whose fame hardly transcended the globe, its international takings did not save it (it went straight to video in many territories).

It was a miserable end to what, for warner bros, had been a thoroughly miserable summer.

So what did hit big in summer 1997?

Summer 1997 was infamous for big films failing to take off in the way that had been expected – Hercules, Speed 2, and the aforementioned Warner Bros movies – but there were several bright spots. The big winner would be Barry Sonnenfeld’s light and sprightly sci-fi comedy Men In Black, starring Will Smith and Tommy Lee Jones. Star power too helped score big hits for Harrison Ford (Air Force One), Julia Roberts (My Best Friend’s Wedding) and John Travolta (Face/Off).

This was also the summer that Nicolas Cage cemented his action movie credentials with Face/Off and Con Air. Crucially, though, the star movies that hit were the ones that veered on the side of 'good'. For the first of many years, the internet was blamed for this.

Oh, and later in the year, incidentally, Titanic would redefine just what constituted a box office hit...

What came next for Warner Bros?

In the rest of 1997, Warner Bros had a mix of projects that again enjoyed mixed fortunes. The standout was Curtis Hanson’s stunning adaptation of L.A. Confidential, that also proved to be a surprise box office success. The Devil’s Advocate didn’t do too badly either.

However, two of the studio’s key filmmakers failed to really deliver come the end of 1997. Clint Eastwood’s Midnight In The Garden Of Good And Evil failed to ignite (although many felt he was always on a hiding to nothing in trying to adapt that for the screen), and Kevin Costner’s The Postman would prove arguably the most expensive box office disappointment of the year. No wonder the studio rushed Lethal Weapon 4 into production for summer 1998. Oh, and it had The Avengers underway too (not that one), that would prove to be a 1998 disappointment.

The studio would eventually take action. The Daly-Semel management team, that had reigned for 15 years, would break up at the end of 1999, as its traditional way of doing business became less successful. The pair had already future projects that were director driven to an extent (Eyes Wide Shut), and it would still invest in movies with stars (Wild Wild West). But the immediate plan of action following the disappointment of summer 1997 – to get Batman 5 and Superman Lives made – would falter. It wouldn’t be until 1999’s The Matrix (a film that Daly and Semel struggled to get) and – crucially – 2001’s Harry Potter And The Philosopher’s Stone that the studio would really get its swagger back...

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Movies Feature Simon Brew Warner Bros 16 Jun 2016 - 05:19 Conspiracy Theory Father's Day Addicted To Love Contact National Lampoon’s Vegas Vacation One Eight Seven Steel Batman & Robin Free Willy 3: The Rescue »

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Get Cast in ‘Dead Poets Society’ and 5 More Projects

10 June 2016 10:28 AM, PDT | | See recent Backstage news »

Looking for your next audition? Check out these six projects, including a New York theater production and a Los Angeles student film, below! “Linda”Equity actors are being sought for this New York–based show centered on a career woman with a one-track mind. The titular role as well as seven others will be auditioned off on June 23 in New York City. Rehearsals begin Jan. 2 with a Feb. 3–April 30 run. “Dead Poets Society”Auditions are June 28 for this stage rendition of the film that famously starred Robin Williams as an unorthodox English teacher in an all-boys prep school. The roles of the headmaster, students, and parents are being cast. This is an Equity performance with previews set for October. “Rectify”Stand-ins are needed for this Sundance TV series filming in Griffin, Georgia. The series follows a former Death Row inmate who’s released from prison when DNA evidence brings his guilt into question. »

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Ridley Scott to Receive American Cinematheque Honor

7 June 2016 11:08 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Director-producer Ridley Scott will receive the 30th American Cinematheque award.

The presentation will take place on Oct. 14 at the Beverly Hilton.

Scott received Academy Award director nominations for “Black Hawk Down,” “Gladiator” and “Thelma and Louise.” Othe directing credits include “Alien,” “Black Rain,” “Blade Runner,” “The Duelists,” “Exodus: Gods and Kings,” “G.I. Jane,” “Kingdom of Heaven,” “Legend,” “The Martian,” “Matchstick Men,” “Prometheus,” “Robin Hood,” “Someone to Watch Over Me” and “White Squall.”

The American Cinematheque is extremely pleased to honor Ridley Scott as the 30th recipient of the American Cinematheque award at our celebration this year,” said American Cinematheque Chairman Rick Nicita. “To state it simply, Ridley Scott is one of the greatest directors in the history of the motion picture.”

“From his first feature, ‘The Duelists,’ to his most recent, ‘The Martian,’ the films of Ridley Scott have combined keenly observed humanity with dazzling state-of-the-art effects and design in »

- Dave McNary

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Exclusive Interview: Legendary director Garry Marshall on Mother’s Day, holiday films and memories of Robin Williams

6 June 2016 10:13 AM, PDT | Flickeringmyth | See recent Flickeringmyth news »

With his new film Mother’s Day set for release in the UK this Friday (June 10th), Flickering Myth’s Scott J. Davis sat down (well, on the phone at least) to chat with legendary director Garry Marshall (Overboard, Pretty Woman) to discuss his latest effort, some of his most famous projects, and working with the late Robin Williams.

Mother’s Day marks the third “holiday” themed film that Marshall has made in recent years after the success of 2010’s Valentine’s Day, which grossed over $216 million worldwide, and its follow-up New Year’s Eve, which made $142 million. But while Mother’s Day marks something of a trilogy, Marshall was looking more for a story about mothers than another holiday one:

“I wanted to do something about mothers. I found that a very interesting subject – how to be a parent today, in this case and how your relationships go on. »

- Scott J. Davis

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Rebel Wilson as Ursula, more highlights from ‘The Little Mermaid’ live

4 June 2016 10:09 AM, PDT | Hitfix | See recent Hitfix news »

Disney fans were in for a massive smile-inducing and tear-jerking event at Los Angeles’ Hollywood Bowl on Friday when a 71-piece orchestra and talented vocal line-up performed the music of The Little Mermaid live to picture at a concert screening. Among the cast taking on the roles in the beloved 1989 animated film were Sara Bareilles as Ariel, Rebel Wilson as Ursula, Tituss Burgess as Sebastian, Darren Criss as Prince Eric, and John Stamos as Chef Louis. In a post-Merida, post-Elsa world, Ariel’s tale of longing to leave her father’s home and adventure into another world still resonates with audiences. The ever-catchiness of the music does too. That was evident as the power of nostalgia and the promise of a solid cast packed the Hollywood Bowl at Friday night’s show. The 17,000-seat venue had sold out within three hours, and two more shows were added (for Saturday and Monday) to meet demand. »

- Emily Rome

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X-Men: Apocalypse - the deleted scenes & unused ideas

1 June 2016 5:26 AM, PDT | Den of Geek | See recent Den of Geek news »




What went on at that mall? Why was Jubilee barely in it? Here’s some info about the ditched ideas from X-Men: Apocalypse...

This article contains spoilers for X-Men: Apocalypse.

Clocking in at 2 hours and 27 minutes, X-Men: Apocalypse isn’t exactly a short movie. With that in mind, you might be surprised to learn that director Bryan Singer left a fair chunk of material on the editing room floor. Although there was no Rogue Cut-sized narrative strand cut out this time, writer/producer Simon Kinberg has already told Collider that roughly 13 minutes were chopped duing the editing process.

There’s also a little bit on information floating around regarding earlier versions of the film’s script, and how Apocalypse could have played out differently if other ideas had been kept in. Here’s our roundup of everything that didn’t make it into the movie...

More Magneto »

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The Week in Spandex – X-Men: Apocalypse box office, Wolverine 3 villains, Chris Evans keen on Spider-Man cameo, Joss Whedon open to female Avengers movie, Wesley Snipes on Blade return, Suicide Squad promo artwork, Stephen Amell wants Arrow to go back-to-basics and more

28 May 2016 4:20 AM, PDT | Flickeringmyth | See recent Flickeringmyth news »

In this edition of The Week in Spandex, we look at X-Men: Apocalypse, X-Force, Wolverine 3, Captain America: Civil War, Spider-Man: Homecoming, Animated Spider-Man, Thor: Ragnarok, Captain Marvel, Black Panther, Blade, Luke Cage, Jessica Jones, Daredevil, Batman v Superman: Dawn of Justice, Batman, The Flash, Arrow, DC’s Legends of Tomorrow and more…

Having opened in the UK and 74 other international markets last week – grossing a $103.3 million opening weekend – X-Men: Apocalypse made its way across the Pond yesterday, where it is going head-to-head with Disney’s Alice Through the Looking Glass on Memorial Day weekend. Apocalypse looks set to comfortably come out on top, and is looking at a domestic opening haul of around $85 million over the four-day weekend, which should put it at around the $250 million mark worldwide by Monday. Be sure to check out our reviews of X-Men: Apocalypse here, here, here and here, along with the Flickering Myth Podcast reviews here and here, »

- Gary Collinson

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Bryan Singer rules out a director’s cut of X-Men: Apocalypse, talks deleted scenes

27 May 2016 1:33 PM, PDT | Flickeringmyth | See recent Flickeringmyth news »

With X-Men: Apocalypse opening in the States today, director Bryan Singer has been chatting to Fandango about the movie, during which he confirmed that unlike X-Men: Days of Future Past, there will be not additional director’s cut or extended version of his latest foray into the world of the X-Men.

“There will be nothing like the Rogue Cut or anything like that”, Singer told Fandango. “I’m not a big fan of director’s cuts or extended editions, I never have been. In the case of Apocalypse, I removed what would be considered a conventional amount from the movie to protect what we call the collective experience of the feature theatrically. How it feels pace wise and movement wise.”

See Also: Olivia Munn wants Psylocke to join Deadpool in X-Force movie

Singer also touched upon some of the deleted scenes, stating that: “We do have a moment where Jubilee »

- Gary Collinson

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Bryan Singer Rules Out Possible X-Men: Apocalypse Alternate Cut, Eager To Reunite Original Cast

26 May 2016 12:58 PM, PDT | We Got This Covered | See recent We Got This Covered news »

X-Men: Apocalypse Gallery 1 of 30   

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On the eve of its North American bow, director Bryan Singer has ruled out the chances of releasing an alternate or extended cut of X-Men: Apocalypse in the style of 2014’s Rogue Cut.

Word comes by way of Fandango, where the filmmaker talked all things X-Men ahead of Apocalypse‘s imminent arrival. Of the topics covered, Singer noted that while the eventual Blu-ray/DVD release of the threequel will come packing ample deleted scenes for fans to pour over, don’t go in expecting anything in the vein of Days of Future Past‘s alternate cut.

“There will be nothing like the Rogue Cut or anything like that. I’m not a big fan of director’s cuts or extended editions, I never have been. In the case of Apocalypse, I removed what would be considered a conventional amount from the movie to »

- Michael Briers

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Jubilee Gets Sidelined in 'X-men: Apocalypse,' Expect More From Deleted Scenes

25 May 2016 10:44 AM, PDT | LatinoReview | See recent LatinoReview news »

It was only yesterday that we reported that you shouldn't expect anything like a "Rogue Cut" from Bryan Singer's next film, X-men: Apocalypse.

"There will be no alternate cut of this movie," director Bryan Singer told Fandango. 

"There will be nothing like the Rogue Cut or anything like that. I'm not a big fan of director's cuts or extended editions, I never have been. In the case of Apocalypse, I removed what would be considered a conventional amount from the movie to protect what we call the collective experience of the feature theatrically. How it feels pace wise and movement wise."

While this fact remains true, that doesn't change the fact that at least one mutant has largely ended up getting relegated to the sidelines of the film. The big victim this time around appears to be Jubilee. While we've seen decent amount of Jubilee in set photos, it »

- Joseph Medina

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Geeks Vs Loneliness: help us with the future of this series

25 May 2016 4:05 AM, PDT | Den of Geek | See recent Den of Geek news »




Can you spare us a few minutes to talk about where next for Geeks Vs Loneliness...? Thank you.

A slight change for this week's Geeks Vs Loneliness. We're still here, we just want some input from you as to what's working, what isn't, and what we should be doing next.

The basic history if you're new to this series. We started Geeks Vs Loneliness in earnest a year ago, indirectly following the suicide of Robin Williams. We've written about that quite a lot, but the guts of it are that it struck us very clearly that the only way to make invisible problems and challenges visible is to talk about them. And that's what we've tried to do, across over 50 pieces and counting in this series.

We've covered an awful lot of topics, although we're conscious we've got some way to go. For instance, we've not really touched on issues of sexuality, »

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Dwayne Johnson and Kevin Hart Tease 'Jumanji' Reboot: "We're Gonna Make It Stand Out"

23 May 2016 7:44 AM, PDT | Fandango | See recent Fandango news »

Hollywood's been flirting with a Jumanji reboot for a while now, but the death of Robin Williams (who starred in the 1995 version) and the right script delayed the project till not long ago. Now it has a big summer release date of July 28, 2017, not to mention a cast that currently features Dwayne Johnson, Kevin Hart and Jack Black. Johnson and Hart are also starring together in Central Intelligence, due out June 17, marking the first time the megaduo has starred opposite one another....

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'Saturday Night Live': 'Dead Poets Society' Meets Tarantino in Bloody, Hilarious 'Farewell Mr. Bunting' Skit

22 May 2016 9:24 AM, PDT | Indiewire | See recent Indiewire news »

"Saturday Night Live" aired its season finale last night, with host (and former cast member) Fred Armisen helping conclude the show's 41st go-round. Easily the most talked-about skit was “Farewell Mr. Bunting,” a reimagining of "Dead Poets Society" as filtered through the pulpy sensibilities of Quentin Tarantino or Robert Rodriguez. Read More: 'Saturday Night Live' Review: Fred Armisen Sends Season 41 Out In High Style Bobby Moynihan kicks things off as the eponymous teacher's embittered replacement — the poetry-loving Mr. Bunting (originally called John Keating and played by Robin Williams, portrayed here by Armisen) has been fired due to his unorthodox methods, natch — who informs his saddened class that things are going to be different now. To drive the point home, one of them is forced to read aloud of poetry's many shortfallings ("when you read a poem, you should never feel...emotion") as Bunting packs his belongings. Just as he reaches the door, »

- Michael Nordine

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Watch: SNL Does Dead Poets Society - with a Bloody Twist

22 May 2016 9:00 AM, PDT | | See recent news »

You'll never be able to watch Dead Poets Society the same way. The season finale of Saturday Night Live delivered numerous hilarious sketches with help from host Fred Armisen, but "Farewell, Mr. Bunting," a parody of the 1989 Robin Williams movie, was a standout. The scene shows a poetry teacher (Armisen) coming back to collect his belongings after being fired in the middle of a class. His students can't stand to see him go, so they protest by standing on their desk and declaring, "I sing my song for all to hear." It's a powerful moment, until one student (Pete Davidson »

- Stephanie Petit, @stephpetit_

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SNL's Dead Poets Society Parody May Be Its Best Sketch In Years

22 May 2016 8:12 AM, PDT | | See recent Cinema Blend news »

Dead Poets Society is a Robin Williams movie from 1989 about an English teacher at a private school who uses unorthodox teaching methods to reach his students who are over pressured by their parents and the school. In the most memorable moment in the film, Robin Williams is fired and all the students he touched get up on their desks and say “O captain, my captain.” It’s a super tear jerking moment in a film filled with tear-jerking moments. So, of course, Saturday Night Live did a parody of the famous scene. And it’s one of the best sketches they’ve done in a long time. Check it out:     The sketch is almost a shot for shot re-enactment of the scene from the movie, all the way down to the actor’s costumes. There’s nothing funny about it, »

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'SNL' Gives 'Dead Poets Society' a Deadly Twist in Parody Sketch

21 May 2016 11:14 PM, PDT | The Hollywood Reporter | See recent The Hollywood Reporter news »

The May 21 season finale of Saturday Night Live, hosted by series alum Fred Armisen, had viewers in stitches with one particular sketch titled "Farewell, Mr. Bunting." The bit parodies the ending scene of 1989's Dead Poets Society, in which Robin Williams' character John Keating, a high school teacher, is given an emotional send-off from his students after being fired. In the film, Keating's students salute their teacher as he gathers his classroom belongings by standing atop their desks and reciting the words of poet Walt Whitman. SNL's sketch is a frame-by-frame reenactment of the scene — castmembers

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- Meena Jang

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Why Sean Penn is grunting and doing just about nothing else in ‘Angry Birds’

18 May 2016 7:00 AM, PDT | Hitfix | See recent Hitfix news »

Sean Penn has a reputation for being a serious actor and a serious man. But he recently took part in a rather silly project: The Angry Birds Movie. The animated family film adaptation of the birds-vs.-pigs mobile app is a goofy affair, packed with slapstick comedy and scatological humor. And Penn was eager to sign himself up after watching an early cut of the movie. In Angry Birds, Penn lends his voice to Terence, a character that doesn’t ever speak. Massive, stony Terence — whom lead bird Red (Jason Sudeikis) meets in anger management — isn’t the talkative type, but he utters a few grunts and growls every now and then. Meanwhile, the other birds do speak, though that they would wasn’t an immediate given when players of the game were waiting to find out how it would be turned into a movie. (In the Finnish Angry Birds cartoon series, »

- Emily Rome

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Cannes Film Review: Steven Spielberg’s ‘The Bfg’

14 May 2016 6:01 AM, PDT | Variety - Film News | See recent Variety - Film News news »

Let’s say for the sake of argument that giants really exist. That they galumph around London, ’round about the witching hour, plucking kids from orphanage windows as a late-night snack. That one among them has misgivings about all this “cannybullism” and might actually make a pretty good friend, if given the chance. Wouldn’t you like to know about it? That’s the beauty of Roald Dahl’s “The Bfg,” as brought to life by recent Oscar winner Mark Rylance: You believe. No matter how fantastical the tale (and it gets pretty out-there at points), this splendid Steven Spielberg-directed adaptation makes it possible for audiences of all ages to wrap their heads around one of the unlikeliest friendships in cinema history, resulting in the sort of instant family classic “human beans” once relied upon Disney to deliver.

Dahl’s widely read and nearly universally revered novel began »

- Peter Debruge

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