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Fantastical love stories have always been appealing to members of various generations, and their live-action versions generally bring a much different sentiment due to their human characters alone. Beauty And The Beast Blu-Ray Review Director Bill Condon’s adaptation of the classic Disney fairy tale Beauty and the Beast is one that demonstrates it is very true to the original […]
- Pablo Mena
The year is half over and Oscar voters need to catch up on their homework. There have been many worthwhile films in the first six months of 2017, including “Get Out” from writer-director Jordan Peele (Universal, Blumhouse); “Logan,” the dark, tender neo-Western from director James Mangold (Fox); and the sumptuous mega-hit “Beauty and the Beast” (director Bill Condon, Disney).
A few years ago, these would have been extreme longshots, at best. But there have been changes in Academy voters and their tastes. Recent winners including “Moonlight,” “Mad Max: Fury Road” and “Ex Machina” prove that voters are redefining what is considered “Oscar bait.” The blurred definition is a challenge to awards strategists, but good news for hopefuls.
Oscars: 13 Deserving Contenders From 2017 So Far
The January-June period has seen many other films with Oscar potential in various categories; see the accompanying reminders by Variety colleagues Kris Tapley and Jenelle Riley. And, needless to say, other contenders will be covered a lot before the March 4, 2018, Oscar ceremony.
Diversity has been a key theme. This year, several films directed by women could be in the mix, including Sofia Coppola’s “The Beguiled” (Focus Features), Patty Jenkins’ “Wonder Woman” (Warner Bros.), and Aisling Walsh’s “Maudie” (Sony Pictures Classics). Still to come are works from Kathryn Bigelow (Annapurna’s much-buzzed “Detroit”), Dee Rees (Netflix’s “Mudbound”); Margaret Betts (Sony Classics’ “Novitiate”) and Angelina Jolie (Netflix’s “First They Killed My Father: A Daughter of Cambodia Remembers”).
There are also upcoming works from international filmmakers like Sebastian Lelio, Alfonso Gomez-Rijon, Michael Gracey, Yorgos Lanthimos and Taika Waititi. They will join veterans including Guillermo del Toro, Alexander Payne, Stephen Frears, Richard Linklater, Steven Spielberg, George Clooney, Darren Aronofsky and Paul Thomas Anderson.
Here are month-by-month opening dates, followed by a list of films that made a splash at the year’s film festivals so far. And the upcoming festivals will also add a few twists to the Oscar race.
The director and stars are listed for purpose of jogging readers’ memories; it’s not a matter of handicapping, since it’s pointless to make predictions about films that have not been widely seen.
August: “Detroit” (Kathryn Bigelow; John Boyega; Annapurna); “Logan Lucky” (Steven Soderbergh; Channing Tatum, Daniel Craig; Bleecker Street); “Patty Cake$” (Geremy Jasper; Danielle Macdonald; Searchlight); “Wind River” (Taylor Sheridan; Elizabeth Olsen; The Weinstein Co.).
September: “American Made” (Doug Liman; Tom Cruise; Universal); “Battle of the Sexes” (Jonathan Dayton & Valerie Faris; Emma Stone, Steve Carell; Fox Searchlight); “First They Killed My Father” (Angelina Jolie; Netflix); “Victoria and Abdul” (Stephen Frears; Judi Dench; Focus).
The Best Films of 2017 (So Far)
October: “Blade Runner 2049” (Denis Villeneuve; Ryan Gosling, Harrison Ford; WB); “Breathe” (Andy Serkis; Andrew Garfield; Bleecker Street, Participant); “Goodbye Christopher Robin” (Simon Curtis; Domhnall Gleeson, Margot Robbie; Searchlight); “Marshall” (Reginald Hudlin; with Chadwick Boseman as Thurgood Marshall; Open Road); “Mother!” (Darren Aronofsky; Jennifer Lawrence; Paramount); “The Mountain Between Us” (Hany Abu-Assad; Idris Elba, Kate Winslet; Fox); “Thank You for Your Service” (Jason Hall; Miles Teller; Universal)
November: “Darkest Hour” (Joe Wright; Gary Oldman; Focus); “Last Flag Flying” (Richard Linklater; Bryan Cranston; Amazon); “The Man Who Invented Christmas” (Bharat Nalluri; Dan Stevens; Bleecker Street); “Mary Magdalene” (Garth Davis; Rooney Mara, Joaquin Phoenix; TWC); “Murder on the Orient Express” (Kenneth Branagh; Johnny Depp; Fox); “Suburbicon” (George Clooney; Matt Damon; Paramount); “Thor: Ragnarok” (Taika Waititi; Chris Hemsworth; Disney, Marvel Studios); “Three Billboards Outside Ebbing, Missouri” (Martin McDonagh; Frances McDormand; Searchlight).
December: “The Greatest Showman” (Michael Gracey; Hugh Jackman; Fox); “The Current War” (Alfonso Gomez-Rijon; Benedict Cumberbatch, Michael Shannon; TWC); “Downsizing” (Alexander Payne; Matt Damon, Laura Dern; Paramount); “The Papers” (Steven Spielberg; Tom Hanks, Meryl Streep; Fox, Amblin); “The Shape of Water” (Guillermo del Toro; Sally Hawkins, Octavia Spencer; Searchlight); “Star Wars: The Last Jedi” (Rian Johnson; Disney, Lucasfilm); “Phantom Thread” (Paul Thomas Anderson; Daniel Day-Lewis; Focus); “Wonder Wheel” (Woody Allen; James Belushi, Kate Winslet; Amazon).
And some of the festival hits so far this year:
Sundance: “The Big Sick,” (Michael Showalter; Kumail Nanjiani, Ray Romano, Holly Hunter; Amazon, Lionsgate); “Call Me By Your Name” (Luca Guadagnino; Armie Hammer (Sony Pictures Classics); “The Hero” (Brett Haley; Sam Elliott; The Orchard); Also: “Mudbound” and “Wind River.”
Berlin: “The Lost City of Z” (James Gray; Charlie Hunnam; Amazon, Bleecker Street); “Final Portrait” (Stanley Tucci; Geoffrey Rush; Sony Classics); “Maudie” (Aisling Walsh; Sally Hawkins; Sony Classics).
Cannes: “Good Time” (Safdie brothers; Robert Pattinson; A24); “You Were Never Really Here” (Lynne Ramsay; Joaquin Phoenix; Amazon); “Okja” (Bong Joon Ho; Tilda Swinton, Jake Gyllenhaal; Netflix); “The Meyerowitz Stories (New and Selected),” (Noah Baumbach; Adam Sandler, Dustin Hoffman, Ben Stiller; Netflix); “The Killing of a Sacred Deer” (Yorgos Lanthimos; Nicole Kidman, Colin Farrell; A24); “The Florida Project” (Sean Baker; Willem Dafoe; A24); “Happy End” (Michael Haneke; Isabelle Huppert; Sony Classics); “Wonderstruck” (Todd Haynes; Julianne Moore; Amazon, Roadside Attractions).
There are also plenty of great documentaries, animated movies and foreign-language films, but those are for later columns.
- Tim Gray
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Dowd has been involved in the indie film industry for over 45 years, and has consulted on films such as “Blood Simple,” “The Black Stallion,” “Chariots of Fire,” “Gandhi,” “War Games,” “Desperately Seeking Susan,” and “The Blair Witch Project.” A founding member of the Sundance Institute and Sundance Film Festival and inspiration for “The Dude” from the Coen brothers’ “The Big Lebowski,” Dowd has extensive knowledge of scriptwriting, marketing, distribution and exhibition. Currently, he is working on interactive transmedia series “Our Classic Tales that Fuel Our Future,” which will be released this fall.
Nohe is a film distributor and entrepreneur with more than 20 years of executive and management experience in the film industry. Most recently, he was a partner in Circus Road Films, where he helped more than 100 films find distribution. Nohe has broad-based relationships with talent agencies, managers, publicity firms, festival programming, post-production, marketing, and theatrical distribution. Nohe has worked with filmmakers including Christopher Nolan on “Following” and Bill Condon on “Gods & Monsters.”
Related storiesMoone BoyDinner for SchmucksOcean of Pearls »
- Erin Nyren
Things are not looking great for Universal's The Mummy. The movie, which stars Tom Cruise and wound up being his biggest global opening ever ($169.3 million), is set to lose a whole lot of money for the studio, which is the absolute last thing they were hoping for. That usually goes without saying, but since The Mummy was intended to be a launching pad for Dark Universe, their shared monster movie universe, this is extra bad. So how bad is it? Well, the movie could lose as much as $95 million, when all is said and done.
According to Deadline, after consulting with a number of film finance sources, The Mummy comes with an estimated price tag of $345 million, which factors in the production budget and global marketing. Their estimates have the movie topping out at $375 million worldwide, with only $75 million coming domestically, which is the main problem here. As Deadline points out, »
Universal’s Dark Universe has endured a rocky start – you know it, I know it and, frankly, the studio’s top brass knows it, too. And that’s despite those frankly ridiculous claims by Alex Kurtzman that he built The Mummy for audiences, not critics. The box office numbers say otherwise.
Alex Kurtzman and Tom Cruise’s fantastical reboot opened to a paltry $31 million domestically, and though Cruise’s international pull will help offset the inevitable loss, it seems things are only going to get worse for The Mummy. Citing a number of industry analysts, Deadline reports that Universal’s Powers That Be are now bracing for a $95 million loss. As things stand, Alex Kurtzman’s bold franchise-starter is expected to end its theatrical run in the region of $375 million – a figure that falls far short of internal expectations.
Those findings account for the film’s distribution expenses ($150 million), not »
- Michael Briers
Yesterday we brought you some comments from Alex Kurtzman, director of The Mummy, who responded to the critical backlash against the Dark Universe-launching reboot, where he towed standard the “we made it for the fans, not the critics” line.
Well, it seems that the fans haven’t responded to the movie as well as Universal would have hoped either, as Deadline is reporting that the film is heading towards a whopping $95 million loss for the studio.
According to the site, the total outlay on The Mummy – including production budget, marketing and distribution – was $345 million, while Universal’s expected revenue from theatrical, home entertainment and global TV deals is estimated at $250 million.
So far the film has grossed $375 million worldwide (but of course, that doesn’t account for exhibitor cut, which is as much as 75% in China), while the arrival of Transformers: The Last Knight this week is sure to »
- Gary Collinson
After actress Sophie Turner revealed in February that the next X-Men movie, X-Men: Dark Phoenix will shoot later this year, it seems we're getting closer and closer to a production start date. While it still hasn't been confirmed when principal photography will get under way, a new photo has surfaced from the set, which seems to tease that filming will start soon. Another photo has also confirmed that Sophie Turner herself has in fact arrived in Montreal, after a photo surfaced on social media with her and a fan.
The Jen Law Films Twitter posted this first image from the set, and while there is no confirmation that this set is in fact the Danger Room, it certainly seems likely. The Twitter account, which follows all of Jennifer Lawrence's films, also reveals that Nicholas Hoult has arrived in Montreal for the shoot, but there is still no official word on when filming may begin. »
Disney‘s live-action Beauty and the Beast is a movie that was a safe bet under just about any circumstances, but it actually delivered, and for many it did so well beyond expectations. Not only did it provide the story everyone wanted to relive, but it added some backstory and further character development that brought the story to new levels of depth.
Best of all, it transformed some of the characters, while letting them still live within the same frame. Maurice (Kevin Kline), for example, isn’t the simple, silly kook of the animated version, but a legitimate character with a story that explains his attitude and actions.
It becomes, as I said in my original review (see full review here), something like an attempt to tell the real original, 1740 story (except that it’s very different), thus becoming the temporal anomaly film that was toned down to become a children’s version.
While there were millions of fans eagerly anticipating the release, there were just as many skeptics who thought this was just a way for Disney to grab some cash and keep the characters relevant to make sure sales at their parks would get a bump. It may not have been a move that had any way to hurt Disney’s bottom line in a wide variety of ways, but there’s no denying that this was everything you could have hoped for – except for that “Be Our Guest” Willy Wonka nightmare.
The film managed to restore and/or reinvigorate people’s belief that Disney and “Magic” were synonymous, and its stars delivered in ways that even the most hopeful probably couldn’t have expected. Emma Watson was amazing, and perhaps growing up in a magical world didn’t hurt her chances, and Luke Evans and Josh Gad managed to make the roles their own. Gad, in fact, was in the Kline camp of turning a character that was utterly “cartoony” into something with flesh and blood.
Overall, the film is easily in the running when award season rolls around, and not just for being a likely contender among the year’s best, but possibly for breaking nomination records.
The Blu-Ray Release
As you might expect, the Blu-Ray is loaded with hours and hours of treats aimed at fans of all ages. The full list is really too much to cover. Below we will have a sampling of some images and videos from the bonus features, but be sure to head over to the image tab above to get even more previews of the bonus features available.
Before you even get to the bonus features of the film, you’ve got some options just in watching the film. You’ve got the original theatrical cut, the premiere cut with overture, and a musical version of the film with sing-along.
The bonuses have everything from the standard special features spectrum, and then some. You get a lot of behind-the-scenes efforts, featurettes with the filmmakers and cast, a table read, an in-depth look at the sets and costumes, and the technologial surprises that went into creating the film. Plus, 10+ minutes of deleted scenes and music videos.
Enchanted Table Read – Fans don’t get enough access to table reads, and they are the sort of thing that are real treats for fans. There’s something that is its own kind of magic to see actors going through the process of figuring out how to do things, and though it doesn’t exactly offer much visually, usually, it’s a way to experience the process that releases shouldn’t ignore. Of course, this time it’s a more magical time, complete with singing, set pieces, live music, and more.
A Beauty of a Tale – This is a solid bonus that details the creative process involved in making the transition from animated to live-action film. This might have been something of a throw away, but you get a fair amount of insight into the theory behind the effort, including ideas on the extent to which the two should match up. We all wanted to see that ‘transition’ scene at the end, which instantly calls the animated version directly to mind, but how much of that sort of thing do we really want?
The Women Behind Beauty and the Beast – Emma Watson hosts something of a chat with several of the women involved in many of the aspects of production. This one could have managed a little bit more meat, but these are wonderful little bites that deliver just a little bit more insight into the world of film production.
Making a Moment with Celine Dion – Well, if you’re a fan of Celine Dion, this one might be somewhat interesting. She shares her thoughts on what it’s like to sing “How Does a Moment Last Forever,” but she is one of the film’s weak points generally, and even among fans, listening to her talk about anything is not exactly something you hear anyone begging for.
From Song to Screen: Making the Musical Sequences –
Belle – The cast and crew talk about shooting the scene, and interestingly, not just why it’s memorable, but the effort to specifically make it a focal point. Be Our Guest – Go behind-the-scenes, sort of, to learn what went into this extraordinarily complex, largely virtual, scene Gaston – Get in on rehearsals and filming of this scene. This behind-the-scenes look is one of the best parts of this particular feature. Beauty and the Beast – On the set with the filming of this scene, and it’s a wildly fun piece. If you’ve never been on the set of a film, now you get a glimpse of what that’s really like. But, with a lot more dancing.
Deleted Scenes – Director Bill Condon presents the scenes that ended up on the cutting-room floor, and gives some intoduction, including a short discussion on the decisions involved. They should all be in the film.
Gaston Courts Belle — Pleased with himself after settling a disturbance with the townspeople, a triumphant Gaston attempts to woo Belle. Bread and Jam for Agathe — On her morning market rounds, Belle stops by to see Agathe, the village beggar woman.
Storming the Ice Gates — The angry mob of villagers, led by Gaston, overwhelms the castle’s defenses. Lumière Torches LeFou — As the fight rages around them, LeFou scuffles with Plumette … until he experiences a sudden, extremely heated interruption. Monsieur Toilette — LeFou escapes from the brawl into a small room, where he’s startled by a castle resident. Cogsworth Rescues Lumière — When Clothilde the fishmonger threatens Lumière, Cogsworth leaps into the fray. Treacle the Lasses — Three village lasses chase Chip and Froufrou – Madame Garderobe’s dog-turned-footstool – into the kitchen, where a surprise awaits. LeFou and Monsieur Toilette Reunite — After the spell is broken and the castle residents are returned to human form, LeFou and his new acquaintance meet again.
Extended Song: “Days in the Sun” – Learn more about Beast’s childhood in an alternate version of this beautiful song, introduced by director Bill Condon.
Disney Song Selection – Jump directly to all your favorite songs and sing along with the movie.“Belle”
Beauty and the Beast – Filming at Shepperton Bonus Clip
Beauty and the Beast – The Dancing Bonus Clip
Beauty and the Beast – The Dress Bonus Clip
Beauty and the Beast Trailer
Emma Watson Bts courtesy Disney
Beauty and the Beast set art courtesy Disney
Beauty and the Beast concept costume art courtesy Disney
Products from Amazon.com Beauty and the Beast (2017) (Plus Bonus Features) Price: $19.99 Beauty and the Beast (Original Motion Picture Soundtrack) Price: $9.49 Beauty and the Beast (2017) (Theatrical Version) Price: $5.99 -38% Beauty and the Beast: 25th Anniversary Edition - (Bd+DVD+Digital HD) [Blu-ray] Price: $24.96 Was: $39.99 ‹ ›
- Marc Eastman
The Mummy was supposed to be the launching pad for Universal’s Dark Universe, a inter-connected world that brought together the classic Monsters from the studio’s history. However a trashing by the press [read our reviews here and here, although Luke Owen loved it on the Flickering Myth Podcast] and a tepid domestic opening of $32 million (it did fare much better overseas) has cast some doubt over the proposed cinematic universe.
In May, Universal released an image of their Dark Universe featuring Tom Cruise, Sofia Boutella (Ahmanet), Russell Crowe (Dr. Jekyll/Mr. Hyde), Javier Bardem (Frankenstein’s Monster) and Johnny Depp (The Invisible Man) and reports suggest the studio still wants Angelina Jolie to play The Bride of Frankenstein in the 2019 movie directed by Bill Condon (Beauty and the Beast), and previous reports say they want Scarlett Johansson for Creature From the Black Lagoon and Dwayne “The Rock” Johnson for The Wolf Man. But those actors require big paycheques – and that could be Universal’s downfall. »
- Luke Owen
Screen Junkies are at it again with their highly successful and popular Honest Trailer series, this time for Disney’s live-action remake of the beloved animated classic Beauty and the Beast. The parody trailer mocks everything from the existence of the film to the awkward CGI creations and more. Check it out here…
Despite some of these fair gripes, Beauty and the Beast did go on to make over $500 billion at the domestic box office and $1.248 billion worldwide.
Disney’s “Beauty and the Beast” is a live-action re-telling of the studio’s animated classic which refashions the classic characters from the tale as old as time for a contemporary audience, staying true to the original music while updating the score with several new songs. “Beauty and the Beast” is the fantastic journey of Belle, a bright, beautiful and independent young woman who is taken prisoner by a beast in his castle. »
- Robert Kojder
With Universal Pictures The Mummy now playing around the world, last week I sat down with director Alex Kurtzman for an exclusive interview. During our wide-ranging conversation he talked about how the project came together, what he wanted to do with the action scenes, the importance of practically doing things and not replying on CG, deleted scenes, what it’s like to work with Tom Cruise and if he’s involved in the editing room, Easter eggs, future Dark Universe movies like Bill Condon’s Bride of Frankenstein, and so much more. In addition, we talked about Fringe, what … »
- Steve 'Frosty' Weintraub
Hollywood is pretty obsessed with cinematic universes at the moment, largely thanks to what Disney has been able to accomplish with the Marvel Cinematic Universe. There's nothing quite like having a built in audience at the box office. Universal is currently trying to get in on the action with Dark Universe; a bunch of movies centered on classic movie monsters that will all tie together via A-list actors and a weird corporation headed up by Russell Crowe's Dr. Henry Jekyll. The Mummy officially kicked this Dark Universe off over the weekend and, safe to say, it probably didn't go as well as Universal had hoped it would.
Even with the power of Tom Cruise, The Mummy arrived with a thud at the domestic box office. The movie lost out to Wonder Woman, which was in its second frame over the weekend. According to Box Office Mojo, director Alex Kurtzman »
“The Mummy” has been buried.
This weekend, Universal’s latest opened at No. 2 domestically behind the second weekend of “Wonder Woman.” With Tom Cruise in the lead, the revival was poised to be a beat-the-heat, popcorn-flinging summer blockbuster, a nostalgia grab for millennial fans of the 1999 title, and the launchpad for the studio’s “Dark Universe” of monster movies.
With $174 million worldwide, “The Mummy” is far from the summer’s biggest flop. But the breakdown — $32.2 million domestic, $141.8 international — indicates that whatever “The Mummy” is selling, American audiences aren’t really buying.
What happened? Here are five takeaways that might do some of the explaining:
“Wonder Woman” is the movie of the moment
Between its first and second weekends, “Wonder Woman” saw only a 45% drop in ticket sales. That’s a feat matched by only a handful of superhero movies including “Batman Begins” in 2005, “Spider-Man” in 2002, and “The Amazing Spider-Man” in »
- Seth Kelley
Simon Brew Jun 15, 2017
Brendan Fraser seemed on the verge of being a major movie star in the late 1990s. But it never came to be. We look at why…
I remember going in to watch 1994’s Airheads at the cinema, at the time tempted to do so more by the name of Michael Lehmann on the end credits than Adam Sandler and Brendan Fraser above the title. Steve Buscemi’s presence helped too, of course. But Lehmann had, after all, come to the project off the back of the unfairly maligned Hudson Hawk, and also, this is the man who gave the world Heathers. Can’t grumble with that.
I’d not seen Brendan Fraser on the big screen before, although even by this stage, he’d earned some currency. Encino Man – California Man in the UK – had overcome savage reviews to prove a decent hit. School Ties, that I »
“The Mummy” was supposed to launch Universal’s Dark Universe, but it opened to largely negative reviews and a disappointing performance at the box office. Nevertheless, director Alex Kurtzman remains optimistic about the future of the Dark Universe in a new interview with THR, arguing that “variety is going to be our good friend when it comes to the evolution” of that shared cinematic universe. (That probably doesn’t mean Variety itself — their review of “The Mummy” wasn’t so hot, either.)
Read More: Save Brendan: As a New ‘Mummy’ Arrives, Meet the Memes Trying to Revive Brendan Fraser’s Career
“You obviously want to set a somewhat consistent tone, so that people know what to expect when you see these movies, but it would be ideal for each movie to have its own identity, which is largely going to be dependent on who is directing the films and who is starring in the films, »
- Michael Nordine
While Universal's release of The Mummy starring Tom Cruise is the #1 movie worldwide, it fell short of its anticipated mark domestically. The Cruise-led feature had to settle for second place, finishing nearly $25 million shy of Wonder Woman's second weekend, as the DC Comics adaptation enjoyed a #1 finish at the weekend box office for a second week in a row. With an estimated $57 million, Warner Bros. and DC Comics' release of Wonder Woman finished atop the weekend box office for a second week in a row as its domestic cume now totals more than $205 million after just ten days in release. The performance signals a 45% drop compared to the film's massive $103 million debut last weekend. Just to put that drop in perspective, recent DC Films saw significantly larger second weekend dips as Batman v Superman: Dawn of Justice fell 69% in its second weekend, Suicide Squad dropped 67% and Man of Steel »
- Brad Brevet <email@example.com>
The Mummy, Universal and Alex Kurtzman’s star-studded reboot that hit theatres this week, is hoping to kick off a brand new franchise for the studio. Its name? Dark Universe, an interwoven collection of creature features that will, through time, bring together the likes of The Invisible Man and Frankenstein’s Monster, among others. Dead Men Tell No Tales duo Johnny Depp and Javier Bardem will play each of those iconic monsters, respectively, but in the case of The Mummy, Kingsman breakout Sofia Boutella has been crowned Princess Ahmanet.
Once in line to become a Pharaoh, Boutella’s goddess is robbed of her right to rule by her deceitful father and buried alive within the catacombs of Egypt. Fast forward to the present day and it’s Tom Cruise’s military man Nick Morton who stumbles upon said crypt, before accidentally unleashing an otherworldly terror of biblical proportions. While that »
- Matt Joseph
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
The near-ubiquitous familiarity with the majority of Disney animations make the financial proposition of a live-action remake a no-brainer greenlight. In aiming to appeal to those experiencing these stories for the first time, the generation prior, and the generation that brought that generation to the theater, it can also be as creatively risk-averse as one might imagine. As these cultural touchstones get dusted »
- The Film Stage
Right now, Bill Condon’s Bride of Frankenstein is set to be the next film in Universal’s Dark Universe cinematic universe, which may seem a little odd since there hasn’t even been a Frankenstein movie. It’s also a little odd because even though Bride of Frankenstein is amazing, the titular character plays a minor (but memorable) role in the overall plot. It’s really the story of the monster trying to understand humanity and Dr. Frankenstein being pulled back into his evil work by the nefarious Dr. Pretorius. When we spoke with screenwriter David Koepp last October … »
- Matt Goldberg
Universal recently unveiled their very lofty plans for Dark Universe, a cinematic universe centered on their classic monsters that is going to use A-list talent to hopefully get audiences on board for these movies. The first of these thrilling adventures, Tom Cruise's reboot of The Mummy, is set to kick the whole thing off this weekend. To put it lightly, things are not off to a great start. The first wave of reviews for The Mummy have arrived online and they could spell the end of Dark Universe before it even begins.
Tom Cruise is a credit to most movies that he is in, but it doesn't seem as though he is going to be able to outrun some of the problems, at least as far as many critics are concerned, that director Alex Kurtzman's The Mummy has going for it. As of this writing, the movie has »
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