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An Academy Award-winner for his role in “Manchester by the Sea” (2016), Affleck will receive his kudo prior to a screening of “A Ghost Story,” in which he stars. Affleck, along with helmer-writer David Lowery, will introduce the film. Affleck starred in Lowery’s debut film “Ain’t Them Bodies Saints” (2013) and recently completed production on Lowery’s “The Old Man and the Gun.”
Like his older brother, multi-hyphenate Ben, Casey Affleck has a parallel career as a writer-producer-director. He is in post on his second feature as a helmer-writer, “The Light of My Life,” in which he also stars.
Future Frames Showcase at Karlovy Vary Casts the Spotlight on Promising Creative Talent
American composer and songwriter Howard will conduct the Czech National Symphony Orchestra in a performance of his music for the film “Fantastic Beasts and Where to Find Them” in front of Hotel Thermal on June 30, during the fest’s opening. Howard is currently preparing for his first live concert tour, a celebration of career highlights, with music, spoken word and video, that will visit 20 European cities.
Howard has composed music for more than 120 films, including Academy Award-nominated scores for “Defiance,” “Michael Clayton,” “The Village,” “The Fugitive,” “The Prince of Tides” and “My Best Friend’s Wedding” — not to mention Oscar-nominated songs for “Junior” and “One Fine Day.”
In addition to his contributions to film and television music, the Emmy- and Grammy-winning Howard has also composed concert pieces for the Pacific Symphony.
Laverty wrote the scripts for 12 features and two short films directed by Ken Loach, beginning with “Carla’s Song” (1996). Their most recent collaboration, “I, Daniel Blake” (2016), won the Palme d’Or at Cannes.
Laverty wrote the screenplay for Loach’s first Palme d’Or winner, “The Wind That Shakes the Barley” (2006). His credits with Loach include “My Name Is Joe,” (1998), a Cannes lead actor-winner for Peter Mullan and Cannes screenplay winner “Sweet Sixteen” (2002).
He also writes screenplays for his partner, the Spanish director and actress Icíar Bollaín.
An activist as well as one of Britain’s most celebrated directors, Loach worked briefly in theater before starting as a director for BBC television in the early 1960s. There, he helmed ground-breaking dramas such as “Up the Junction” and “Cathy Come Home.” The impact of the latter led to a change in Britain’s homeless laws. Acclaimed early features such as “Poor Cow” (1967) and “Kes” (1969) brought his trademarks of social realism and compassion to the big screen.
Even though Loach’s 50-plus-year career includes a dark period when he couldn’t get a project off the ground and he directed commercials to support his family, he has been extraordinarily prolific. Undoubtedly, this is due in part to his on-going collaboration with producer Rebecca O’Brien and long-term partnerships with screenwriters including Barry Hines, Jim Allen and perhaps most fruitfully, Paul Laverty. Loach is also known for introducing exciting new acting talents.
Actor, producer, musician and two-time Oscar-nominee Renner will receive his kudo at the fest’s closing gala on July 8. Renner will also introduce the crime thriller “Wind River,” directed by Taylor Sheridan.
Known for his intensity and ability to fully embody the characters he portrays, Renner received early critical acclaim as a serial killer in “Dahmer” (2002). He later established himself through roles in action and war movies, garnering an Oscar nomination for lead actor in Kathryn Bigelow’s war tale “The Hurt Locker” (2008). A supporting actor nom followed two years later for Ben Affleck’s bank heist drama “The Town” (2010).
The sensual, statuesque American actress and producer Uma Thurman will receive her honor on June 30, during the fest’s opening night. An Oscar-nominee for Quentin Tarantino’s “Pulp Fiction” (1994), Thurman’s memorable acting career is notable for her collaboration with iconic helmers.
Thurman was only a teenager when she made an impact in Stephen Frears’ “Dangerous Liaisons” (1988) and Terry Gilliam’s surreal “The Adventures of Baron Munchausen” (1988). However, the part of Mia Wallace in Tarantino’s sensational “Pulp Fiction” marked a turning point, garnering her numerous awards and nominations. Another successful Tarantino collaboration followed nearly a decade later with the cult double-header: “Kill Bill: Vols. 1 and 2” (2003, 2004). She received two Golden Globe nominations for her role as The Bride.
Thurman ultimately nabbed a Golden Globe for for her role in Mira Nair’s made-for-tv feature “Hysterical Blindness” (2002). She produced “The Accidental Husband” (2008) and the forthcoming “Girl Soldier.”
Renowned for his work for younger audiences, director-writer Vorlíček, 87, will receive an honor for his artistic contribution to Czech film.
Vorlíček teamed with writer and director Miloš Macourek, to form an original creative partnership responsible for a distinctive chapter in the development of Czech film. Their poetic vision, in which real life comes up against elements of fantasy, remains unique to this day.
Prime examples of Vorlíček and Macourek’s work include the “comic book” comedy “Who Wants to Kill Jessie?” (1966); the sci-fi comedy “You Are a Widow, Sir!” (1970).
Another comedy that employs fairytale motifs in contemporary Prague titled “How to Drown Dr. Mracek, the Lawyer” (1974); the TV series “Arabela” (1979-80); and “Rumburak” (1985).
Vorlíček is also known for his fairytale films, especially the comedy “The Girl on the Broomstick” (1971) and “Three Wishes for Cinderella” (1973), now a perennially popular Christmas classic on Czech television.
Related storiesFuture Frames Showcase at Karlovy Vary Casts the Spotlight on Promising Creative TalentKarlovy Vary International Film Festival Celebrates Critics Choice MoviesKarlovy Vary International Film Festival Showcases Stories of Social Turmoil »
- Alissa Simon
• Guardian Great interview with Holly Hunter about The Big Sick and her career. (People are already mentioning "Oscar nom!" in regards to her supporting work as Zoe Kazan's mother in the romantic comedy)
• Pajiba on what the new Defenders posters might remind you of
• Screen Crush picks the 25 best Lgbt films of the past 25 years. Happy to see Pariah and Bound mixed in with the usual titles like Brokeback Mountain and such. And the past few years have been so good for Lgbt cinema. I mean: Carol, The Handmaiden, Moonlight, Tangerine. #Blessed
• Esquire Fun article by Tyler Coates on how he finally learned to love RuPaul's Drag Race which he had avoided for years and even bad-mouthed in print
• Theater Mania you don't see this often but there's an actual age restriction on the Broadway adaptation of George Orwell's "1984". No one under 13 will be admitted due to its intensity. The show stars Tom Sturridge, Reed Birney, Olivia Wilde, and Tfe fav Cara Seymour (who previously did that lovely guest spot for us). I'm seeing it soon so will report back.
• IndieWire has issues with the "orientalism" of the new Twin Peaks. Add this to the onling Sofia Coppola controversy and... well... People I don't know what to do with all the outrage anymore at everything. There's got to be a line where, as an adult, you're just okay with what you're seeing and discarding the parts that irk you, or filing them under "I don't know about that but whatever" if they're not harmfully intended. Artists will always have their own peculiar obsessions and they'll always draw from a wide variety of influences (at least the good ones will) to craft their own stories and nobody really owns history; pop culture and the arts are giant beautiful melting pots of ideas and aesthetics from all over the world. Oh and also the Laura Dern hairstyle is not proprietarily Asian as the article seems to imply. I know this because I was obsessed with silent film star Louise Brooks as a teenager (Pandora's Box & Diary of a Lost Girl 4ever!). It was originally called the 'Castle Bob,' because Irene Castle (a famous NY dancer) debuted the then-shocking look in 1915. It was a very controversial look but became a sensation in the 1920s with flappers and silent film stars. Hollywood's first popular Asian American actress Anna May Wong, who the article references as an influence on Dern's look, actually had to get her hair cut like that because it was so popular.
Hilarious Reads and I Personally Needed the Laughs. You?
• The New Yorker "Tennessee Williams with Air Conditioning"... *fans self* I was cackling so loud by the end of this. Best article in forever.
• McSweeneys "11 Ways That I, a White Man, Am Not Privileged" Oops. Hee!
• Buzzfeed "25 Gay Pride signs that will make you laugh harder than you should" - so many of these are so wonderful I just want to hug all gay people for being funny and able to spell
• McSweeneys "An Oral History of Quentin Tarantino as Told to Me By Men I've Dated"
What places are delivering right now? So, in the early ’90s, right around when Pulp Fiction came out, Quentin Tarantino and Mira Sorvino were dating. I always thought Romy and Michelle’s High School Reunion was a dumb chick flick, but I caught part of it on cable the other day and there was an ad for Red Apple cigarettes in the background of one of the shots! Do you know about Red Apple cigarettes? »
- NATHANIEL R
Caroline Preece Jun 23, 2017
Since the brilliant Safety Not Guaranteed’s release in 2012, Colin Trevorrow has been a name very familiar to those of us on this site. Cut to 2017, and the writer/director has not only been behind the second highest grossing film of 2015 with Jurassic World, but he’s also been given the coveted keys to the Star Wars franchise.
We spoke to him about his new film Book Of Henry, and what we can expect from him in the future.
What first drew you to this script for The Book Of Henry?
I think it was, as a parent I couldn’t look away from the ideas that are woven into it. That sense that this child is looking at someone in a tremendous position of power and has that righteous sense of right and wrong, good and evil.
Apathy is the worst possible thing and yet deep beneath all of his intelligence is a child and children will often lean into violence as a solution and they’re wrong to do that. We live in a world right now where our fears as parents are heightened because it’s such a dangerous place and I found that this movie dealt with so many of the ideas that I feel right now as a parent in a way that was at times jarring and at times shocking, but ultimately if you’re willing to go with it, extremely satisfying.
I read that you wanted to do this movie before Jurassic World, and you deferred it?
I didn’t know if it was going to come back - I told the producers that I would come back and do the film and they didn’t necessarily believe me. There was even another director that was working on it for a little while, but ultimately when I became available again, so was the screenplay and I had this window between when I had to start working on Jurassic World 2. My deep instinct was that I wanted to try this and see whether I could bring this story to a screen in a way that would be as satisfying as I think it could be.
You’re part of a group of directors that’s sprung up over the last few years, who’ve made a really well-received indie movie before being given the reigns to a huge blockbuster like Jurassic World - how was it initially go from that scale to something so massive?
In retrospect, I’m not sure if it’s the best idea to give these giant franchises to filmmakers after one film, not because they can’t do it - we can all do it - but I don’t know if there’s a series of movies that would have come between that first and second movie that the audience deserves to see. I don’t know that if Quentin Tarantino had been given Bond after doing Reservoir Dogs, we would have had Pulp Fiction.
So there are a lot of voices in my generation who I think are just brilliant, who are wanting to take pretty different, risky moves and form voices that would give them a body of work. So, while I wouldn’t call it a negative, if there’s anything about this process that might be robbing the audience of anything it’s that we’re missing out on a set of original movies that would otherwise be made. There was that sense of a responsibility to make original movies, which is what made me want to go and do [Book Of Henry].
I don’t have the ability to see my life beyond the next film that I’m going to do. I may just walk into the ocean and never return, so I don’t know. I’m going to give this everything that I have and we’ll see if I have anything left.
In terms of Book Of Henry, you’ve spoken about casting the kids - you’ve struck gold with all three of them - how was it working with them. Obviously you also worked with young actors on Jurassic World…
I talk to kids the same way that I talk to adults. I’m very straightforward and we talk about the uncomfortable issues that are in the film. People would be surprised how easy it is to talk with kids about some of those issues - they’re more comfortable with it than the adults are at times. But as long as we can have a conversation about how we are feeling in any given moment I try to get out from behind the camera and have those conversations with every actor.
Anything you see in any movie that I make - anything anyone does - is a result of the conversations that we’ve had. I’m not barking orders at them from behind the camera.
Can you talk a little bit about the decision to shoot on 35mm?
Not only did we shoot on 35mm but we shot 3 perf 35mm, so we’re exposing a little bit less and it’s allowing the film to have a certain kind of warmth and a classicism that I think is important for the film. I needed the movie to feel like your memories, and I think that the way John shot it, it really does feel like we unearthed it from the ground, like something that was made in 1985 and we’re just projecting it now.
I’d like to talk about Safety Not Guaranteed - I rewatched it the other day and it struck me even more the second time how much the film is about regret and how different people deal with it, was that something that was important to you when you made it?
Absolutely. I remember at the time people being somewhat confused about Jake Johnson’s role and his story, but that’s my favourite part now as I get a little older and look back and see the emotional time travel story he’s going on while Aubrey is going on this very literal time travel track. The movie becomes more powerful to me as I age and see the value of regret and wishing you could go back and make a different decision.
What Mark [Duplass] brought to that movie was crucial - that performance could have been completely different and potentially derail the whole thing and it gave me that much more of a respect for what an actor/writer can give to something. Because actors are writers, and [it’s important to] give actors the freedom to define their characters and contribute their little piece to the story.
In this film, Jaden [Lieberher] especially came to it with a very clear idea of what he was going to do. You see how a character like Henry could be precocious to the point of just being obnoxious and you wouldn’t care what happened to him. I found that Jaden tapped into the emotional intelligence of that character in a way that made him truly someone you cared about and you wanted to go on this journey with.
He’s not in Jurassic World 2 for the same reason that any other actor would be excluded from a movie. Unless we can find a genuine, organic way to make it not seem like he’s just in it because he was a great character in a previous film. It doesn’t mean he’ll never be back, and I’ve had conversations with almost all of the actors going back to the previous films about how important their legacies are to these movies and yet also how important it is to continuously change and evolve them into something new.
Because Jurassic is not a forever franchise in a traditional way. If it’s going to be something that continues to exist it has to be earned on a movie by movie basis. The reason why I didn’t want to direct it myself, why I brought in J.A. Bayona and why in our screenwriting decisions we’ve taken it into a very different direction that’s much more character based than previous films, is all from that need to constantly evolve and change.
All I can say is that it’s been thus far just a tremendously creatively fulfilling experience to be able to immerse myself in these characters that I love and these new characters that are being created, and I’m working with a group of people who have a perspective on this story that’s vital. All of these storytellers are working together to make an emotionally resonant film.
Colin Trevorrow, thank you very much.
The Book Of Henry is in UK cinemas now. »
Remember “Cop Out,” 2010’s less-than-momentous clash of the action-comic stylings of Bruce Willis and Tracy Morgan? If the answer is “no,” you’d be entirely forgiven, yet Willis himself appears to regard it with some measure of fondness. That’s the most plausible explanation for his headlining presence in “Once Upon a Time in Venice,” a similarly negligible but rather more chaotic caper from Mark and Robb Cullen, the fraternal duo behind the “Cop Out” screenplay. Assuming directing as well as writing duties this time, the Cullens prove no heirs to the Coens as conductors of oddball underworld mayhem, with much of their glib quippery soured by gauche minority stereotyping. What scant charms this direct-to-video-style Nineties throwback has belong mostly to Willis, as a grizzled Venice Beach gumshoe juggling a number of shaggy-dog cases, chief among them the abduction of his own literal mutt. The back alleys of ancillary and streaming await. »
- Guy Lodge
Told backwards, Shimmer Lake is the kind of crime drama that very much revels in keeping it's audience in the dark. There is no hand holding here. No re-explaining things that the audience might miss. This film, from first time director Oren Uziel, is the kind of calling card that has been used to launch careers, like that of Quentin Tarantino.
In order to describe this film, the plot must be kept deceptively simple. First of all, telling this story backwards only serves to underscore what we are seeing on screen. By dint of the fact that we want to know why a scene is starting the way that it is, and the shock we feel when it ends abruptly, is palpable throughout this entire film. Not only is this story told backwards, it is is also told over the course of a week. It follows a local sheriff trying »
Maggie Rose‘s new single, “Body on Fire” – and companion video debuting exclusively on People – leaves no room for misinterpretation. It’s about sex. Steamy, smoking-hot sex.
But is it autobiographical?
The 29-year-old artist chuckles. “Absolutely.”
Rose and her husband, Austin Marshall, who works in Nashville music management, were newlyweds when she and co-writer Chad Carlson set out to “write a song about completely giving yourself to another person,” she says.
While the lyrics could be sung by a man, it’s hard not to think they’re written from a feminine perspective – a rarity these days in country music. »
- Nancy Kruh
Dancing in movies is nothing new, since the early days of cinema dancing has been a great way to perform a scene. However, most of these routines, as you’d expect, are in musicals. Yet there are a few non-musical films that throw in the odd surprising dance scene to great effect. Here are 6 unexpected yet awesome dance scenes.
6. Club Cringe – The Inbetweeners Movie (2011)
For some dancing isn’t easy, but in this case these guys make it look almost impossible. With the juxtaposition of Neil (Blake Harrison) flailing his limbs with some sort of rhythm next to Simon (Joe Thomas) jittering nervously and Will (Simon Bird) galloping his way to sheer embarrassment, this one hits the list for cringe factor alone. The final stage in this act results in Simon and Will choosing to copy Neil and if you ever think that Neil is the one to follow, you’re in the shit. »
- Tom Batt
There was only one vote that really mattered this week, namely which movie really is the greatest of all time? That was the tough choice facing readers of Empire magazine, who sought to publish a list of the top 100 films in their June edition. After a mammoth count-up it was none other than the 1972 classic The Godfather which came out on top.
The cult flick’s unique blend of historical Sicily, horses’ heads and Mafia violence saw it beat many a crowd favourite to the top spot, including its sequel, The Godfather: Part II, which finished in twelfth place.
Making up the rest of the top ten (in this order) were The Empire Strikes Back, The Dark Knight, The Shawshank Redemption, Pulp Fiction, Goodfellas, Raider Of The Lost Ark, Jaws, Star Wars and The Fellowship Of The Ring. Quite why Sex Lives of the Potato Men didn’t make the cut is anyone’s guess. »
- Dan Green
During our recent webcam chat (watch the exclusive video above), “Hap and Leonard” showrunner John Wirth likens himself to The Wolf (Harvey Keitel) in “Pulp Fiction,” explaining, “I’ve kind of become known as a fixer.” He adds, “They call you when there’s a mess to clean up, and so I’ve gotten accustomed to that over the years.” Although […] »
- Chris Beachum
Politicians. Dramatic actors. Broadcast journalists. Musicians. Entrepreneurs.
None of the above are known for having an especially great sense of humor. Fortunately, Mother Nature — and the Internet — have other ideas.
Is there anything funnier (or sillier) than a famous person embracing his or her animal lookalike? We think not. Check out some of the most delightful celebrity-furball doppëlgangers the World Wide Web has to offer.
Joe Biden Puppy
- Saryn Chorney
You might think that a show about stand-up comedians would, you know, make you laugh a time or two. But Showtime’s morose, cliché-riddled new drama I’m Dying Up Here — premiering this Sunday at 10/9c — is more likely to make you hate yourself, everyone around you and humanity in general.
VideosI’m Dying Up Here Trailer: Fear and Laughing in L.A.’s ’70s Stand-Up Scene
Set in L.A.’s vibrantly messy 1970s comedy scene, Dying follows the self-loathing comedians who work at Goldie’s, a stand-up comedy club owned by the no-nonsense Goldie (Melissa Leo), who »
Oli Davis rounds up the biggest professional wrestling news in his daily WrestleTalk column…
Dean Ambrose & Hardy Boyz beat Miz & Sheamaro
After hyping his non-Extreme Rules Extreme Rules match against Dean Ambrose this Sunday, Miz welcomed Sheamus and Cesaro to Miz TV. All three men ran down Ambrose and the Hardy Boyz until the Lunatic Fringe himself came down to interrupt. Where is this going? There’s only one of you, Dean, and three of them. You’d need two more wrestlers on your side to even the odds, preferably ones that really don’t like Sheamus and Cesaro. I can’t see how you’re getting out of this one!
Yes, Raw opened with yet another obvious in-ring promo set up for a tag match, playas. The Hardys won as they have done since they returned at Wrestlemania, which would usually hint they’re losing on Sunday.
- Oli Davis
B-movie classic The Blob is getting another remake. Why? I couldn’t tell you, but here we are. Goldcrest Films is moving forward with the project and the studio has set The Expendables 2 helmer Simon West to direct.
The 1958 cult classic, directed by Irvin Yeaworth, starred a young Steve McQueen as a teenager whose small Pennsylvania hometown is unexpectedly threatened when a gelatinous alien life-form emerges from a meteor and begins to consume the townfolk, growing larger in size with every new victim and oozing forward with no indication of stopping.
The Blob, though received with mixed reviews at the time of its release, is now held up as a prime example of B-movie entertainment. It birthed a sequel, too, in the form of Larry Hagman’s 1972 flick Beware! The Blob, and was previously remade in 1988 by Chuck Russell.
Back when this new version was announced, West said the »
- Matt Joseph
I was having some trouble figuring out how to assess my role on a jury at the greatest film festival in the world, so I asked someone with experience in the matter: George Miller.
At a dinner celebrating the 70th anniversary of the Cannes Film Festival, I ran into the “Mad Max” director, who served as president of the venerated Official Competition a year earlier, and picked his brain for advice.
To be fair, Miller’s jury experience was considerably different from my own: He was responsible for choosing the Palme d’Or. I faced a considerably less daunting task as a member of the jury for Critics’ Week, a sidebar featuring first and second features from around the world. When an audience disagrees with a Palme d’Or winner, it can result in infamous moments as when Quentin Tarantino was heckled as he took the stage for “Pulp Fiction »
- Eric Kohn
The 70-year-old festival has never been far from controversy.
A row over the inclusion of Netflix titles in official competition has cast a shadow over this year’s Cannes Film Festival, with boos for the Netflix logos, clashes between Jury members and a rule changes for next year.
Perhaps it’s appropriate however that a row has been front of centre on Cannes 70th birthday, as the festival is no stranger to a controversy…
Actress Simone Silva’s decision to go topless at a photocall resulted in a scrum which caused several broken bones.
New Minister of Cultural Affairs Andre Malraux formalised Cannes’ burgeoning film market, which has since become integral to the festival and the largest industry event in the global industry. At the time, however, it was a decision not welcomed by all; as a direct reaction to this commercialisation, the French Syndicate of Film Critics (Afcc) was founded.
La Dolce Vita won the »
While premiering a film at the Cannes Film Festival is the dream for many directors, the audience reactions can never quite be predicted. Over the years, Cannes has been a harsh testing ground for even the most seasoned filmmakers, with many projects receiving a cold reception at the festival, only to be catapulted to cult status in time or lauded later that same year during awards season.
Read More: Movies Are Changing, and We’ve Seen Their Future at Cannes 2017 — Analysis
Usually, when an audience boos a work of art, it’s a bad sign; at Cannes, it’s a badge of honor. The 70-year-old festival has a longstanding tradition of press and industry vocalizing their frustrations with films as soon as the credits roll, but that outcome doesn’t always anticipate the movies’ future reception. Dozens of films booed at Cannes from revered auteurs such as Ingmar Bergman, David Lynch »
- Jamie Righetti and Eric Kohn
Wait, another film turning into a TV show? At this point no movie would surprise me. A Mrs. Doubtfire show? Sure. A Pulp Fiction anthology series? Bet there's already been a discussion. A Twelve Monkeys series? Shit, that's already a show! Now, to be fair, I can see Get Shorty working as a show moreso than others. For instance, the whole conceit of the film and upcoming show is that a gangster is trying... Read More »
- Damion Damaske
As lethal as it is beautiful, Skull Island would make for a gorgeous summer vacation spot if it weren't crawling with colossal creatures that don't exactly want to roll out the welcome mat to tourists. Warner Bros. Home Entertainment will bring the perilous slice of paradise home this summer with their release of Kong: Skull Island on 4K Ultra HD, Blu-ray, DVD, and digital platforms.
Kong: Skull Island will first be available on digital platforms beginning June 20th, followed by a July 18th release on 4K Ultra HD, Blu-ray 3D, Blu-ray, and DVD. The special features include a commentary with director Jordan Vogt-Roberts, "Monarch Files 2.0," "Through the Lens: Brie Larson's Photography," and more.
Below, you can read the full lists of special features and the official release details from Warner Bros. Home Entertainment.
Press Release (via Why So Blu?): See the origins of one of »
- Derek Anderson
See the origins of one of the most powerful monster myths of all when Kong: Skull Island arrives onto Ultra HD Blu-ray Combo Pack, Blu-ray 3D Combo Pack, Blu-ray Combo Pack and DVD July 18th, and on Digital HD June 20. This compelling, original adventure from director Jordan Vogt-Roberts (The Kings of Summer) tells the story of a diverse team of scientists, soldiers and adventurers uniting to explore a mythical, uncharted island in the Pacific, as dangerous as it is beautiful. Warner Bros. has released a brief Blu-ray trailer, along with new artwork.
Kong: Skull Island stars Tom Hiddleston (The Avengers, Thor: The Dark World), Oscar nominee Samuel L. Jackson (Best Supporting Actor, The Color Purple, 1994, Pulp Fiction), John Goodman (Transformers: Age of Extinction, Argo), Oscar winner Brie Larson (Best Actress, Room, 2015) and Oscar nominee John C. Reilly (Best Supporting Actor, Chicago, 2003). Vogt-Roberts directed the film from »
Burbank, CA, May 24, 2017 – See the origins of one of the most powerful monster myths of all when Kong: Skull Island arrives onto Ultra HD Blu-ray Combo Pack, Blu-ray 3D Combo Pack, Blu-ray Combo Pack, DVD and Digital. This compelling, original adventure from director Jordan Vogt-Roberts (The Kings of Summer) tells the story of a diverse team of scientists, soldiers and adventurers uniting to explore a mythical, uncharted island in the Pacific, as dangerous as it is beautiful.
Kong: Skull Island stars Tom Hiddleston (The Avengers, Thor: The Dark World), Oscar® nominee Samuel L. Jackson (Best Supporting Actor, The Color Purple, 1994, Pulp Fiction,), John Goodman (Transformers: Age of Extinction, Argo), Oscar winner Brie Larson (Best Actress, Room, 2015) and Oscar nominee John C. Reilly (Best Supporting Actor, Chicago, 2003).
- ComicMix Staff
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