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1-20 of 41 items from 2017   « Prev | Next »


Mark Strong interview - Kingsman: The Golden Circle, Stardust, Kick-Ass

20 September 2017 12:51 PM, PDT | Den of Geek | See recent Den of Geek news »

Duncan Bowles Sep 21, 2017

Mark Strong chats to us about Kingsman 2, reuniting with Matthew Vaughn, and the brilliant Stardust...

Spoilers for Sherlock Holmes and Kick-Ass 2 lie ahead. We've also marked a bit in big red letters where we talk about a specific Kingsman 2 spoiler.

While Matthew Vaughn has been the director responsible for a string of fantastic movies, his talisman in front of the camera and a core part of his cinematic journey since Stardust, is Mark Strong. As the superbly villainous (or some might say driven) Septimus, a character just as mesmerising dead or alive, Strong imbued him with a roguish evil that really made him stand out in a packed and stellar cast line-up. His next project with Vaughn saw him take up arms (and fists) against a teenage due in Kick-Ass, doling out a new definition of ‘Daddy issues’ yet giving Frank D’Amico a »

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Teething Ring of Fire! John Carter Cash Welcomes Daughter Grace June - See Her First Photos

18 September 2017 10:15 AM, PDT | PEOPLE.com | See recent PEOPLE.com news »

There’s a baby Cash in town!

Country singer-songwriter John Carter Cash and his wife Ana Cristina welcomed a daughter on Monday, Sept. 11, at 5:44 p.m., Carter Cash’s rep confirms to People exclusively.

Born in Nashville, Tennessee, Grace June Cash weighed 6 lbs., 3 oz., measuring 17½ inches long.

Grace become the youngest grandchild of Johnny Cash and June Carter Cash. John, the country legends’ only child, also has three children from previous marriages: sons Jack Ezra, 11, and Joseph John, 21, plus daughter AnnaBelle, 15.

Want all the latest pregnancy and birth announcements, plus celebrity mom blogs? Click here to get those and »

- Yvonne Juris

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You Can’t Buy a Franchise, You Have to Build One

10 September 2017 4:53 AM, PDT | Flickeringmyth | See recent Flickeringmyth news »

Neil Calloway on Disney suffocating Star Wars

After American Graffiti, George Lucas spent a while shoving his Western in space script under the nose of anyone who cared to read it. They gave him suggestions on how to improve it, he took them on, and a few years later he finally shot the film. It came out, and changed cinema forever. He then worked with others, letting them direct and write more films, building a huge franchise.

In 2012, Disney paid more than $4 billion to George Lucas for the rights to that franchise. Having failed to build their own with John Carter, they just bought one off the shelf. The problem is, you can’t just do that and expect success. As Lucas himself proved with the Star Wars prequels, it’s hard to make films that people truly love. It says a lot that of the five Disney Star Wars films, »

- Neil Calloway

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'Stranger Things': 7 Questions We Have For Season 2

29 August 2017 6:11 AM, PDT | Rollingstone.com | See recent Rolling Stone news »

Has it only been a little over a year since Stranger Things arrived with almost no hype – and then, within days of Netflix dropping the first season online, became one of 2016's most talked-about TV shows? Created by twin brothers Matt and Ross Duffer, the first season of the sci-fi/horror series paid homage to Stephen King novels and the Eighties' classic Spielberg-to-slasher genre films, while telling a story about super-powered paranormal entities, covert government agencies, small-town Indiana kids and a dark dimension known as "the Upside Down." Even more than the nostalgic kick, »

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'Buck Rogers' Ownership at Center of Coming Trial

28 August 2017 8:54 AM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »

Buck Rogers isn't quite as well-known as Luke Skywalker, Captain James T. Kirk or Flash Gordon, but people are more familiar with Buck Rogers than John Carter, Hal 9000 and The Doctor from Dr. Who. How do we know that? A survey was taken as part of an ongoing lawsuit.

The lawsuit is between descendants of author Philip Francis Nowlan, who created the fictional space explorer in the 1920s, and descendants of John Flint Dille, whose newspaper company once syndicated a Buck Rogers comic strip. On Friday, a Pennsylvania federal judge wrote the latest chapter in a long-running contest over rights with a »

- Eriq Gardner

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'Buck Rogers' Ownership at Center of Coming Trial

28 August 2017 8:54 AM, PDT | The Hollywood Reporter - TV News | See recent The Hollywood Reporter - TV News news »

Buck Rogers isn't quite as well-known as Luke Skywalker, Captain James T. Kirk or Flash Gordon, but people are more familiar with Buck Rogers than John Carter, Hal 9000 and The Doctor from Dr. Who. How do we know that? A survey was taken as part of an ongoing lawsuit.

The lawsuit is between descendants of author Philip Francis Nowlan, who created the fictional space explorer in the 1920s, and descendants of John Flint Dille, whose newspaper company once syndicated a Buck Rogers comic strip. On Friday, a Pennsylvania federal judge wrote the latest chapter in a long-running contest over rights with a »

- Eriq Gardner

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Eric Zumbrunnen, Editor on Every Spike Jonze Movie, Dies at 52

18 August 2017 5:20 AM, PDT | Indiewire | See recent Indiewire news »

Eric Zumbrunnen, film editor and longtime Spike Jonze collaborator, has died at age 52 following a battle with cancer. The editor worked on every Spike Jonze feature, either by himself or with co-editor Jeff Buchanan, and he won the Ace Award for Best Edited Feature Film for “Being John Malkovich.”

Read More:Spike Jonze Unleashes a Totally Wild Margaret Qualley in Quirky New Kenzo Short Film – Watch

Zumbrunnen was born in November, 1964 and graduated from USC with a degree in Journalism. His career in post-production began in music videos, where he edited classic clips for Weezer (“Buddy Holly”), Smashing Pumpkins (“Tonight, Tonight”), Beck (“Where It’s At”), and Bjork (“It Oh So Quiet”), among others.

Zumbrunnen’s work with Jonze extended from his feature films, including “Malkovich,” “Adaptation,” “Where the Wild Things Are,” and “Her,” to the director’s acclaimed Kenzo ad “My Mutant Brain.” The latter won him a Bronze »

- Zack Sharf

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Eric Zumbrunnen, Editor of ‘Being John Malkovich,’ Dies at 52

17 August 2017 6:02 PM, PDT | Variety - Film News | See recent Variety - Film News news »

Film editor Eric Zumbrunnen, who won an Ace Award for his work on “Being John Malkovich,” has died after a long battle with cancer. He was 52.

Zumbrunnen graduated from the University of Southern California with a degree in journalism, and began his career editing music videos for the likes of Weezer, Smashing Pumpkins, Beck, and Bjork, which is also where his fruitful relationship with Spike Jonze began. From there, he expanded into commercial editing for clients like Nike, Xbox, and Apple, as well was editing several documentary shorts and other short films, often for Jonze, eventually graduating into feature film editing alongside Jonze with “Being John Malkovich” in 1999.

Zumbrunnen’s work also included the Jonze’s 2009 film “Where the Wild Things Are,” Disney’s “John Carter” in 2012, and Jonze’s acclaimed film “Her,” which won the writer-director an Oscar for Best Original Screenplay.

His most recent collaboration with Jonze was a 3-minute short film and perfume advertisement »

- Erin Nyren

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Visiting the set of American Assassin

17 August 2017 8:01 AM, PDT | Den of Geek | See recent Den of Geek news »

Ryan Lambie Aug 29, 2017

We ventured out to the fringes of London to check on the progress of the action thriller, American Assassin. Here's how we got on...

It comes to something when you’re so lily-livered that gunshot makes you jump even after you’re told that it’s coming. It’s early October 2016, and I’m sitting in a darkened warehouse in London where filming on American Assassin is taking place. Actor Dylan O'Brien is on set, holding a machine gun in a darkened tunnel. Illuminated by diffuse light from above, he looks lean and bestubbled, his firearm pointed straight towards the camera.

See related  Game Of Thrones season 8: filming to get underway in October Game Of Thrones season 7 episode 7 review: The Dragon And The Wolf Game Of Thrones season 7: episode 7 questions answered

A crewmember has dutifully handed out ear plugs with the warning that the gunfire »

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John Hawkes, Jon Bernthal, Thomas Haden Church join 'The Peanut Butter Falcon'

24 July 2017 2:17 PM, PDT | ScreenDaily | See recent ScreenDaily news »

Principal photography underway in Savannah, Georgia.

Armory Films has announced that John Hawkes, Jon Bernthal, Thomas Haden Church, and Yelawolf will join the cast of The Peanut Butter Falcon.

The film directed by Tyler Nilson and Michael Schwartz centres on Zak, a young man with Down Syndrome who has been confined to live in a retirement home for most of his life.

One day he breaks out and takes to the road to try to find his hero, a retired wrestler named The Salt Water Redneck. Along the way Zak experiences adventure and danger, and joins forces with a desperado crab fisherman and a kind nurse. 

The cast also includes newcomer Zachary Gottsagen, Shia Labeouf, Dakota Johnson, and Bruce Dern.

Armory FilmsTim Zajaros and Christopher Lemole are producing and financing the film, alongside Bona Fide ProductionsAlbert Berger and Ron Yerxa, T Bone Burnett, Lije Sarki, and David Thies. Burnett will also »

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Q&A with Nights Of The Living Dead Co-Editor Jonathan Maberry, Read an Excerpt from His Short Story “Lone Gunman”

11 July 2017 4:59 PM, PDT | DailyDead | See recent DailyDead news »

For years, he's brought the dead to life in books like Patient Zero and Rot & Ruin, so it's rather fitting that prolific author Jonathan Maberry has now teamed up with the legendary George A. Romero to co-edit an anthology set within the early stages of the zombie uprising in Night of the Living Dead. Titled Nights of the Living Dead, the new anthology is now available from St. Martin's Press (check out our giveaway here), and to celebrate, we caught up with Maberry for our latest Q&A feature to discuss his work on the living dead dream project, and we also have a claustrophobic excerpt from his short story "Lone Gunman."

Thanks for taking the time to answer some questions for us, Jonathan. How did the opportunity come about to collaborate on a Night of the Living Dead anthology with the legend himself, George A. Romero?

Jonathan Maberry: »

- Derek Anderson

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David Goyer to adapt Isaac Asimov's Foundation into TV series

27 June 2017 1:32 PM, PDT | JoBlo.com | See recent JoBlo news »

Isaac Asimov's seminal Foundation book series is one of those white whales, like Rendezvous With Rama, that seems like it would never see the light of day. Not only is it a sprawling, multi-character, and complexly political work, but also many of its best ideas have already been cannibalized by things like Star Wars (a similar problem John Carter faced). So the challenge to adapting... Read More »

- Damion Damaske

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Why Movies Need Directors Like Phil Lord and Chris Miller More Than Ever

21 June 2017 11:07 AM, PDT | Variety - Film News | See recent Variety - Film News news »

A few days ago, my colleague Owen Gleiberman wrote a scathing essay questioning whether Colin Trevorrow was the right choice to direct “Star Wars: Episode IX,” suggesting that the “Jurassic World” helmer’s in-between indie, “The Book of Henry,” is such an abomination we have reason to think he could ruin the franchise that has already weathered the likes of Gungans and Ewoks.

It was a tough essay, so much so that I genuinely feared Trevorrow’s job could be in danger. And then a funny thing happened. “Star Wars” producer Kathleen Kennedy fired the directors on a completely different “Star Wars” movie, axing Phil Lord and Christopher Miller from the Han Solo project. What!?!?

The universe needs directors like Lord and Miller more than ever these days — and not just the “Star Wars” universe, mind you, but the multiverse of cinematic storytelling in general. Lord and Miller represent that rarest of breeds: directors with a fresh and unique vision, backed by the nerve to stand up for what they believe in.

Related

Star Wars’ Han Solo Spinoff: Lord & Miller Fired After Clashing With Kathleen Kennedy (Exclusive)

Just look at their track record: After starting their careers as TV writers (they created the MTV cartoon series “Clone High” and wrote for “How I Met Your Mother”), the duo made their feature directorial debut with “Cloudy with a Chance of Meatballs,” a wildly imaginative reinvention of a 32-page children’s book that heralded them as bold, outside-the-box comedy storytellers.

Then they made the jump to live-action, bringing their trademark brand of hip, pop-savvy self-awareness to the feature-length “21 Jump Street” remake. Few animation directors have survived the leap from animation to live-action (just consider the likes of “John Carter” and “Monster Trucks”), but Lord and Miller took to the new medium like naturals (technically, they had experience from their TV writing days — and I remember hearing stories that they’d actually taken a break from “Cloudy” to write an episode of “How I Met Your Mother” just so they wouldn’t lose their Writers Guild insurance benefits, but that’s another story about animators don’t enjoy the same protection in this industry).

“21 Jump Street” took the concept of a tired old ’80s TV show — two baby-faced cops go undercover as high-school students — and rebooted it with a playful twist, turning the ludicrous setup into one giant joke. Then came “The Lego Movie,” in which they cracked one of the weirdest assignments in 21st-century filmmaking — bring the popular line of kids toys to life — in a wholly original way, embracing the fact that Legos had spawned an almost cult-like sub-genre of fan films (to capitalize on the trend, the Lego company had even released a “MovieMaker Set” in 2000, complete with stop-motion camera and Steven Spielberg-styled minifigure) to make the ultimate wisecracking meta-movie.

After that string of successes, Lord and Miller had become two of the hottest names in town, able to pick their projects. But like so many directors of their generation — children of the ’70s whose love of cinema had been inspired by George Lucas’ game-changing space opera, what they wanted was to make a “Star Wars” movie. For a moment, that seemed possible, since the producers were hiring indie directors like Rian Johnson (“Brick”) and Gareth Edwards (“Monsters”) to helm these tentpoles.

On paper, Lord and Miller’s irreverent sensibility seemed like a perfect match for Han Solo, the franchise’s most sardonic character. One has to assume that it was precisely that take Kathy Kennedy and the “Star Wars” producers wanted when they hired the duo. But this is where modern critics, columnists and the fan community at large fail to understand a fundamental change that is happening at the blockbuster level in Hollywood: These directors are not being chosen to put their personal stamp on these movies. They are being hired to do the opposite, to suppress their identity and act grateful while the producers make all the key creative decisions.

Want to know why Trevorrow was picked to direct “Jurassic World” when his only previous credit was a nifty little sci-fi indie called “Safety Not Guaranteed”? It’s because he plays well with others, willing to follow exec producer Steven Spielberg’s lead when necessary. Going in to the assignment, Trevorrow had no experience directing complicated action sequences or overseeing massive-budget special effects. He didn’t need it, because those aspects of the movie were delegated to seasoned heads of department, while Trevorrow focused on what he does best: handling the interpersonal chemistry between the lead characters. (Personally, I hold Trevorrow responsible for the decision to film Bryce Dallas Howard running in high heels, but not the turducken-like gag where a giant CG monosaur rises up to swallow the pterodactyl that’s eating Bryce’s assistant. Surely someone else oversaw that nearly-all-digital sequence.)

Independent schlock producer Roger Corman memorably observed that in the post-“Jaws,” post-“Star Wars” era, the A movies have become the B movies, and the B movies have become the A movies — which is another way of saying that today, instead of taking risks on smart original movies for grown-up sensibilities (say, tony literary adaptations and films based on acclaimed Broadway plays), the studios are investing most of their resources into comic-book movies and the equivalent of cliffhanger serials (from Tarzan to Indiana Jones).

To Corman’s equation I would add the following corollary: On today’s tentpoles, the director’s job is to take orders, while producers and other pros are called in to oversee the complicated practical and CG sequences that ultimately define these movies. It’s an extension of the old second-unit model, wherein experienced stunt and action-scene professionals handled the logistics of car chases and exotic location work — except that now, such spectacular sequences are the most important part of effects-driven movies. Meanwhile, the one ingredient the producers can’t fake or figure out on their own is the human drama, which is the reason that directors of Sundance films keep getting handed huge Hollywood movies: to deliver the chemistry that will make audiences care about all those big set pieces.

How times have changed: In the 1980s, the only one who would make a movie like “Fantastic Four” was Corman, which he did for peanuts, whereas two years ago, Fox dumped more than $125 million into the same property. And the director they picked? Josh Trank, whose only previous feature had been the low-budget “Chronicle.” Let’s not forget that Trank ankled his own “Star Wars” spinoff, which I suspect had everything to do with realizing what happens when forced to relinquish control of a project in which he’s listed as the in-title-only director.

Back in the ’60s, a group of French critics writing for Cahiers du Cinéma coined what has come to be known as “the auteur theory,” a relatively quaint idea that the director (as opposed the screenwriter, star or some other creative contributor) is the “author” of a film. In the half-century since, critics everywhere have fallen for this fantastical notion that directors have creative autonomy over the movies they make — when in fact, as often as not, that simply isn’t the case.

The auteur theory makes for a convenient myth, of course, and one that lazy critics have long perpetuated, because it’s much to difficult to give credit where it’s due when confronted with the already-cooked soufflé of a finished movie. Critics aren’t allowed into the kitchen, after all, and though countless chefs (or heads of department, to clarify the metaphor) contribute to any given film production, it’s virtually impossible to identify who was really responsible for the choices that make the film what it is.

How much of “Citizen Kane’s” creative genius can be attributed to cinematographer Gregg Toland? Would “Jaws” or “Star Wars” have been even half as effective without composer John Williams? Did editor Ralph Rosenblum save “Annie Hall”? And most relevant to the discussion at hand: Is it correct to think of “Rebecca” as an Alfred Hitchcock movie (he directed it, after all), or does the result more thoroughly reflect the hand of producer David O. Selznick?

This is all complicated by the fact that an entire class of filmmakers — the so-called “film-school generation” — seized upon the auteur theory, turning it into something of a self-fulfilling prophecy, as the likes of Coppola, Scorsese, Spielberg, Lucas and so on left their signature on the movies they made. Meanwhile, the Cahiers critics (several of whom went on to become directors, among them Jean-Luc Godard and François Truffaut) were protected by a uniquely French copyright law dating back to the 18th century, known as the “droit d’auteur,” which entitled them to final cut (a privilege precious few Hollywood directors have).

But these remain the exception, not the rule. In the case of the “Jurassic Park” and “Star Wars” franchises, the director is decidedly not the auteur. To the extent that a single vision forms the creative identity of these films, it’s almost always the producer we should hold responsible. To understand that, we need only look back to the original “Star Wars” sequel, “The Empire Strikes Back,” a movie “directed” by Irvin Kershner, but every bit George Lucas’ brainchild (he reportedly hand-picked Kershner for his strength with character development). The same goes for Richard Marquand on “Return of the Jedi.”

This shouldn’t be a scandalous revelation. It just doesn’t fit with the self-aggrandizing narrative that many directors have chosen for themselves. Yes, the 1989 “Batman” is without question “a Tim Burton movie”: Burton has such an incredibly distinctive aesthetic, and the personality to push it through a system that’s virtually designed to thwart such originality. But when it comes to the incredibly successful “X-Men” franchise, there’s no question that producer (and “Superman” director) Richard Donner deserves as much credit as those first two films’ director, Bryan Singer. Simply put, that franchise owes its personality to both of their involvement.

But when it comes to “Jurassic World,” that movie probably wouldn’t look much different in the hands of someone other than Trevorrow. And the same can almost certainly be said for the “Star Wars” movie he’s been hired to direct, because in both cases, it’s the producers who are steering the ship. When the stakes are this high, it would be downright reckless to give complete autonomy to relatively unproven directors.

That’s increasingly the case in Hollywood these days. Director Dave Green (who’d made a tiny Amblin-style movie called “Earth to Echo”) went through it on a franchise project produced by Michael Bay. He was tapped to helm “Teenage Mutant Ninja Turtles: Out of the Shadows,” only to discover that he had no autonomy. Granted, Green was still wet behind the ears and had no experience with a nine-digit budget or big union crew. But that wasn’t the job, because Bay never expected him to handle everything. Instead, the producer pulled in more experienced professionals to oversee much of the action and visual effects, while Green followed orders and worked his magic with the actors.

You can bet Tom Cruise’s paycheck that the same thing happened on “The Mummy,” in which Alex Kurtzman is listed as director, but the producer-star was reportedly calling most of the shots. How appropriate that a Universal monster movie reboot should be the victim of what amounts to a kind of creative Frankenstein effect.

Likewise, Marvel has had more success (both financially and artistically) forcing directors to conform to an inflexible set of aesthetic guidelines than it did when art-house “auteur” Ang Lee experimented with his own ideas on 2003’s “Hulk.” And though Mexican director Alfonso Cuarón is celebrated for the personal touch he brought to the Harry Potter franchise, it was relatively malleable British TV director David Yates whom writer-producer J.K. Rowling approved to direct four more films in the series.

So where does that leave us with “Star Wars”? On one hand, it’s perfectly understandable that the producers would want Trevorrow to direct Episode IX, since he’s already demonstrated his capacity to play along with the producers. Meanwhile, it’s disheartening — but not altogether surprising — that a directorial duo as gifted as Lord and Miller have been fired from the Han Solo film, since they’ve been known to fight for the creative integrity of their vision.

But it’s a loss to the “Star Wars” world, since Lord and Miller’s previous credits demonstrate the kind of unique take they might have brought to the franchise. Warner Bros. trusted the duo enough on “The Lego Movie” to let them poke fun at Batman — arguably the studio’s most precious IP, previously rendered oh-so-serious in the Christopher Nolan trilogy. Lord and Miller’s minifigure Dark Knight was a brooding egomaniac and the funniest thing about that film, so much so that Warners ran with it, producing a spinoff that stretched the joke to feature length.

Sony Pictures Animation (where Lord and Miller made “Cloudy with a Chance of Meatballs”) was similarly enthusiastic about their input on Spider-Man, greenlighting the pair’s high-attitude idea for an animated movie centered around Miles Morales, the Black Hispanic superhero who took over web-slinging duties after Peter Parker’s death. Though they’re not directing, the script is said to bear their fingerprints — which it seems is exactly what Kennedy and company don’t want on the Han Solo project.

With any luck, Lord and Miller will see the “Star Wars” setback as the opportunity that it is: Rather than being forced to color within the lines of a controlling producer’s vision, they can potentially explore the more individual (dare I say, “auteurist”?) instinct they so clearly possess on a less-protected property. Heck, maybe Sony’s Spider-Man project will be the one to benefit. Or perhaps they’ll be in the enviable position of pitching an original movie. Not all directors have such a strong or clear sense of vision that they can be trusted to exert it over a massive studio tentpole, but Lord and Miller are among the few actively reshaping the comedy landscape. Now is their moment, although as Han Solo would say, “Great, kid. Don’t get cocky.”

Related stories'Star Wars' Han Solo Spinoff: Lord & Miller Firing Is Latest in Long Line of Director Exits'Star Wars' Han Solo Spinoff: Lord & Miller Fired After Clashing With Kathleen Kennedy (Exclusive)'Star Wars' Han Solo Film Loses Directors Phil Lord and Christopher Miller »

- Peter Debruge

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Duncan Jones Reveals His Idea for ‘Warcraft 2’

20 June 2017 10:43 AM, PDT | Collider.com | See recent Collider.com news »

As the fifth Transformers movie hits theaters, we’re reminded of all the promising though not perfect films of the past that were far more deserving of sequels. The Man from U.N.C.L.E., John Carter, heck even King Arthur: Legend of the Sword established a fun universe. Another big example from the past few years is Warcraft. Filmmaker Duncan Jones poured his heart and soul into the adaptation of the popular video game franchise, but unfortunately audiences didn’t really show up. The pic scored a measly $47.3 million domestic, although it did gross $386 million … »

- Adam Chitwood

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The behind the scenes battles of Pirates Of The Caribbean

24 May 2017 2:24 PM, PDT | Den of Geek | See recent Den of Geek news »

Mark Harrison May 25, 2017

The Pirates Of The Caribbean movies have not been easy films to make....

As Michael Bolton once belted out: “This is the tale of Captain Jack Sparrow.” The Pirates Of The Caribbean film was a surprise sleeper hit in 2003, astounding the higher-ups at Disney who had long been sceptical of how a pirate movie, based on a ride at Disneyland, would appeal to audiences.

Off the back of this success, the sequels only got more ambitious and expensive in scale, with their use of practical effects and convoluted character dynamics serving to complicate the adventure format, with mixed results. It shouldn't shock you then, to hear that each of the movies released so far had some serious behind-the-scenes battles to make them shipshape.

The fifth and apparently final instalment, Salazar's Revenge (or Dead Men Tell No Tales), has had some very public battles before it has even been released, »

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Supernatural? Perhaps. Baloney? Perhaps Not: Dark Shadows (2012)

13 May 2017 11:02 AM, PDT | Trailers from Hell | See recent Trailers from Hell news »

Five years ago this weekend Tim Burton’s updating of Dark Shadows, the gothic/horror-themed soap opera which ran from 1966 to 1971 on ABC and was a seminal influence on a generation of budding horror fans (including Burton), was released on American movie screens, one weekend after Marvel’s The Avengers was still dictating the imaginations (and the wallets) of moviegoers everywhere. Given Burton’s track record with horror comedies (Beetlejuice being the primary example) and collaborations with Johnny Depp (Alice in Wonderland, Charlie and the Chocolate Factory, Edward Scissorhands), a surprisingly low number of ticket-buyers seemed ultimately to care—the movie, which cost $150 million to make, and undoubtedly a hefty chunk of change more than that to market, would earn back only slightly more than half of that in the United States, though its final take globally came in at around $235 million. There were a few takers among critics, notably »

- Dennis Cozzalio

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Guardians Of The Galaxy And Cinema’s Most Memorable Misfit Families

28 April 2017 4:00 AM, PDT | HeyUGuys.co.uk | See recent HeyUGuys news »

Author: Dave Roper

Guardians of the Galaxy Vol. 2 is garnering widespread, positive reviews ahead of its release at the end of this week, with one of its foremost qualities being lauded by critics is the rapport and camaraderie amongst this rag-tag bunch of misfits and outcasts.

Of course part of the appeal of Vol. 1 was the organic and believable way in which this crew was put together, uniting despite their differences, but maintaining character integrity along the way. It has resulted in this family of Guardians joining a long-running tradition of cinematic misfit crews, thrown together (often by adversity) but continuing to niggle and aggravate each other. So who are the other groups in this pantheon?

The Guardians of the Galaxy

They were very much not the first to this particular party, but have done it about as well as anyone. The way in which the first film not only threw them together, »

- Dave Roper

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Guardians of the Galaxy and Its Exploitation Influences

27 April 2017 4:15 AM, PDT | Flickeringmyth | See recent Flickeringmyth news »

Ben Robins on Guardians of the Galaxy and its exploitation influences…

Exploitation is a bit of a nasty word no matter the context, and in the movie world, it usually means something cheap and in many cases, derivative. It’s never properly been defined, and doing so here without page after page of background would prove tough, but the term, in a nutshell, is usually used to describe low-brow ‘B-movies’ that rip-off or ‘exploit’ mainstream heavy-hitters. After Steven Spielberg’s Jaws there was Michael Anderson’s Orca, and Joe Dante’s Piranha. After The Italian Job there was everything from Death Race 2000 to Vanishing Point (that was in itself, lovingly rejigged for Tarantino’s 2007 exploitation send-up Death Proof). They make just enough from the cult crowd but very rarely breach the dominant markets. Unless, of course, the film’s name is something stupid enough to go viral, like Sharknado. »

- Ben Robins

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Baby Girl on the Way for John Carter Cash

14 April 2017 12:25 PM, PDT | PEOPLE.com | See recent PEOPLE.com news »

John Carter Cash is going to be a dad again!

The country singer-songwriter and only child of Johnny Cash and June Carter Cash is set to welcome a daughter in mid-September, his rep confirms exclusively to People.

“My wife Ana Cristina and I are so blessed to announce a new addition to our family,” says John, 47. “We are grateful to all of our friends and family for their continued support.”

Want all the latest pregnancy and birth announcements, plus celebrity mom blogs? Click here to get those and more in the People Babies newsletter.

Adds Ana, 31, “We are so thrilled »

- Jen Juneau

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Does knowing too much about a film ruin your enjoyment?

12 April 2017 11:00 AM, PDT | Flickeringmyth | See recent Flickeringmyth news »

Anghus Houvouras on whether knowing too much about a film can ruin your enjoyment…

There are still people who decide what movie they’re going to see in the span of time it takes between arriving at the theater and purchasing a ticket. Carefree film fans who are somehow able to miss (or purposefully avoid) the commercials, trailers, and online ads that permeate the digital space. The criteria they use to select their weekly trip to the cinemas is in no way influenced in the multi-million dollar marketing machine constantly vying for our attention.

We have never known as much about movies and the industry that produces them as we do today. The digital age has given us a ridiculously voyeuristic look into the world of entertainment. From the moment a project is announced and stars are attached, the film is under a microscope being scrutinized for every choice made. »

- Anghus Houvouras

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