3/01/2020

Podcast: Talking THE INVISIBLE MAN, EMMA., INDIANA JONES 5, She-Hulk, GUNS AKIMBO & More


On this week's show, Travis and John review Blumhouse's THE INVISIBLE MAN, quickly give their thoughts on EMMA., and talk about the future of INDIANA JONES 5 without Steven Spielberg in the director's chair. Is James Mangold a step in the right direction, or what? Also, those She-Hulk rumors with Alison Brie, the Guns AKIMBO controversy, and more.

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Box Office: 'The Invisible Man' Opens Eyes With $49M Worldwide


1. The Invisible Man (review)- $29M
Blumhouse and Universal's horror reimagining The Invisible Man made itself quite seen with a $29M domestic debut, part of a $49M worldwide weekend. That should help take some of the sting of Fantasy Island's lousy launch just a couple of weeks ago for Blumhouse. In my review, I asked the question what Universal's "Dark Universe" brand might've been if it had launched with this rather than the blockbuster dud The Mummy. Chances are we'd be looking at producer Jason Blum spearheading an entire low-budget franchise based on the classic movie monsters, and if Bride of Frankenstein ever gets going it may still happen.  This is just a hugely positive launch for the $7M film, led by Elisabeth Moss and directed by Saw and Insidious 3's Leigh Whannell who is becoming quite reliable on his own without pal James Wan. With a couple of weeks before A Quiet Place 2 comes stomping in to devour everything, we could see The Invisible Man end its run as a sneaky box office hit, and with a B+ Cinemascore and an ending that teases more story left to go, don't be surprised if fans clamor for a sequel.
2. Sonic the Hedgehog- $16M/$128M
3. The Call of the Wild- $13.2M/$45.9M
In general, a $45M stateside total for Fox/Disney's The Call of the Wild would be pretty good, as would the $79M haul after just two weeks. But when you factor in the $125M price tag this survival story is way underwater.
4. My Hero Academia: Heroes Rising (review)- $6.3M/$9M
Maybe I'm just ignorant to the popularity of Japanese manga My Hero Academia, but the success of Funimation's Hero Rising took me by surprise. The animated action film opened in 1260 locations and earned $9M since its Wednesday launch.
5. Bad Boys for Life- $4.3M/$197M
6. Harley Quinn: Birds of Prey- $3.9M/$78.5M
7. Impractical Jokers- $2.8M/$5.9M
8. Brahms: Boy 2- $2.5M/$9.7M
8. 1917- $2.5M/$155.7M
10. Fantasy Island- $2.2M/$23.9M

Pixar dropped a sneak peek of their latest toon, Onward (review), into 470 locations and it went off like magic. The film earned $650K, setting up the Tom Holland/Chris Pratt movie for success next week when it goes wide. This one has been flying under the radar a little bit, at least for a Pixar, and the good word-of-mouth will definitely help.

In disappointing news, Wendy (review), the long-awaited Peter Pan reimagining from Beasts of the Southern Wild director Benh Zeitlin, opened with just $30K and a miserable $7.5K per site average. I had hoped the eagerness for Zeitlin's followup would carry it through, and perhaps it will upon expansion next week, but the utter lack of star power and good buzz may be too much to overcome.

2/29/2020

'Y: The Last Man' Series Adds 'Warcraft' Star Ben Schnetzer As Yorick Brown


FX's Y: The Last Man series, officially just-titled Y, has had its share of problems getting off the ground. The latest hurdle saw star Barry Keoghan drop out, leaving the show in the lurch for a few weeks. But now it's being reported that Warcraft actor Barry Schnetzer has been cast to replace him, taking on the role of Yorick Brown.

Schnetzer joins the adaptation of Brian K. Vaughan and Pia Guerra's acclaimed comic book series, about a calamity that wiped out every other male on the planet, leaving only amateur magician Yorick Brown and his pet monkey Ampersand. The series will feature a top-notch cast of actresses including Diane Lane, Imogen Poots, Lashana Lynch, Juliana Canfield, Marin Ireland and Amber Tamblyn.

The ship seems to have been righted now with Schnetzer's casting. Eliza Clark will act as showrunner, having come in to replace Michael Green and Aïda Mashaka Croal who left over creative differences last year. Told you this thing has had some issues, and that doesn't include the years they spent trying to make it into a movie.  On board to direct the pilot is exec-producer Melina Matsoukas, who most recently helmed Queen & Slim.

Y is expected to begin production in April for a late 2020 release but may get pushed back due to all of the recent shuffling.

2/28/2020

SyFy Expands Its Original Series Offerings With 'Day of the Dead' and 'The Surrealtor'


Everyone's got OC these days...if you don't have some serious scripted content of your own you just aren't running with the big boys. Sure, there's the Breaking Bad and Mad Men of the world but some of my favorite shows from the last 10 years have been rather offbeat type shows on specialized channels. The shows that you KNOW wouldn't have even made it past the pitch stage back in the days of the big 3. This funky wonderland of scripted cable TV can be hit or miss but when it hits, damn is it refreshing. SyFy has been in the game for a long time now and has cut out a nice little niche with their original films and TV. Warehouse 13 was one of my go-to hidden gems for a while. Currently their running shows like Wynonna Earp and Van Helsing which are both a blast to watch. It should come as no surprise that there are more shows like this on the way, but what may surprise those of you who know me is the one that I'm more excited about. Day of the Dead and The Surrealtor have both gotten orders from the geek-centric station, and for the life of me I can't understand why Day of the Dead is on this list. Don't get me wrong, all of the first three of Romero's zombie saga are iconic and classic in their own right, but in a world where The Walking Dead is in double digit seasons, and SyFy has already had success with Z-Nation, why bring another Zombie show into the mix? The Surrealtor, a show about a real estate agent his team of specialists who investigate haunted houses that scare buyers away... now that sounds like the kind of quirky, off-beat fun I expect from SyFy

Review: 'EMMA.' Anya Taylor-Joy And Johnny Flynn Breathe Sexy New Life Into This Austen Classic


Handsome. Clever. Rich. Though those words were penned by Jane Austen to describe the titular character Emma in her beloved comedy, they certainly describe Focus Features’ newest adaption of the same work.EMMA. is certainly handsome with gorgeous costumes and set design, pops of color seem to fly off the screen. It’s clever, using sexuality as a way to bring out an unseen side of the classic. The film’s richness, however might be its downfall, being too long and overcrowded for its full potential to shine through. Directed by Autumn de Wilde and written by Eleanor Catton, EMMA. injects new life into regency classic. 

Published in 1815, Austen’s last work she saw released before her death, the story follows Emma (Anya Taylor-Joy), a beautiful and rich young woman living in England with a knack for matchmaking and speaking her mind. Often unchecked by her peers, except by her intriguing neighbor Mr. Knightley, Emma has had great success with meddling in other peoples lives until she takes Harriett Smith (Mia Goth) under her wing  and a farce ensues. When things unexpectedly and consistently start to go awry, Emma’s outlook on life and the treatment of others is called into question. As her love for Harriet grows and her feelings for Knightley change, her world view is blown apart and her expectations are proven wrong.

As Mr. Knightley, Flynn is subtly passionate and plays the character delicately. His performance brings a rare masculinity to the character, one full of emotion and awareness. The way he plays Knightley to the character’s furthest potential, compliments and adds to his chemistry with Taylor-Joy. She nails her portrayal of the character at the beginning and end of the film brilliantly, but struggles to accurately capture Emma’s emotional journey. Channeling more Cher Horowitz from Clueless rather than Gwenyth Paltrow in 1996’s Emma, Taylor-Joy plays the beloved character with playful sass and arrogance and a breath of sensuality.

Like most things in life, EMMA, needs more Bill Nighy. As Emma’s pessimistic and hypochondriac father, Nighy steals every scene he’s in. Whether its flitting down the stairs or demanding servants deal with a draft, Nighy grounds the film in levity. Josh O’Connor (Season 3 of The Crown) also makes his comedic mark on the film as the impish and rude vicar Mr. Elton. Showing off his comedic timing and cadence, O’Connor wisely uses his talents to compliment the character’s weaselly nature.  The rest of supporting cast is a who’s who of actors in that BBC show you saw that one time. Gemma Whelan from Game of Thrones, Sherlock’s Rupert Graves, Call The Midwife’s Miranda Hart, all charmingly play various members of Emma’s unofficial fan club.

The essential question that must be asked whenever a remake is made is “Does this adaption elevate the work?” A recent example of this is last year’s Little Women where writer/director Greta Gerwig not only used the original source material, but used Louisa May Alcott’s journals, other writings and even rants from Meryl Streep to tell  with a modern sensibility. From first glance it seems like this version of Emma doesn’t do much to elevate past adaptions until you realize that the story is framed from the female gaze. Something commonly unseen in previous adaptions of Jane Austen’s work. We not only see Emma fall in love with Knightley over time but we her sexual attraction to him grow. From longing looks, to licking fingers after eating a sweet, never breaking eye contact, the control and sexual desire is completely framed from a female point of view. Emma owns her sexuality, well as much as she can for the regency period. Early on there’s a seemingly needless moment of male nudity, but its well placed and well appreciated. How much needless female nudity have we had to endure for the sake of it? De Wilde uses it to let us know that this version is going to be different. We are going to see Mr. Knightly through Emma’s eyes, that this story of matchmaking. And what comes after a match is made? Sex.

What holds this adaption back is its run-time. Normally with adaptions, so many plot points from the original work are omitted. Well, not this time. It feels like every little detail is included and it’s tedious. Smaller moments could be condensed and or cut all together. With so much going on, Emma and Knightley’s relationship seems to lag in the middle and some of these intricate interpersonal wheeling and dealings get muddled as a result. 

Is it this the greatest adaption of Austen’s beloved comedy? Ugh. As if! But with its picturesque staging and delightfully charming and endearing performances, it is a refreshing take on the beloved piece. It’s a shame that its long run time and over-crowded nature make the business of matchmaking seem messier than it needs to be. 

Rating: 3 out of 5

Review: ‘The Whistlers’, A Film Noir Where No One Is Clean As A Whistle


Mobsters and the police hunting them down. Corruption and deceit. Surveillance, backstabbing, robberies, and of course…whistling – what else would you expect from a modern-day film noir? Well writer/director Corneliu Porumboiu gives us all of this and more in The Whistlers.

Cristi (Vlad Ivanov), a narcotics detective, gets pulled into a seedy web of crime – and at the center of it is a group of mobsters. He is taken to the island of La Gomera in the Spanish Canary islands to learn a secret whistling language known as Silbo Gomero (which actually exists!). Silbo Gomero essentially translates Spanish into a series of whistles, and they go even further in The Whistlers by adding Romanian characters to it as well. The goal is to help mob boss Paco (Agustí Villaronga) get his right-hand man Zsolt (Sabin Tambrea) out of prison. Of course, Cristi and his fellow police officers are the ones that framed and arrested Zsolt in the first place for drugs and money laundering, but that’s neither here nor there.  

Enter the femme fatale Gilda (Catrinel Marlon). A suave and powerful woman who knows how to use her wits and looks to make men do what she pleases. She toes the line and at any moment it can never be clear whose side she is on – the only thing we know is she always has her own best interests at heart. Gilda and Kiko (Antonio Buíl) struggle teaching Cristi the whistling language in a series of humorous, almost slapstick like, scenes that show his knowledge of Silbo Gomero progressing. Back home in Romania Cristi’s every move is being scrutinized by his hawk of a boss Magda (Rodica Lazar) – both literally and figuratively as she has ordered surveillance to be placed on Cristi by Alin (George Pistereanu), a fellow narcotics officer whom she actually trusts. Cristi must juggle relationships on both sides of the law – thinking he’s in control, but with such delicate relationships, it’s tough to tell who actually is.

First and foremost, it’s nearly impossible to find someone in The Whistlers that is a good person. The cops are corrupt, the criminals are…well criminals. The police are working with the criminals and backstabbing each other – no one knows who they can actually trust. It’s a twisted web of lies and conspiracies and one that causes the film to become murky and confusing. We go back and forth through time, jumping from La Gomera to Romania and even making a stop in Singapore. This shifting and hopping leads the narrative to become difficult to follow. Yet no matter where or when in the film, an underlying question remains – when even the supposed good guys are breaking the rules, who do you root for?

There are certainly things to like in The Whistlers, with the music and cinematography leading the charge. Porumboiu makes numerous interesting stylistic choices and his sense of timing and pace results in some truly hilarious moments throughout the film. Porumboiu also makes nods to classic films from the past, including a glaringly obvious one to Psycho – that did not go unnoticed or unappreciated. The entire film seems to be made up of dichotomies – the good guys and bad guys, loud blaring music immediately followed by deafening silence, the music itself ranging from Iggy Pop's The Passenger to Opera, the paradise of the Canary Islands to the bleak and cold Romania. Yet these dichotomies start to blend – yes, the Canary Islands are gorgeous, but once you realize your phone is being tapped and people are watching you, can you enjoy paradise; and what do you do when those in a position to uphold the law are the ones skirting it themselves? Porumboiu weaves an interesting tale in The Whistlers, however it does become a little too convoluted at times which takes away from the film. All in all, there is enough here to make it worthy of a watch, but I’d wait for a Netflix release.  

2.5 out of 5

'Radium Girls' Trailer: Joey King And Abby Quinn Expose A Radium Scandal


Worker rights is one of those issues we tend to take for granted, but the safe working conditions we have were earned by those who fought, and often died, to get them. One of these great American stories that has gone mostly unnoticed gets its due on the big screen with Radium Girls, which stars the promising duo of actresses Joey King and Abby Quinn.

If you don't know, the "Radium Girls" were the female factory workers who contracted radiation poisoning while painting glow-in-the-dark watch dials and other products, having been led to believe that radium was safe. King and Quinn play sisters Bessie and Jo, who in 1928 are two of these girls working at a fictional plant, only to have one fall ill under mysterious circumstances. When other girls also start getting sick, they join with other activists to expose a corporate scandal.

King is coming off her Emmy-nominated performance in The Act, but has been doing great work ever since her breakout role in Ramona & Beezus, which seems like forever ago. Quinn became a festival darling a couple of years ago in Landline, and was seen recently in both After the Wedding and Little Women.

The film is co-directed by Ginny Mohler and Oscar-nominated Cutie & the Boxer producer Lydia Dean Pilcher, with Lily Tomlin on board to exec-produce. Shot in 2017, it debuted at the 2018 Tribeca Film Festival and is finding its way into theaters this year on April 3rd.

SYNOPSIS: Based on true events set in 1928, in New Jersey, teenage sisters, Bessie and Jo, dream of faraway places as the paint glow-in-the-dark watch dials at the American Radium Factory. When Jo loses a tooth, Bessie’s world turns upside down as the mystery of Jo’s disease slowly unravels. Bessie befriends two young activists and in a radical coming of age, she exposes a corporate scandal. Bessie and the “Radium Girls” file a lawsuit against American Radium. This notorious case ultimately led to a lasting impact in the area of workplace health and safety as well as the study of radioactivity.

Alison Brie Give Awkward Denial Of Recent She-Hulk Rumors


Rumors are something that must be wade through like a thick bog every single day, but that goes double or even triple whenever Marvel has a new project in the works.  Most of those stories turn out to be crap, and you just gotta pick what sounds real and roll with it. One rumor that gained traction recently had Alison Brie being eyed for the role of She-Hulk in Marvel's Disney+ series, but according to the actress herself, there's nothing to it.

Brie was confronted with the She-Hulk rumors by James Corden, and while she finds the role "interesting", she blames the whole thing on social media...

“I woke up with a bunch of Instagram posts of side-by-side pictures of me and She-Hulk, which I just thought, ‘Cool.’ And then the quote about the ‘Alison Brie-type,’ which honestly I found very exciting because for years I auditioned for the ‘Anne Hathaway-type’ or the ‘Zooey Deschanel-type.’ I was very flattered to be my own type.”

Over the course of Corden's joking and Brie's laughing denials, the host pretty much says he's now more convinced than ever that she is playing She-Hulk. While I wouldn't go that far, she doesn't exactly mount a strong defense. If Marvel had signed her, Brie would be on there denying it, anyway. But based on the fan response I have a feeling Marvel may be giving her a call, if they haven't already.

Review: 'Disappearance At Clifton Hill', Kidnapping Mystery Fizzles Out Despite Strong Performances


A troubled young woman named Abby (Tuppence Middleton) returns to her hometown of Niagara Falls, where the memory of a long-ago kidnapping quickly ensnares her.

Albert Shin's latest feature film Disappearance at Clifton Hill starts off with a bang. A creepy opening lets us in on an unnerving scene. A young child is with her family in the Niagara Falls area taking pictures with one another. So far, so normal right? However, right out of the corner of her eye, she sees what she suspects is a kidnapping. During her adult life, she has not really been able to shake this incident from her memory. She feels almost as if it is her responsibility to uncover this mystery that may or may not have happened all these years ago.

The way the opening of the film sets up the rest of the story along the way was done in a great and brilliant way. Unfortunately, as impressively crafted and acted as Disappearance at Clifton Hill is, it ultimately fizzles out as a disappointingly bland and generic mystery thriller that suffers from its incoherent screenplay and uninspired storytelling.

Shin co-wrote the script for the film with James Schultz, and while they do set up some genuinely creepy and disturbing scenes, the vast majority of these plotlines don't go anywhere all that exciting or intriguing. Furthermore, it takes an incredibly long time for them to get going too. The first thirty minutes of this movie are there to set things up and get viewers interested. The problem is that it not only makes it hard to revisit the film a second time, but it gets a bit frustrating on the initial viewing. A large portion of the first thirty minutes is expository dialogue being spoken by a few characters and pointless sequences that could have either been significantly trimmed down or removed from the film as a whole.

However, as the second act draws to a close and the third act starts up, Disappearance at Clifton Hill's entertainment value picks up tremendously. From there, we actually get to learn a lot about the aforementioned kidnapping, and it is by far the most enjoyable part of this picture. As entertaining and often satisfying as it is, it doesn't really have that much of an emotional impact or shock value due to the rest of the movie beforehand being relatively dull and uninspired. A lot of the story feels similar to other, better mystery shows like Twin Peaks and The X-Files.

If there is one thing to praise here, it is absolutely the acting on display from the whole cast. They all bring their A-game to the movie and there truly is not a weak link among the entire ensemble. While some of them don't really get a lot to do sadly, seeing their great performances on display was a treat. Out of them all, the standout is easily Middleton as lead protagonist Abby. She portrays her with a great sense of vitality and she feels remarkably raw throughout.

In addition, the film contains a delightfully creepy score from Alex Sowinsky and Leland Whitty. It is their music that kicks off the entire thing and they carry greatly unnerving tunes throughout the entire running time. Their musical score was accompanied with some stellar cinematography by Catherine Lutes as well.

As a whole though, this was an underwhelming movie that felt like a missed opportunity in a ton of areas. With a better screenplay, this could have been one of the first great movies of the year, but sadly, Disappearance at Clifton Hill suffers from an incoherent and uninspired script even if it boasts great performances and stellar technical achievements.

 2 out of 5

'The High Note' Trailer: Dakota Johnson & Tracee Ellis Ross Star In Music Comedy From 'Late Night' Director


Almost exactly one year after her comedy Late Night was a big festival darling, director Nisha Ganatra returns with another film centered on women in the entertainment industry. The High Note (formerly titled Covers) pairs up Tracee Ellis Ross and Dakota Johnson in a music world comedy about a superstar singer and her personal assistant with dreams of making it big.

The dynamic between Ross and Johnson is pretty similar to that of Emma Thompson and Mindy Kaling in Late Night, with one an already-established star and the younger woman looking for her big break. There's even a table of dudes who think they know more than the woman who is the actual talent. The usual concerns about being an older woman in a young business are there, and certainly valid, as well as the conflict between creativity and doing what's proven successful. Are we sure this isn't from the same writers? No?

The cast is tremendous, however, and hopefully we get to really hear Ross and Johnson let loose vocally. We've heard Ross sing before (she IS Diane Ross' daughter) so we know what she can do, but Johnson has only teased what she can do. They're joined by Ice Cube, Kelvin Harrison Jr., Zoe Chao, Bill Pullman, Eddie Izzard, and June Diane Raphael.

SYNOPSIS: Set in the dazzling world of the LA music scene comes the story of Grace Davis (Tracee Ellis Ross), a superstar whose talent, and ego, have reached unbelievable heights. Maggie (Dakota Johnson) is Grace’s overworked personal assistant who’s stuck running errands, but still aspires to her childhood dream of becoming a music producer. When Grace’s manager (Ice Cube) presents her with a choice that could alter the course of her career, Maggie and Grace come up with a plan that could change their lives forever.

The Hight Note opens May 8th.

Kevin Hart To Lead Action-Comedy From 'Broad City' Duo And 'Night School' Director Malcolm D. Lee


Kevin Hart attaches himself to so many projects it's tough to keep track, and certainly to get excited about any of them. Well, here's another one, an action-comedy from Broad City duo Lucia Aniello and Paul W. Downs.

An untitled action-comedy starring Hart is in the works,  based on an original story idea from Broad City writers/exec-producers Lucia Aniello and Paul W. Downs. The film will find Hart reunited with director Malcolm D. Lee, who he worked with on Night School, and super-producer Will Packer, his collaborator on multiple hit comedies including Think Like a Man.

Other than that, details aren't available. It seems like everything Hart attaches himself to lately is an action-comedy, with some turning out better than others. Obviously, on the high end of those would be the Jumanji films, but he has lesser box office hits such as Ride Along and Central Intelligence. Recently, Hart's lined up a Quibi series co-starring John Travolta, and comedy reuniting him with Hobbs & Shaw's Jason Statham. [Variety]

Ben Affleck Says 'The Accountant' Follow-up Could Be A TV Series


The Accountant came out of nowhere in 2016 to be a big hit for Ben Affleck and director Gavin O'Connor. The unusual hitman film, about a savant who cooks the books for his clients during the day, then works as a paid killer during his off-hours, earned $155M and had its fans expecting a sequel. However, the next reunion of Affleck and O'Connor will be next week's drama, The Way Back. Does that mean a sequel to The Accountant is dead? Not necessarily, but it may end up on the small screen.

Speaking with Collider, Affleck teased that some think The Accountant's story should continue as a TV series, rather than another feature...

“We’ve talked about it. There seems to be a debate whether or not to do a TV series version of it. The scriptwriter [Bill Dubuque] has become quite successful and busy, so he’s off doing his thing. And somebody said to me, ‘Well if we could find a script that we could retrofit and make into a sequel… But that’s sort of tricky because the personality of the character is so specific, that doesn’t really work to just say, ‘Well, we used call this script Action Movie Shootout, and now we’re going to call it The Accountant 2′.”

He continued, “It was a lot of fun. It was an interesting twist on the genre and I’d love to do it...And if they want to produce a TV show version of it and I get some royalties, well that’s great, too.”

The assumption being that a TV show would have a completely different cast other than Affleck, Anna Kendrick, and JK Simmons. The Accountant, at least to me, never felt like it needed another movie, and to do one would be a big risk. While the first one was pretty good and made some decent money, I think it was something that needed to be capitalized on quickly, and now its time has passed. A series, on the other hand, could be the trick for keeping this brand alive and that's all that really matters, right?

2/27/2020

'The Last Vermeer' Trailer: Post-WWII Art World Thriller Stars Claes Bang, Vicky Krieps, & Guy Pearce


Whether it be Monuments Men or Woman in Gold, we've seen different takes on the WWII drama, focusing on lost pieces of art stolen by the Nazis. Now, you can add The Last Vermeer to this unique little subgenre, and with a cast led by Claes Bang (The Square), Vicky Krieps (Phantom Thread), and Guy Pearce, this could be one worth treasuring.

Based on a true story, the film centers on the investigation into flamboyant Dutch artist Han van Meegeren (Pearce, in a rather interesting head of hair) who stood accused of selling a priceless Vermeer to the Nazis during their occupation of the Netherlands. Bang and Krieps play members of the Dutch resistance who come to believe in Meegeren's innocence, despite the mounting evidence.

The film marks the directorial debut of Dan Friedkin, a producer on films including Ben is Back, Destroyer, and Martin Scorsese's upcoming Killers of the Flower Moon.

The Last Vermeer opens May 22nd.

DC Readers: Attend A Free Early Screening Of 'The Way Back'


We're happy to offer our DC readers the chance to attend a free early screening of The Way Back, a story of redemption starring Ben Affleck and directed by Gavin O'Connor (Miracle, The Accountant).

SYNOPSIS: Jack Cunningham (Ben Affleck) once had a life filled with promise. In high school, he was a basketball phenom with a full ride to college, when suddenly, for reasons unknown, he walked away from the game, forfeiting his future. Now years later, Jack is stuck in a meaningless job and drowning in the alcoholism that cost him his marriage and any hope for a better life. When he is asked to coach the basketball team at his alma mater, which has fallen far since his glory days, he reluctantly accepts, surprising no one more than himself. As the boy starts to come together as a team and win, Jack may have finally found a reason to confront the demons that have derailed him. But will it be enough to fill the void, heal the deep wounds of his past, and set him on the road to redemption?

The screening takes place on Wednesday, March 4th at 7:30pm at Regal Majestic in Silver Spring. If you'd like to attend, go to the Warner Bros website here. Please remember all screenings are first come first served and you will need to arrive early to ensure seating. Enjoy the show!

The Way Back opens on March 6th.

'The Last Duel': Set Photos Of Medieval Ben Affeck, Matt Damon, And Adam Driver Are Too Good To Be Missed


We sorta stopped posting set photos a few years ago other than in very rare, exceptional cases. They're more hassle than they're worth, and frankly, directors have gotten smart enough to put a bunch of fake shit out there to screw with the photo-happy fans hanging around the set. So basically it's a judgement call if they're worth posting, and in the case of The Last Duel I'm pulling rank because these need to be seen.

Once you see the images you'll understand why. The Last Duel stars Ben Affleck, his 4ever pal Matt Damon, and some guy named Adam Driver. Okay, cool. Big stars, sure. But who cares, really? Well, the film takes place is set in 14th-century France and deals with knights and honor and all that jazz. So what you have are Affleck, Damon, and Driver suited up in armor and sporting ridiculous, garish hairstyles. They look like rejects from a bad SNL skit making fun of their respective careers, and it's glorious. In the case of Driver, this is almost exactly like his SNL skit as an employee at Medieval Times.




I think Damon is going to slip by unscathed for the most part but I just want to suggest that he could end up looking like a monkey's butt when all things are done. We have to reserve judgement until we see the final product, but based on this The Last Duel just shot up to the top of my most anticipated list, and probably not for the reasons Ridley Scott wants.

The Last Duel opens Christmas Day.

The Fight For Freedom Continues In The Trailer For 'Robert The Bruce'


What is it about Scottish history that's so primed for big screen adaptations? Robert the Bruce in particular is really having his day in the spotlight, with this being the second movie in a two year period based on his life (the first being Chris Pine's Outlaw King). I'm honestly not sure if this is a coincidence or if this is intended as a sequel to Braveheart but the Scottish legend is being played this time around by Angus Macfayden reprising the role he played in the mid-90's Mel Gibson blockbuster. I've seen some note that it was a sequel, but can't find anything official noting that, so for now we'll mark it down as an intended coincidence (I'm sure Travis will correct me soon). The trailer, like most things shot in and around Scotland and it's neighboring islands, looks absolutely gorgeous. We know the story is compelling so no issues there, but I do have one reservation after watching the trailer....it's main character. Trailers can be tricky and I'm sure I will be watching this film nonetheless, but God help me Macfayden seems to lack any of the charisma someone playing one of the most inspiring leaders in written history should have. He just looks sad most of the time. Hopefully this was just a poor selection of scenes and Macfayden's Bruce will produce the same goosebumps that Gibson did with his William Wallace.

Robert the Bruce hits theaters everywhere on April 24th


'The Eddy' Teaser: Damien Chazelle's Netflix Series Walks Us Through The Jazzy Side Of Paris


That the opening teaser for Damien Chazelle's Netflix series The Eddy should be lit up with the sounds of Paris' jazz scene should come as no surprise. The criminally-underrated First Man aside, Chazelle is fascinated by the world of music, whether it be Miles Teller's brutal drum solos in Whiplash, or the reimagining of classic Hollywood sound in La La Land.

In the debut footage we follow over the shoulder of club owner Elliot Udo, played by Moonlight's Andre Holland, as he takes us to the door of his struggling nightclub, The Eddy. Along the way, he encounters The Hate U Give's Amandla Stenberg, and while they step inside we are cut off at the door as if we aren't on the VIP list.

Chazele is joined in the 8-epsiode series by BAFTA and Tony Award-winning writer Jack Thorne (The Aeronauts) and Emmy award-winner Alain Poul. The multicatural setting is met by an ethnically-diverse cast that includes Tahar Rahim (A Prophet), Melissa George (Sugar & Spice), Joanna Kulig (Cold War), and  Leila Bekhti (Beirut).

SYNOPSIS: The story is set in contemporary multicultural Paris and revolves around a club, its owner, the house band and the volatile city that surrounds them.

The Eddy hits Netflix beginning May 8th, but the first two episodes will premiere at the Berlin Film Festival.

Review: 'Burden', Garrett Hedlund Seeks Redemption In Unfocused But Well-Meaning Race Drama



*NOTE: This is a reprint of my review from the 2018 Sundance Film Festival. Burden opens in theaters tomorrow, February 28th. *

Nowadays the KKK aren't dressed in hoods burning torches on front lawns; they're in boardrooms and college universities carrying tiki torches. So Andrew Heckler's comically overwrought drama Burden, which is set in 1996, feels old fashioned right from jump street. And given the real-world events, it depicts some may be willing to forgive that, certainly these kinds of message heavy movies about southern racism were more prevalent some years ago. But in execution, it still needs to do something new to make this particular story feel unique, and despite a couple of winning performances that fails to happen.

One of those performances does not belong to Garrett Hedlund, who as KKK member Mike Burden mumbles and sways through each scene like a drunk with a mouthful of old paper towels.  The ironically-named Mike Burden (His name immediately recalls the film White Man's Burden) is part of a small Klan group in Laurens, South Carolina that bought an old movie theater and opened The Redneck KKK Museum. Yeah, that's what it was actually called. Led by his father figure Tom Griffin (Tom Wilkinson, a terrific heel), Mike is a loyal foot soldier. The film begins by showing Mike and the little family of Klansmen he runs with, not as racists stoking societal fires, but as everyday folks who do normal things. Then they pull the rug out; Oh...these guys are a bunch of bigots. Got it. Guess that's one cookout I won't be attending.

The shorthand for this movie could read as such: "KKK member finds a better way thanks to the love of a good white woman."  That's the wrong perspective for this movie to have. Nevertheless, Andrea Riseborough, who has four movies at Sundance this year, gives the film's strongest performance as Judy, a single mother who rejects the racism she sees around town. But she has an interest in Mike, and they fall in love despite his beliefs going against hers in such an extreme way. Much of the film is spent navigating their relationship, and most of it is utterly ridiculous. Too often she'll reject Mike for something horrible he's done or said, like using the N-word, laugh at obviously racist jokes, or beat up a black man, while holding him in her arms and allowing him to stay in her home and influence her child. It never makes sense, and her protestations, at least for me, fell on deaf ears.

More compelling than Mike's eventual evolution is that of Reverend Kennedy (Forest Whitaker), who finds his faith tested while rioting against the museum. As a man of God who repeatedly preaches the value of forgiveness towards one's enemies, he's forced to put words to action when Mike, who eventually runs afoul of Tom and leaves the KKK, is in desperate need of help. At that point the Reverend must do more than put his faith in God, he must put it in men to do what's right. It's a choice that doesn't necessarily sit well with his family or other members of the community.

Heckler would have been wiser to center this story around the Reverend, rather than Mike who is so distasteful that we don't care much about his transformation. Hedlund's unconvincing performance doesn't help, either, which is unfortunate because Whitaker and Riseborough really do some fine, sensitive work here. But the script doesn't allow for much beyond what the actors are able to bring on their own. Unable to really differentiate his film from others, Heckler artificially raises the stakes so often that we become numb to it. If tensions are boiling, something terrible will definitely happen. We're meant to be "shocked" by the brazenness of the racists with such regularity (In one scene they urinate on a random girl just walking home) that they become hard to take seriously.

Heckler means well, and he makes a valiant effort to show that love can overcome hate if given room to grow. He's also keenly aware of how much economic hardship factors into bigotry, as poor white men feel compelled to exercise power over the one group worse off than them. Or worse, they act violently out of jealousy towards blacks who have succeeded where they haven't. But Heckler makes these points without much style or grace, something the story told in Burden desperately needs.

Rating: 2.5 out of 5

Josh Brolin To Lead Amazon Mystery Series 'Outer Range' With Brad Pitt As Producer


The era of prestige TV means it's no longer weird to find the biggest Hollywood stars both producing and starring in projects for the small screen. Case in point: Amazon's upcoming series Outer Range, which will star Josh Brolin and is produced by recent Oscar-winner, Brad Pitt. Damn.

The series places Brolin in the role of Wyoming rancher Royal Abbott, who is struggling to keep his family and life in order, only to come face-to-face with the unknown when something unfathomable turns up on his land.

Playwright Brian Watkins will exec-produce and write the scripts, with Brolin also acting as an exec-producer. This will be Brolin's first TV role since 2013's short-lived political series Mister Sterling. I remember that because it was created by Lawrence O'Donnell and was basically a ripoff of The West Wing.

Next up for the busy Brolin is Denis Villeneuve's anticipated Dune, along with Steven Soderbergh's Kill Switch. [Deadline]

Dare To Say His Name! Stylish And Creepy Trailer For Jordan Peele's 'Candyman' Is Here!


This summer, director Nia DaCosta is taking us on a creepy horror adventure, as audiences will get to watch Tony Todd reprise his villanous role in Candyman, which is written by DaCosta, Win Rosenfeld, and Jordan Peele.

For a while, not too much was known regarding this horror sequel, except for the cast. Last year, it was announced that Aquaman star Yahya Abdul-Mateen II would have a leading role in the film, and in subsequent months, we also learned that Tony Todd would reprise his rose as the titular character, and that Get Out and Us director Jordan Peele would produce and co-write the film.

Now, fans of the franchise can feast their eyes on a brand new, full length trailer that has just been released online. If the trailer is any indication, this looks like an extremely fun and delightfully stylish reboot that will seemingly up the ante with its scares. Throughout the video, we see brief snippets of the villain doing his evil deeds, all while Destiny Child's "Say My Name" plays in the background. So, in other words, it's quite the treat.

Candyman is scheduled to be released theatrically on June 12, 2020.