Shotgun Wedding: Amazon Nabs Key Territories For Jennifer Lopez-Led Action Comedy

According to Deadline, Amazon has entered final negotiations to acquire the distribution rights of Lionsgate’s upcoming action-comedy film Shotgun Wedding for key international territories including the UK, France Italy, Spain, Australia/NZ, Canada, Benelux, and Latin America. Lionsgate is still expected to handle the U.S. release of Jennifer Lopez and Armie Hammer-led film.

RELATED: Marry Me: Universal Delays Jennifer Lopez & Owen Wilson Rom-Com to May 2021

Shotgun Wedding centers on Darcy (Lopez) and Tom (Hammer) as they gather their lovable but very opinionated families for the ultimate destination wedding just as the couple begin to get cold feet. If that wasn’t enough of a threat to the celebration, suddenly everyone’s lives are in danger when the entire party is taken hostage and “Til Death Do Us Part” takes on a whole new meaning as Darcy and Tom must save their loved ones — if they don’t kill each other first.

The film will be directed by Jason Moore (Pitch Perfect) from a screenplay co-written by Mark Hammer (Two Night Stand) and Liz Meriwether (Single Parents, Bless This Mess). The studio is eyeing a production start early next year.

RELATED: Armie Hammer to Lead Paramount+ Limited Series The Offer

Shotgun Wedding is set to be produced by Mandeville’s Todd Lieberman and David Hoberman, who previously worked with Lionsgate for Wonder and are currently attached to produce Under Cover, Rabbids and White Bird: A Wonder Story at the studio. The duo will produce alongside Nuyorican Productions’ Lopez, Elaine Goldsmith-Thomas and Benny Medina, with Alex Young executive producing for Mandeville, Courtney Baxter for Nuyorican and Ryan Reynolds & George Dewey.

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CS Interview: Glenn Howerton on becoming a villain in Archenemy

Just in time for the arrival of the latest project from co-writer/director Adam Egypt Mortimer (Daniel Isn’t Real), ComingSoon.net got the chance to chat with It’s Always Sunny in Philadelphia co-developer/star Glenn Howerton to discuss his villainous role in the superhero thriller Archenemy. You can check out the interview below and click here to digitally purchase Archenemy!

RELATED: CS Interview: Paul Scheer on Unique Role in Superhero Twist Archenemy

ComingSoon.net: So of all the amazing aspects of this project, what was the biggest draw for you to star?

Glenn Howerton: Adam, the director, honestly, I really enjoyed the script a lot but I think moreso SpectreVision, who produced the movie, sent me a copy of Daniel Isn’t Real and I was just so, so incredibly blown away by it. Then, of course, the appeal of doing something totally different than what I’ve gotten to do in a very long time, which is that I got to do something completely dramatic and I’m also playing a bad guy as well.

CS: Yeah, I mean we’ve seen you occasionally dive into villainy with Dennis and other things, but this felt truly different for you, what was it like getting into that headspace?

GH: It was a little scary, quite honestly, because it has to feel to the audience that I’m a formidable foe to the 6-foot-2, 200-pound, musclebound beast that is Joe Manganiello [chuckles]. I knew that I hard to work a lot harder on this set than I have in other things because I need to know the character well enough to know exactly how he ticks and what pushes his buttons, because I want to be able to be nimble on the day. When I’m shooting, I’ve got to be able to hit the lines and I’ve got to be able to act and react in the moment in the way the character would, I didn’t want this guy to be like things I’ve done before. It was just a lot of talking to the director, a lot of what makes this guy tick and what his wants and needs are and understanding all of that and just working on the scenes over and over and over again so that I was ready on the day.

CS: So then what was it like working with Adam to have those moments of improvisation from scene to scene alongside his script?

GH: Adam was great, he’s the type of artist that I like working with in that he has a lot of confidence in his own abilities, but also puts a lot of trust in the artists that he hires to work with him and that he surrounds himself with and gives them a long leash to really kind of enjoy themselves in the universe he’s created. I felt so trusted, when you have a director who really trusts you and believes in you, it allows you to trust and believe in yourself and Adam really believed in me. I think mores than I did, I mean to me, I think I said to him at one point, “I really appreciate you taking a risk on me, you know, I’m mostly known for comedy and here I am playing the heavy in this and I’m going to kill it for you, but it’s interesting to me that you would trust me to do this.” He was like, “I don’t know what you’re talking about, man, you’re going to be great.” In a weird way, I felt like he was taking more of a risk by hiring me than he did, so Adam is just great and I would do anything with him.

CS: What was it like also building your rapport with Zolee Griggs, because the chemistry in your scenes together feels very authentic.

That was a lot of fun, actually, we rehearsed that scene a handful of times in the months and weeks leading up to the actual shooting so that Zolee and I got to know each other and understand each other’s rhythms. There’s supposed to be a history and a backstory between the two of us so it was important that we at least spent enough time together that it wasn’t like it was meeting this person for the first time. There’s nothing worse than meeting an actress for the first time and having it be like, “Okay, you’re playing my mother, you’re dying of cancer.” You can do it, but it’s like why do it that way, you know we spent the time talking about our characters, talking about our backstory, talking about their history together and then reading the scene together and just trying different things and playing around with it, so when we got there on the day we were very comfortable with each other and we understood each other’s rhythms, it was a lot of fun working with her.

CS: Though we got to see you in a few action scenes in The Hunt, it felt like we got to see you in more in this one, what was that like for you?

GH: It’s fun, I mean you get to live out that childhood fantasy of being in a Die Hard movie [chuckles], you know, I get to run around shooting a gun. It’s fun for any little boy at heart, so that aspect of it was fun, but I’ll tell you the fight scene at the end between me and Zolee, that was a little hairy. It was the end fight and they were like, “We have an hour to shoot this, that’s it,” but it was like, “We haven’t even choreographed the fight” [chuckles]. We choreographed the fight for ten minutes with the fight choreographer and shot it at absolute lightning speed and, quite frankly, I tweaked my back. Like a week after that, my back just completely went out because of that insane fight scene [laughs]. But at the same time, it was really fun to work with Zolee on that because she was really, really easy and not precious and willing to get rough.

CS: What was it like getting to see the film have its world premiere at the Beyond Fest at the Mission Tiki Drive In?

GH: Unfortunately, I wasn’t able to go, we got a rescue dog like a couple days or a week before that and it was something that had to do with the dog, so unfortunately I couldn’t go. I didn’t get to see it with everybody, which really sucked, because I was really excited about it and because of COVID and everything there won’t be any other kind of premiere or anything, so I’ll be watching it at home like everybody else. I have seen it, they sent me a cut of it, but I haven’t seen it in like full high definition, so you may have actually seen a better version of it than I have [laughs].

CS: How has it been seeing the early positive reception to the film?

I haven’t paid super close attention to reviews or feedback, Adam sent me a few really nice things and said, “Check this out,” and I usually read that stuff. I’m not one of those actors who never reads their reviews, I know you’re not supposed to, but I read them all, I don’t care. I like the good ones and the bad ones, I find some of the bad ones to be really fun to read in a certain way, I take some strange pleasure in the bad reviews. But the stuff that I have read has been good, it was really important for me to come through for Adam on this and to really give him something juicy to work with in the editing room for my character. I’m not gonna lie, I’m a big Gary Oldman fan, the way that guy dives into villains is just so juicy and fun to watch, it’s like I want this to be fun to watch.

RELATED: Exclusive: Glenn Howerton Offers Update on It’s Always Sunny in Philadelphia

Written and directed by Adam Egypt Mortimer (Daniel Isn’t Real) from a story by Mortimer and Lucas Passmore (No Good Heroes), the film stars Joe Manganiello (True Blood), Skylan Brooks (Empire), Zolee Griggs (W-Tang: An American Saga), Paul Scheer (Black Monday), Amy Seimetz (Pet Semetary) and Glenn Howerton (It’s Always Sunny in Philadelphia).

In Archenemy, Max Fist (Manganiello) claims to be a hero from another dimension who fell through time and space to Earth, where he has no powers. No one believes his stories except for a local teen named Hamster. Together, they take to the streets to wipe out the local drug syndicate and its vicious crime boss known as The Manager.

Archenemy was produced by SpectreVision’s Daniel Noah, Lisa Whalen, and Elijah Wood along with Kim Sherman, Mortimer, Joe and Nick Manganiello.

Archenemy is now available in theaters, On Demand, and Digital!

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The Gray Man: Ana de Armas Joins Evans & Gosling in Russo Brothers’ Netflix Thriller

Golden Globe nominee Ana de Armas is reuniting with Knives Out co-star Chris Evans along with Oscar nominee Ryan Gosling (La La Land) in the Russo Brothers’ upcoming Netflix espionage thriller The Gray Man, according to Deadline.

RELATED: Don’t Look Up: Chris Evans Joins Adam McKay’s Netflix Film

The movie is based on the 2009 Mark Greaney novel that introduced the Gray Man, a freelance assassin and former CIA operative named Court Gentry. The action thriller adaptation is described as a deadly duel between killers as Gentry (Gosling) is hunted across the globe by Lloyd Hansen (Evans), a former cohort of Gentry’s at the CIA.

Pick up your copy of the novel here!

The project was reportedly developed years ago at New Regency as a Brad Pitt/James Gray vehicle, but stalled with the Russo Brothers quietly developing the project for years.

RELATED: The Gray Man: Ryan Gosling, Chris Evans to Star in Russo Brothers Thriller

Directed by Joe and Anthony Russo, the script was written by Joe Russo with “a polish” by AGBO’s Co-Presidents of Story and MCU writers Christopher Markus and Stephen McFeely. The intention for the project is to create a new franchise on a “James Bond-level” with a budget of upwards $200 million, and Netflix has now set its most financially ambitious feature film thus far with The Gray Man. The film will be produced by AGBO’s the Russo Brothers and Mike Larocca along with Joe Roth and Jeff Kirschenbaum for Roth Kirschenbaum. They are hoping to begin production in January in Los Angeles as international locations are being finalized.

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Rating: 

1.5/10

Cast:

KJ Apa as Nico

Sofia Carson as Sara

Craig Robinson as Lester

Peter Stormare as Emmett Harland

Alexandra Daddario as May

Demi Moore as Piper Griffin

Paul Walter Hauser as Michael Dozer

Bradley Whitford as William Griffin

Jenna Ortega as Izzy

Ethan Josh Lee as Giffords

Lia McHugh as Emma Griffin

Michole Briana White as Alice

Co-Written & Directed by Adam Mason; Co-Written by Simon Boyes

Click here to rent Songbird.

Songbird Review:

When the announcement first came that Michael Bay would produce a pandemic thriller while we are in the midst of one and that it would be filmed entirely during this time, I tried to keep an open mind. On one hand, even if he’s not writing or directing it, Bay could easily glorify or exploit this issue, on the other, this is on opportune moment for something of value to offer some emotionally-charged thrills for a timely subject, as we’ve seen of late with films and shows exploring issues of systemic racism and police brutality. Unlike a majority of them, however, not only does Songbird drop the ball in handling its central gimmick, but it fails to even elicit some mildly enjoyable or pulse-pounding sequences, instead evoking feelings of disgust, anger and frustration throughout.

Set in Los Angeles, four years in the future, the Covid virus has mutated, culminating in a more infectious and deadlier strain: COVID-23. Lockdowns are now mandatory, curfews, food shortages, and broken supply chains are a fact of life.  Amid this dystopian landscape, a fearless courier, Nico (KJ Apa), who is immune to the deadly pathogen, finds hope and love with Sara (Sofia Carson), though her lockdown prohibits them from physical contact. When Sara is believed to have become infected, Nico races desperately across the barren streets of Los Angeles in search of the only thing that can save her from imprisonment … or worse.

The film opens up with a credit sequence montage of news reports discussing the coronavirus — which I will come back to — and its spread around the world and the death toll since its mutation, but the problem with sequences such as these is they too often feel like a rapid plot dump to get audiences right into the action. While Marc Foster’s World War Z wasn’t a perfect film or example of it, the way it utilized its opening credits to deliver warnings of the zombie outbreaks and the speed at which it then dove into the fast-paced, globe-spanning race against time worked well, especially for its near-two-hour runtime.

The opening credits or Songbird is indicative of one of its biggest flaws, which is simply its ridiculously poor pacing. With a runtime of only 84 minutes, one would think no time would be wasted in getting to the action of Nico racing to get him and Sara safely out of LA, or at least would spend more time making the latter’s struggle feel like a home invasion thriller, but alas no such luck. Instead co-writers Adam Mason and Simon Boyes take their sweet time introducing audiences to the ensemble cast and far too long on the romance of Sara and Nico, which may have been an intention of creating sympathy in the viewer for their plight, but the reality is it’s just boring.

The plotline for Alexandra Daddario’s struggling singer May is simultaneously woefully under-written and the most emotionally interesting of the cast as we watch her try to earn revenue via streaming during the day while carrying on a dangerous affair with a record executive in the night. Her connection to Nico and Sara’s story is very thin, but the bond her and paralyzed veteran drone operation Michael Dozer (Paul Walter Hauser) feels more interesting to watch than the central couple and learning of their own struggles prior to the pandemic and May’s during feels like the more compelling that really should have been expanded upon and better used its talented performer.

The action and thrills themselves are also wildly lackluster, with Mason continually fluctuating back and forth between distanced-aerial shots of Nico racing around a desolate LA to shaky up close work that becomes a bit nauseating to watch. The scenes shot around Sara’s apartment complex certainly offers a feeling of claustrophobia necessary for the tension, but it never escalates enough to actually raise the pulses of the audiences.

For the pièce de résistance of the s**t pile that is Songbird, the filmmakers made the decision to name the central disease COVID-23 and treat the government’s intervention of combatting it as authoritative and unflinching. In a time in which the country is still trapped in its first wave of outbreaks because people, and its leader, refuse to listen to health care officials regarding quarantine procedures and treat those who chose to listen as idiotic and sheep, maybe having the government act as the big enemy of your story without giving them a better reasoning for their methods other than killing the virus is a bad idea during this time and the wrong political message to put forward.

There’s certainly potential to come from a pandemic thriller during this time period and a small handful of positives to come from this film, namely another brilliant villainous turn from Peter Stormare, the tension is flatlined from start to finish, the story is a gross misunderstanding of timing and its script is generally underwritten, resulting in arguably the worst film of 2020. If looking for good COVID-pandemic-set content, I urge you to go watch Rob Savage’s haunting Host on Shudder, Charlotte Nicdao’s heartbreakingly-relatable performance in the special episode of Mythic Quest: Raven’s Banquet on Apple TV+ or literally anything that’s not Songbird.

The post Songbird Review: A Poorly-Timed Waste of Timely Potential appeared first on ComingSoon.net.

CS Video: John Patrick Shanley & Jon Hamm Talk Wild Mountain Thyme

ComingSoon.net had the opportunity to speak with Oscar-winning filmmaker John Patrick Shanley (Doubt, Moonstruck) and Golden Globe-winning star Jon Hamm (Mad Men) about the newly released romance drama Wild Mountain Thyme. You can check out the interview now in the player below!

RELATED: Listen to an Exclusive Track from Amelia Warner’s Score for Wild Mountain Thyme

An epic love story with soaring lyricism, Wild Mountain Thyme is set against the breath-taking landscapes of rural Ireland, where everyone is half-mad with loneliness or love, and the weather is terrible. Anthony and Rosemary are star-crossed lovers, whose families are caught up in a feud over a hotly contested patch of land that separates their two farms.

Anthony (Jamie Dornan) always seems to be out in the fields working, worn down by his father’s constant belittling. But what really stings is his father’s threat to bequeath the family farm to his American cousin Adam. Rosemary (Emily Blunt) at first seems to hold a grudge for having been shamed by Anthony in childhood, but the sparks between them would keep a bonfire blazing through the night. Her mother Aoife strives to unite the families before it is too late. Just when we think Anthony will pluck up the courage to face up to his repressed feelings, cousin Adam (Hamm) steps in with a plan to sweep Rosemary off her feet, romancing her over a magical 24 hours in Manhattan. But true love is never defeated!

Based on John Patrick Shanley’s 2014 Tony-nominated Broadway play, the film stars Emily Blunt (Mary Poppins Returns), and Jamie Dornan (Fifty Shades of Grey franchise), along with Golden Globe winner Jon Hamm (Mad Men) and Oscar-winning veteran actor Christopher Walken, as well as Dearbhla Molloy and Danielle Ryan.

Shanley wrote and directed the film adaptation of Wild Mountain Thyme, marking his second foray behind the camera developing his own stage material for the big screen after 2008’s Oscar- and Golden Globe-nominated period drama Doubt.

RELATED: Wild Mountain Thyme Trailer Starring Emily Blunt & Jamie Dornan

Bleecker Street acquired the U.S. rights to the project with Lionsgate acquiring the U.K. rights. The film is produced by Mar-Key Pictures, Leslie Urdang (Rabbit Hole), Anthony Bregman (Foxcatcher) from Likely Story, Michael Helfant and Bradley Gallo from Amasia Entertainment (Them That Follow), and Martina Niland (Sing Street) of Port Pictures, with Andrew Kramer, Jonathan Loughran, and Stephen Mallaghan executive producing.

Wild Mountain Thyme is out now in theaters.

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Three Men and a Baby & Cheaper By the Dozen Remakes Set For Disney+ 2022

Disney has officially announced that they’re currently developing the modern remakes of two classic comedy films 1987’s Three Men and a Baby and 2003’s Cheaper By the Dozen which will both premiere on Disney+ in 2022. The upcoming projects will be headlined by High School Musical alum Zac Efron and Think Like A Man star Gabrielle Union, respectively.

RELATED: Disney+ Unveils Star Channel For Mature Audiences

The original 1987 film was directed by Leonard Nimoy and starred Tom Selleck, Steve Guttenberg, and Ted Danson as New York bachelors who find themselves caring, and subsequently falling for, an infant. Based on the 1985 French film Trois Hommes et un Couffin (Three Men and a Cradle) by Coline Serreau, Nimoy’s take on the classic tale was written by James Orr and Jim Cruickshank. The movie was a massive hit for Disney, becoming the studio’s first live-action movie to cross $100 million at the domestic box office.

Pick up a copy of the film here!

The Three Men and a Baby remake will reunite Efron with Disney after more than 12 years since High School Musical had concluded its successful trilogy with the theatrical release of High School Musical 3: Senior Year which earned a worldwide gross of over $250 million against an $11 million budget.

Will Reichel wrote the screenplay for the upcoming remake and the search for a director is currently underway.

RELATED: Sister Act 3: Disney+ Confirms Project with Whoopi Goldberg to Return

Starring Gabrielle Union, the Cheaper By the Dozen remake will center around a multiracial, blended family of 12, navigating a hectic home life and their family business. The project hails from Black-ish producer Kenya Barris with Gail Lerner set as the director. Union will be serving as an executive producer along with the 2003 film version’s director Shawn Levy.

Pick up a copy of the film here!

Based on Frank Bunker Gilbreth Jr. and Ernestine Gilbreth Carey’s 1948 semi-autobiographical novel of the same name, the iconic 2003 movie starred Steve Martin and Bonnie Hunt as their characters deal with the struggles of raising twelve children which included actors Piper Perabo, Tom Welling, Hilary Duff, and Alison Stoner. Despite having a poor critical performance, the Shawn Levy-directed film was still able to gain a worldwide gross of more than $190 million against a reported $40 million budget.

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CS Interview: Paul Scheer on unique role in superhero twist Archenemy

In time for the film’s digital and select theatrical release, ComingSoon.net got the opportunity to chat with The League alum Paul Scheer to discuss his against-type role in Adam Egypt Mortimer’s latest project, the gritty superhero thriller Archenemy led by Joe Manganiello (Justice League). You can check out the interview below and click here to digitally order Archenemy!

RELATED: CS Interview: Writer/Director Adam Egypt Mortimer on Archenemy

ComingSoon.net: What really drew you to the project in the first place? 

Paul Scheer: I was a big fan of Adam, the director Adam Egypt Mortimer, I was at South by Southwest last year and went to the midnight screening of Daniel Isn’t Real, or I think it was two years ago, and I was just completely blown away. It was so cool, it was weird and yet fun and it reminded me of Fight Club meets Drop Dead Fred that I was just like, “I love this guy.” I think, to me, I get really excited by independent filmmakers who take chances and do things that feel a little bit out of the box. But he reached out to me and said, “Hey, I have something in my new movie, would you want to do it,” I was like, “100 percent,” I didn’t even have to know what it was because I like being in the background of just wanting to support people who I think are talented, because that’s what I’ve come up with, people have done that with me, so I was like, “Yes, let’s go, let’s do it.” Then when I read it, I was like, “Oh man, this is a lot of fun,” and to his credit, it’s not something I get asked to do a lot, so it was fun to do.

CS: I was going to say, we’ve seen you play rambunctious characters before, but what was it like getting into headspace of Krieg?

PS: It was really fun, the last couple of years I’ve tried to make a concerted effort of just always trying to change up the stuff that I do. After doing seven years of The League and playing a certain character for a while, you always want to make sure you’re doing something different, it’s the reason why I created NTSF in the middle of The League just so I can get that taste out of your mouth and try different stuff. For me, when I saw this, obviously it’s a smaller part, so you really make a big, bold choice and we really got to talk about it on so many levels because when you come in for a one-day shoot, you gotta get the tone, you gotta make all of these choices, there’s no real learning curve, you just have to kind of jump in. So that was a lot of fun and this character to me reminds me a bit of what Gary Oldman did in True Romance. I love that kind of stuff, I had gotten in shape for Black Monday season two because that character has moved to Miami and is sort of a low-rent drug dealer, I just looked better becauseI  kind of had to because I was in short shorts and no shirt. This kind of came on the tail of that and he was like, “We’re going to shoot before Christmas” and Black Monday had just ended, so I was like, “Great, I can go into Christmastime and eat what I want and drink what I want and do whatever I want.” Then he reached out to me and was like, “Actually, we’re going to push it to the New Year,” I was like, “Oh no, I’ve got to keep doing this stuff” [laughs] and it felt like I had to run a marathon for Black Monday and had to continue doing it for a month and a half to stay a little bit more in shape to stay comfortable in those red speedo shorts.

CS: Yeah that look is really quite the sight, did that come from you or was that Adam?

PS: That was Adam, when I read the script my one bit of hesitation was simply that, I was like oh boy. What I realized, too, is sometimes the uncomfortable things that you would first say no to or first bristle at are the things that are performance. I didn’t want, necessarily, to do what I had to do with Black Monday with the short shorts and shirtless, you’re revealing a lot, but then because you’re revealing a lot I think it opens you up in certain ways. When you work with people as collaborative as Adam and that entire cast and crew, it made me feel really at home, just there I am. Everything is there for you to see and obviously the one thing you never get is how cold it is on these sets, they’re always freezing, so to be in nothing makes it even worse.

CS: Would you say just being in that costume was the biggest challenge for this role?

PS: For me, I think what was challenging was trying to find this level of what this character was. You have to believe that on some level that he’s dangerous, but he’s not dangerous because he’s a silent killer. Basically, I had to do this five-minute monologue, you know, and be all over the place, so I think to me it was sustaining this kind of connection and playing those different levels. I think getting into the character, physically, is always super helpful, to see, like, we decided on the tattoo togethers, the outfit, if I’m wearing these cowboy boots and the red speedo, it’s giving me a level of information. Then it’s like, “Okay, if that’s true, what else is true?” What the set designers did that was so amazing was that they gave me a set which was basically like, “Touch everything and use anything.” Adam is so collaborative that we did everything he wrote and then we got to add so many flourishes in because the set design was so real.

CS: What was it like seeing the film in its Beyond Fest world premiere at the Mission Tiki and the early positive reception that came from it?

PS: It was awesome, first of all, that was my first drive-in movie premiere, which was amazing, you didn’t have to get dressed up, or at least I didn’t get dressed up [chuckles]. It reminds me of a drive-in movie, this movie is so different and weird and in a time where we’re so used to the DCEU and the MCU, they’re very glossy, big movies, what I love about this is the way that Adam had this very big idea and was able to tell it on a budget level that you can’t tell a story like that on this budget. He went and got very creative, I remember when I was reading the script, like, “How the hell are you going to do this opening, are you shooting on green screen” like I didn’t know. I was like, “If you’re going to do this on green screen, it’s going to look weird,” but the way they used the animation and mixed and matched, I think it really made their characters pop. He did a lot of work with the way the film looks and everything, so it was really fun to see that reception and it felt like the perfect place for it to premiere.

RELATED: Archenemy Review: Kinetic, Colorful & Refreshingly Original Superhero Take

Written and directed by Adam Egypt Mortimer (Daniel Isn’t Real) from a story by Mortimer and Lucas Passmore (No Good Heroes), the film stars Joe Manganiello (True Blood), Skylan Brooks (Empire), Zolee Griggs (W-Tang: An American Saga), Paul Scheer (Black Monday), Amy Seimetz (Pet Semetary) and Glenn Howerton (It’s Always Sunny in Philadelphia).

In Archenemy, Max Fist (Manganiello) claims to be a hero from another dimension who fell through time and space to Earth, where he has no powers. No one believes his stories except for a local teen named Hamster. Together, they take to the streets to wipe out the local drug syndicate and its vicious crime boss known as The Manager.

Archenemy was produced by SpectreVision’s Daniel Noah, Lisa Whalen, and Elijah Wood along with Kim Sherman, Mortimer, Joe, and Nick Manganiello.

Archenemy is out now in theaters, On Demand, and Digital.

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Hocus Pocus 2 Confirmed for Disney+!

Though the long-awaited sequel has been in the works for some months now, the Disney+ section of the Disney Investors Day presentation confirmed that Hocus Pocus 2 will debut exclusively on the streaming platform!

More to come…

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Indiana Jones 5 Slated for 2022 Release, Will Conclude Franchise

With speculation regarding the franchise’s continuation past its long-awaited fifth installment, Kathleen Kennedy revealed at the Disney Investors Day presentation that Indiana Jones 5 will indeed conclude the Harrison Ford-led series while also slating it for a July 2022 release.

RELATED: CS Soapbox: 5 McGuffins Indiana Jones Should Look for in Indy 5!

It was announced in February that Steven Spielberg, who directed all of the previous Indiana Jones films, had exited the project as director but will remain as a producer, which is when negotiations with James Mangold to take over began.

Indiana Jones 5 has been in development since 2016 with Spielberg and Ford returning in their respective roles and an original theatrical release date set for July 19, 2019, but was constantly pushed back after multiple rewrites came from Jonathan Kasdan, son of Raiders of the Lost Ark writer Lawrence after original writer David Koepp exited the project.

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Patty Jenkins Helming Rogue Squadron for Lucasfilm!

While fans anxiously await the arrival of her highly-anticipated DC Extended Universe sequel, Wonder Woman 1984‘s Patty Jenkins is taking to the stars as it’s been revealed she is set to helm Rogue Squadron for Lucasfilm, slated for a Christmas 2023 release!

pic.twitter.com/e3N00xCr5i

— Patty Jenkins (@PattyJenks) December 10, 2020

More to come…

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