CS Soapbox: Things we want from the Teenage Mutant Ninja Turtles reboot

Last summer brought the interesting announcement that a CG film reboot of the Teenage Mutant Ninja Turtles franchise was in the works from the all-star team of Seth Rogen, Evan Goldberg, Jeff Rowe and Brendan O’Brien and while Rogen has offered that the film will offer more of an emphasis on the age of the characters, there’s still a lot of unknowns about what fans can expect from the next film. On a whim and a need for some nostalgic fun, I went back through every theatrical Turtles film and with all of them now fresh in my head, let’s explore some of the biggest things we need to see from the franchise going forward.

RELATED: Seth Rogen Says How His Teenage Mutant Ninja Turtles Will Be Different

Bring Back Some Reboot Cast Members

Say what you will about the Michael Bay-produced TMNT movies — and believe me, I know there’s A LOT you can say – one thing they did fairly well was building their ensemble rosters. Sure, Megan Fox’s April was just eye candy, Johnny Knoxville and his replacement Pete Ploszek weren’t well-suited for Leonardo and Tony Shaloub was just so boring as Splinter. That being said, Noel Fisher and Alan Ritchson were pitch perfect as Michelangelo and Raphael, Stephen Amell was a very likable Casey Jones who deserved a better script, Gary Anthony Williams and Sheamus were killer as Bebop and Rocksteady, Tyler Perry made for a very fun Baxter Stockman, Brian Tee is quite the menacing Shredder and Will Arnett is hilarious as Vern Fenwick. I get that Paramount is probably looking to distance themselves from the last two films, but with how well a lot of these performers did for their roles, it would really be a shame to see none of them come back, which could be possible if the studio finally adheres to my next point…

Treat the Turtles Actors Better

It’s been an unofficial tradition going back to the original 1990 film adaptation and carried all the way through 2016’s Out of the Shadows that the actors portraying the titular heroes never get any kind of love or respect for their work on the films. If to look at every film’s poster, one thing that becomes clear after a quick glance is that none of them credit the actors behind the turtles under the cast sections, with the first two films only crediting two of the human character actors and the Bay-produced reboots featuring zero actor credits on theirs. Most egregious of the bunch is 2007’s CG film TMNT, in which Chris Evans, Sarah Michelle Gellar and Patrick Stewart were rightfully credited under the cast and even included Kevin Smith for his cameo and Laurence Fishburne for his narration. You have an entirely animated film that makes it easier to justify putting the stars behind the Turtles on the poster and yet still they were omitted. Pair this with Ritchson’s stories to Collider Live about the terrible conditions he and his turtle co-stars were put through on the reboot films and it shows a pattern of the studios behind the films showing a general lack of appreciation or respect for their performers that really needs to come to an end given they’re the real heart of these films in the same vein as Bradley Cooper and Vin Diesel of Guardians of the Galaxy or Andy Serkis in the Planet of the Apes and Lord of the Rings trilogies.

RELATED: CS Soapbox: Why Mark Mothersbaugh’s Ragnarok is the Most Eccentric MCU Score

Tone Down Raph vs. Leo

I’m gonna be frank, I am sick and tired of almost every single film believing that the most interesting element of the titular team is the at-each-others’-throats dynamic of leader Leonardo and hot head Raphael. It may be something explored in the comics, but no film has ever really touched upon it in a unique or compelling manner, with Leo consistently being secretive and only further inciting Raph’s rage as they disagree on how to handle their current situation. One of the few things the sequels of the original trilogy got right was moving away from this and just making them feel like a united team of goofs, throwing jabs for fun instead of out of a desire to hurt each other. Sibling rivalry might be a dynamic of the group, but it needs to stop being THE dynamic in every story. Speaking of repetition…

No. More. Shredder.

Every superhero or team might have an arch-enemy, but the problem with this is when Hollywood brings them to screens they believe every film should feature that villain in some capacity, be it a supporting or main antagonist role. Between the Tobey Maguire and Andrew Garfield-fronted Spider-Man films, audiences were given two iterations of Norman and Harry Osbourne and their Goblin transformations, in the 80 years since his comic debut The Joker has been portrayed by over 20 stars across film, TV and video games. For the TMNT universe, the leader of the Foot Clan, Shredder, has been the go-to villain for the films and he’s now become the least interesting to see on screen, especially as he’s been generally reduced to a character hiding in the shadows while other characters boast about his fighting capabilities, making his quick dispatching at the hands of the Turtles bland every time. Across their 30 years of living in comics, the Turtles have encountered a roster of plenty interesting villains who have yet to get their proper dues on screen, many who were planned to arrive in sequels to past projects that were subsequently cancelled, from the Triceratons to Karai to even Krang and Baxter Stockman, the latter of whom made their big-screen debuts in Out of the Shadows but weren’t utilized in enough of a meaningful manner and plot threads certainly left open for both characters to return in meaningful fashion. With the next film, it’d be nice to see the story finally move away from Shredder and the Foot Clan and focus on someone else, possibly even taking the path of the Tom Holland-led Spider-Man films by focusing on other villains and skipping well-worn origin story territory rather than revisiting the Goblins and Uncle Ben’s death again.

Click here to purchase the six-film Teenage Mutant Ninja Turtles collection!

Don’t Be Afraid to Get Violent

One of the key elements of the comics that the films have been very inconsistent on handling is the overall tone. Kevin Eastman and Peter Laird’s comics initially started off far more violent and gritty than the more colorful and cartoonish tone the franchise would eventually take and this departure has become quite grating and the films can never quite find the right balance between the two worlds. While the original 1990 film actually kept relatively close to the source material, parental concerns over the violence seen in the film led to almost every subsequent film toning it down more and more, with the first sequel not even allowing them to use their weapons, only engaging in hand-to-hand combat. The 2007 CG film did attempt a return to a darker tone, but its attempts at family-friendly humor and action didn’t seem to fit in the mold, and the Paramount reboots took a similar approach to the Transformers films, but also couldn’t quite find the right mix of cartoonish action and humor and edgier characters and writing. A hard-R Turtles film is not what I’m suggesting, as that would be far too drastic a tonal shift, but instead of giving into the studios’ desire of a strictly family-friendly outing do something that pushes some boundaries. The fact that the heroes are teenagers and the worst swear words we’ve heard uttered by them are “damn” and “shit” feels very inaccurate for that age group’s vocabulary. Though some parents might be perturbed by it happening, it would also be nice to finally see one of the heroes actually kill an enemy and then see their emotional struggle with the action, given that every film has seen the group take down countless enemies without blinking an eye or showing any kind of emotional distress. Exploring this would add a unique layer of character development to the story not previously seen in a Turtles film and wouldn’t turn away parents still complaining about the violence as younger audiences can actually see potential consequences for putting violence out into the world, no matter which side of the moral line you’re on.

With the creative talent behind the project, my concerns for the film are very low as the group has consistently delivered, and if even one of these things comes to fruition in the next film, fans should be very excited for what the future of the TMNT franchise has in store for them.

What do you want to see from the next Teenage Mutant Ninja Turtles reboot? Do you agree with the points raised here? Let us know in the comments below!

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Keke Palmer joins Jordan Peele’s next horror film

While we may still be in the dark on what to expect from the Oscar winner’s next genre project, Collider has brought word that Jordan Peele (Us) has begun building the cast for his next horror film as Keke Palmer (Hustlers) has signed on to star.

RELATED: Jordan Peele’s Next Horror Film Lands 2022 Release at Universal

Plot details are currently being kept close to the chest on the project for the time being, but should they follow in the same vein as his past two directorial efforts, they will be terrifying and subversive tales full of socially-conscious thematics in regards to race and society. Sources report that the Scream Queens alum has signed on to play the antagonist of the film and that Peele is reportedly in talks with Judas and the Black Messiah stars Daniel Kaluuya and Jesse Plemons for roles in the film, with a deal nearing a close for the former that would reunite the Get Out Oscar nominee and winner.

After scoring rave reviews for his work in the comedy field for years, Peele surprised the world with Get Out, his 2017 directorial debut that landed firmly in the horror genre and received universal acclaim from critics and audiences alike, netting Universal over $255 million worldwide at the box office and seeing Peele become the first Black winner for Best Original Screenplay at the Oscars, while also garnering nominations for Best Picture and Best Director.

Peele followed it up with another horror outing in 2019’s Us, which also received rave reviews from critics and grossed over $255 million at the global box office for Universal, though was sadly snubbed in major awards nominations.

RELATED: Jordan Peele & Issa Rae To Produce Universal’s Sinkhole

The 41-year-old co-developer/host/narrator of CBS All Access’ The Twilight Zone reboot is currently awaiting for the release of the Nia DaCosta co-written/directed Candyman revival, which he produced and co-wrote with partner Win Rosenfeld, as well as helping develop a remake of Wes Craven’s The People Under the Stairs, both of which are set at Universal Pictures.

(Photo Credit:  Roy Rochlin/Getty Images)

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Bridgerton’s Regé-Jean Page lands lead role in Dungeons & Dragons feature

The Hollywood Reporter brings word that Netflix’s Bridgerton break-out star Regé-Jean Page has landed a lead role in Paramount Pictures’ upcoming Dungeons & Dragons movie. Page will join Chris Pine (Wonder Woman 1984), Michelle Rodriguez (F9), and Justice Smith (Detective Pikachu) in the project.

RELATED: Mission: Impossible 7 & 8: Paramount Reportedly Cancels Back-to-Back Filming Plans for Sequels

A synopsis for the film has not yet been released. Duo Johnathan Goldstein and John Francis Daley (Game Night) will direct as well as pen the script based on a draft by Michael Gilio.

Role-playing game Dungeons & Dragons first became popular in 1974, and since then has amassed millions of players and fans worldwide. The hugely popular property has also influenced numerous writers, directors, game designers and other creative professionals throughout its four decades. The feature was first announced in 2013 wherein a rights-dispute began between the studio and Hasbro (parent company of publisher Wizards of the Coast), but the issues were resolved last year and the film remains in development.

First adapted for the small screen as an animated television series in 1983, Gary Gygax and Dave Arneson’s iconic RPG was turned into a live-action feature film in 2000 directed by Courtney Solomon. The film was neither a critical nor financial success, but it did lead to a telefilm sequel with 2005’s Dungeons & Dragons: Wrath of the Dragon God and a direct-to-DVD follow-up with Dungeons & Dragons: The Book of Vile Darkness in 2012.

RELATED: New The King and I Musical Film Adaptation in the Works at Paramount

Dungeons & Dragons, which is being co-produced and co-financed by Hasbro, eOne, and Paramount Pictures, with the former handling distribution in the UK and Canada while Paramount distributes everywhere else, is currently slated for a May 27, 2022 release. Jeremy Latcham is producing through his deal with eOne, Hasbro’s entertainment arm, with Hasbro’s Brian Goldner also producing.

(Photo by Jeff Spicer/Getty Images)

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Kravitz, Marin, Carden & more join Shotgun Wedding

Just two weeks after landing Josh Duhamel to replace original star Armie Hammer as the co-lead, Lionsgate’s action rom-com Shotgun Wedding is expanding its cast further with the additions of Lenny Kravitz (Star), Cheech Marin (The War With Grandpa), D’Arcy Carden (The Good Place), Selena Tan (Crazy Rich Asians), Desmin Borges (You’re the Worst) and Alex Mallari (Dark Matter).

RELATED: Josh Duhamel Confirmed to Join Jennifer Lopez in Shotgun Wedding

Shotgun Wedding centers on Darcy (Jennifer Lopez) and Tom 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.

Kravitz will star as Sean, the globetrotting ex of Grace, Marin will play Robert, Grace’s father, Carden is set to star as Harriet, Robert’s new wife, Tan will star as Marge, the head of the wedding resort, Borges will play Ricky, the permanently whisky-buzzed, embarrassing childhood best friend of Tom and Mallari set as Dog-Face, a pirate.

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 this year.

The timing of Hammers’ departure came on the heels of a series of social media DMs detailing sexually controversial behavior allegedly from his account have been leaked. While the messages have yet to be verified as his, sources report that members of Hammer’s team have been working to drum up support for the actor around Hollywood and assure those that he did not send such messages.

RELATED: Lionsgate Lands Zachary Levi to Lead The Unbreakable Boy

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.

(Photo Credits: Getty Images)

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CS Soapbox: 10 reasons Snyder’s Justice League is already better than the theatrical cut

We are less than a month away from seeing Zack Snyder’s Justice League — a film I never thought was possible. Seriously, last year at this time this felt like a pipe dream. Or, at the very least, like something we would see in ten years as some half-assed assembly cut, ala Alien 3 or Richard Donner’s Superman II. Instead, we’re getting a fully realized, four-hour film with completed special FX, an all-new score, and more footage than was previously intended.

And here’s the crazy part: of the two trailers we’ve seen thus far, the film has already bested that atrocious 2017 version by an enormous margin. How, you ask? Here’s 10 examples demonstrating how Zack Snyder’s Justice League is leagues better than the theatrical cut (in no particular order, with Lebowski quotes and sans nudity.)

BATMAN VS. SUPERMAN PART II (or MAN OF STEEL III)

This one is obvious. Batman v Superman: Dawn of Justice left a lot of plot threads hanging in midair much to the detriment of general audiences possessing little to no knowledge of Darkseid, Parademons, or the Flash’s ability to time travel. On many occasions, I’ve watched the film alongside friends and family and enjoyed their confused reactions to the Knightmare sequence, during which a trench-coated Batman kicks the bejesus out of a legion of Superman-worshipping soldiers in a Mad Max-like setting before having his heart ripped out by a very angry Superman.

In BvS, this sequence has no payoff aside from increasing Bruce’s already out-of-control paranoia in regard to Superman’s power. Well, obviously that’s because we’re watching Part II of what was once planned as a five-part series. Snyder was dropping breadcrumbs that would have paid off in future films; a style not far removed from the narrative structure of a comic book — you know, where you have to read the entire 13-issues of, say, Batman: The Long Halloween in order to fully understand the story? We can debate whether this structure lends itself to motion pictures — particularly compared to Marvel’s TV episode-of-the-week configuration — but regardless, Justice League should answer a lot of questions left behind during that extended BvS epilogue. Or, at the very least, as my mother puts it, explain why there was a crazy man screaming something about keys during that one part when … F*ck it, Dude. Let’s go bowling.

JUNKIE XL’S SCORE

With all due respect to Danny Elfman, whose score for the 2017 theatrical release was good, everything I’ve heard from Tom Holkenborg’s score for Justice League sounds amazing. The main theme heard in the track below sounds more appropriate for a Justice League film than the one composed by Elfman — and, look, I love Danny Elfman. His score for Batman remains, at least for me, the greatest superhero score of all time. I desperately wanted to love his music for Justice League, especially since it featured his iconic Batman theme and snippets of John Williams’ classic Superman theme, but the final results felt rushed and underdeveloped.

Holkenborg’s work, replete with drums, blaring horns, and an astonishing hero theme, is yuuuuuge — close your eyes and listen to his work. Yup, I’m pretty sure that’s the music that’ll play when Jesus descends from the heavens with billions of angels decked out in camo and armed with machine guns and missile launchers ready to strike furious vengeance on the wicked — Nobody f*cks with the Jesus.

Moving on.

SNYDER’S AMBITION

Whether or not you like Snyder’s films, there’s no denying the man has ambition. His pictures are massive undertakings packed with hefty themes, powerful symbolism, and enough visual style to make Ridley Scott blush, which is probably why it takes a few viewings to really soak in and appreciate everything he throws at the screen.

Look, I get it. Snyder’s films aren’t for everyone. They are violent, edgy, and aggressive — light years removed from the upbeat nature of the MCU and those classic Richard Donner Superman films from the late 70s. Hell, Man of Steel makes Bryan Singer’s creepy Superman Returns look like Pollyanna by comparison — at least in terms of tone.

But that’s okay. Donner’s Superman films still exist. As do those awesome animated cartoons from the ’90s, which capture the spirit of the Justice League characters to perfection. Hell, you can go back and watch any of the Batman films directed by Tim Burton, Joel Schumacher, and Christopher Nolan. Or, you can watch the campy Adam West Batman series to your heart’s content; or wait for Matt Reeves’ The Batman to hit theaters next year. Snyder’s style may not jive with your interpretation of Superman, Batman, and Wonder Woman (to say nothing of Flash and Aquaman), but at least it’s his style. And in this day and age of assembly-line-productions, we should celebrate when an artist has the opportunity to present an unadulterated version of his or her work.

That said, Justice League looks absolutely massive in scope. The action, cinematography, special FX, and larger-than-life heroes and villains are breathtaking to behold, while the narrative appears to carry the same weight as Snyder’s previous films. In short, this is the Justice League we were promised from the beginning — an ambitious, action-packed, special FX tour de force unlike anything we’ve ever seen before.

The man has Batman riding The Dark Knight Returns‘ Batmobile for cripes sakes. If you’re pissed about that then seek help. This aggression will not stand, man.

BATFLECK

Of all the crazy stuff Snyder has thrown at us over the last six months, the No. 1 most important thing this new version of Justice League will restore is, say it with me (in Jared Leto Joker voice), “BATmaaan.” Ben Affleck’s take on the Caped Crusader was last seen smiling like a goofball alongside Henry Cavill’s CGI-faced Superman at the end of 2017’s Justice League. In that film, Batfleck, played now by a weary, tired and broken Ben Affleck, took a back seat to the spectacle. He drops cheesy one-liners, smiles a lot, and spends a majority of the final battle standing on another set firing what looks like a $5 squirt gun at really bad CGI.

Zack Snyder’s Justice League trailer’s brief snippets of Batfleck reveal a decidedly more mature take on the Caped Crusader that jives with the one we saw in BvS. Plus, thanks to a better focus on lighting and FX, he no longer looks like a fatigued actor stuffed inside a Halloween costume — he looks like the goddamned BATmaaan, the one who smashed through a glass window a kicked the holy shit out of 50 Lex Luther goons in order to save Martha.

Plus, as mentioned above, Snyder has the Dark Knight standing on a $%DJ#%%# tank, which is about as far away from the “Oh, yeah, something’s definitely bleeding” spectrum as one could possibly get.

BuT hE kIlLs pEoPle. Eight-year-olds, Dude.

THE VILLAINS

Steppenwolf looks menacing. DeSaad looks creepy. Granny Goodness looks like Granny Goodness. And Darkseid looks incredible. DC’s villains look like they could take down the universe entirely without a shred of remorse, which means they present a formidable challenge to our titular Justice League pals. I mean, there’s a brief clip of Steppenwolf chopping an Amazonian warrior in half! They’re nihilists. Nihilists! F*** me. 

Yeah, yeah, more violence doesn’t equate to more complexity, but Steppenwolf’s lack of empathy makes him dangerous; and results in a far more formidable foe than the poorly rendered, Mother-loving Steppen-something we saw in 2017. Give me more!

THE STAKES

Better villains lead to greater stakes. The biggest issue with the theatrical version of Justice League was that there was quite literally nothing to worry about. Steppenwolf and his minions were about as menacing as a pack of blind wiener dogs, and the League spent more time squabbling over petty issues than actually fighting. The big climax lacked punch thanks to an abundance of jokes and random Russian families, while Superman’s grand return was diluted by atrocious CGI and corny one-liners.

The most recent trailer to Zack Snyder’s Justice League adds plenty of weight to the proceedings and dials the drama up to about 552. Everything from the visuals to the acting and score suggests a more intense battle is about to take place — one that will decide the fate of our universe. Or, as Superman says: “You ready to be f***ed, Steppenwolf? I see you slugged your way into the final battle. Dios mio, man. Batman and me, we’re gonna f*** you up.” No, really. That line is in the trailer.

SNYDERVERSE

More important than Zack Snyder’s Justice League are the films that could potentially follow Zack Snyder’s Justice League. By now over 25 million of you have watched that powerful new trailer that teases Jared Leto’s Joker in the Knightmare future. And, if you’ve followed anything posted or said by Snyder over the last three years, you’ll know that he’s interested in seeing a Batman film that explores the duo’s complicated relationship — perhaps one that details Batman and Joker’s dealings in the Knightmare world mixed with flashbacks to their past during which we get to see the death of Robin and the destruction of Wayne Manor. Throw in a little Deathstroke for good measure and holy shit let’s just do this, okay? Imagine a final scene where Batman stands on a cliff overlooking the sea mourning the death of Joker. “Good night, sweet prince,” he will say before opening a coffee can filled with his archrival’s ashes. Except, a gust of wind immediately blows the ashes onto Alfred. “Goddammit, Batman. You f*****g asshole. Everything’s a travesty with you, man!”

Plus, there’s always the potential for Justice League 2 and 3. As Ray Fisher exclaimed on his Twitter account, “Zack Snyder’s Justice League isn’t a cul-de-sac … it’s an eight-lane superhighway!”

Truthfully, I’m much more interested in seeing where Snyder’s superhighway leads than I am seeing more Shazam! But that’s just me.

(Also, as an aside, if you want to get hyped about the endless possibilities for the future, listen to LightCast Podcast. Their recent interview with Deborah Snyder was great!)

WONDER WOMAN

With all due respect to Patty Jenkins, I prefer Wonder Woman as envisioned by Zack Snyder — a bad-ass, sword-wielding warrior who fights monsters from other planets and gives no shits about whether you like her style. At the risk of sounding hypocritical, considering Jenkins made her movie her way (tip of the hat), Snyder’s vision adheres more closely to the Wonder Woman comics I read as a kid while Jenkins’ superheroine plays more like a loving tribute to the 1970s Wonder Woman TV show. Again, there’s room for both, but I genuinely want to see more Diana Prince by way of Snyder; and would welcome elseworld adventures where Wonder Woman moves through history lopping off the heads of evil warlords she then brandishes like trophies about her person ala Predator. “Nobody calls me Diana. You got the wrong gal. I’m Wonder Woman, man.”

I genuinely love how, in all the trailers for Zack Snyder’s Justice League, Wonder Woman is the one going toe-to-toe with Steppenwolf. And I love that she isn’t constantly smirking at the camera or engaging in weird sexual pratfalls with the Flash. More intensity, less cheese, please.

RAY FISHER

Another wrong that has seemingly been righted by Snyder’s film is the return of Cyborg as Justice League’s heart and soul. In the 2017 film, Ray Fisher served a very small, uncomplicated role more in line with the Teen Titans iteration of the Cyborg character than anything Snyder teased before his dismissal. In Snyder’s film, we’ll get more backstory for Cyborg, a deeper connection with his father, Miles Dyson, and a character whose actions are more integral to the overarching plot — he’s even in the Knightmare sequence with Batman and Joker. Plus, Fisher has taken the time to call out Joss Whedon for his abusive on-set behavior during the chaotic reshoots, which has since led to other former Whedon associates doing the same. “You want Whedon fired? I can get Whedon fired, believe me. There are ways, Dude.”

Some of the best shots of the trailer are indeed Cyborg soaring amongst the clouds, slamming into tanks in order to save Jimmy Olsen, and playing slow-mo football in the snow. It’s a welcome return to form for a character many were really excited about back in 2017.

EVERYTHING ELSE

I’m not going to mince words: I’m rapturous for Snyder’s Justice League. And I don’t even know what rapturous means. I see this film as a return to the exciting days of DC’s Extended Universe when the possibilities felt endless and Warner Bros. was cool to take their superhero franchise into dramatic territory far removed from the MCU. I’m all for lighthearted superhero fare and even welcome it, but also appreciate variety.

Zack Snyder’s Justice League has the potential to lead DC down a wild path of untold possibilities and stories. More Batfleck. More Man of Steel. More Amy Adams. More Jared Leto’s Joker. More Willem Dafoe riding on sharks. Deathstroke. Supergirl. Green Lantern. Martian Manhunter. Snyder’s universe is vast and endless … and to those who hate his style and lie in wait chomping at the bit to blast Justice League with scathing reviews upon its release on March 18, remember: “Yeah, well, that’s just, like, your opinion, man.” 

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Don’t Worry Darling: Olivia Wilde praises cast as filming officially wraps

Production has finally been completed on actress-director Olivia Wilde’s highly-anticipated thriller Don’t Worry Darling, after experiencing a temporary filming setback last November when a crew member tested positive for COVID-19. To celebrate the production wrap, Wilde took to Instagram to dedicate individual posts to each of Don’t Worry Darling‘s cast including Oscar nominee Florence Pugh, Grammy nominee Harry Styles, and Chris Pine.

In her posts, which you can check out below, she praises Pugh for her astonishing work in the film. She also praises Styles for his humility, grace, and talent while also expressing gratitude to Pine for his instant support in her latest directorial effort.

 

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RELATED: Olivia Wilde to Helm Secret Female-Led Marvel Film at Sony

Originally written by Carey and Shane Van Dyke, Don’t Worry Darling is a psychological thriller about a 1950’s housewife who uncovers a disturbing truth to her perfect life. It’s also described as a pertinent story for the Time’s Up era and Wilde’s producing and writing collaborator Katie Silberman will rewrite the script and produce the film alongside Wilde and Vertigo Entertainment’s Roy Lee.

The film will also star Oscar nominee Florence Pugh (Midsommar), Harry Styles (Dunkirk), Chris Pine (Star Trek, Wonder Woman), and Wilde in a key supporting role. It will also feature Kiki Layne (The Old Guard), Gemma Chan (Crazy Rich Asians, Eternals), Nick Kroll, Douglas Smith, Kate Berlant, Sydney Chandler, Asif Ali, Timothy Simons, and Ari’el Stachel.

RELATED: Perfect: Olivia Wilde to Direct Biopic on Olympic Gold Medalist Kerri Strug

New Line Cinema was eager to work with Wilde following her directorial debut Booksmart. Wilde will also star in and produce the film, alongside Silbermann and Roy Lee of Vertigo Entertainment. The film will also be executive produced by Catherine Hardwicke, Shane Van Dyke and Carey Van Dyke with Daria Cercek and Celia Khong set to oversee the project on behalf of New Line.

Part of the deal includes an asking budget around $20 million, fees for acting, directing, for Silberman’s rewrite, and the “rare” backend. The outlet reports that the filmmakers and producers of Don’t Worry Darling stand to receive 50 percent in profit participation once the movie breaks even. The last time a deal was made like this was between Warner Bros. and Todd Phillips’ The Hangover.

(Photo by Vivien Killilea/Getty Images for Palm Springs International Film Festival)

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CS Video: Land interviews with director & stars Robin Wright & Demián Bichir

Following its rave-reviewed debut at the Sundance Film Festival, ComingSoon.net got the opportunity to chat with Golden Globe winner Robin Wright (Wonder Woman 1984) and Oscar nominee Demián Bichir (A Better Life) to discuss their work on Wright’s directorial debut Land. Our interviews can be viewed in the player below!

RELATED: CS Video: The World to Come Interviews With Director & Stars

Land is the poignant story of one woman’s search for meaning in the vast and harsh American wilderness. Edee (Wright), in the aftermath of an unfathomable event, finds herself unable to stay connected to the world she once knew and in the face of that uncertainty, retreats to the magnificent, but unforgiving, wilds of the Rockies. After a local hunter (Demián Bichir) brings her back from the brink of death, she must find a way to live again.

The drama movie also Kim Dickens (Fear the Walking Dead). It is produced by Allyn Stewart, Lora Kennedy, Leah Holzer, and Peter Saraf, with Wright directing on a script from Jesse Chatham and Erin Dignam (Loved, Denial).

RELATED: Sundance 2021 Reviews: Judas and the Black Messiah, Passing & More!

Land made its world premiere at the Sundance Film Festival and is now playing in select theaters.

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Mission: Impossible 7 & 8: Paramount reportedly cancels back-to-back filming plans for sequels

When the development of the seventh and eighth installments to Mission: Impossible was first announced in 2019, it was understood that Paramount Pictures was planning to shoot the Tom Cruise-led action sequels back-to-back. However, due to the ongoing pandemic, it seems like production plans have changed with Deadline bringing word that the studio has reportedly canceled their previous plan to immediately shoot Mission: Impossible 8 as soon as production for Mission: Impossible 7 has been completed.

According to the outlet’s sources, Paramount came to this decision due to scheduling conflicts with Cruise’s availability as he must soon be needed to do promotional duties for Top Gun: Maverick, which is currently set for its July 2, 2021 release. Instead of the original back-to-back filming plan, the studio now intends to shoot Mission: Impossible 8 once the Top Gun sequel hopefully makes its debut. Despite this setback, Christopher McQuarrie’s  Mission: Impossible 7 is still on track for its November 19, 2022, theatrical release as production nears completion.

RELATED: New Mission: Impossible Sequel Details Revealed!

Joining Tom Cruise and Hayley Atwell are returning Mission: Impossible alums Rebecca Ferguson (Doctor Sleep), Simon Pegg (Ready Player One), Ving Rhames (Pulp Fiction), Vanessa Kirby (Hobbs & Shaw) and Henry Czerny (Ready or Not) along with newcomers Shea Whigham (Joker), Pom Klementieff (Guardians of the Galaxy 2, Avengers: Infinity War) and Esai Morales (La Bamba, Titans) who will replace Nicholas Hoult (Mad Max: Fury Road) for the villain role.

Following the large critical and commercial success of the past two installments, writer/director Christopher McQuarrie signed a new deal with Paramount to return to write and direct the next two installments, turning down other studio offers to continue his long-running partnership with franchise star Tom Cruise. Skydance Media, who joined the franchise with the fourth installment, Ghost Protocol, will be returning to produce the next two entries.

RELATED: Tom Cruise Partnering With NASA For Space-Set Project

The Mission: Impossible franchise spans almost 25 years and six films, starting off with modest critical and major box office success in the first two films before launching its lead protagonist into grittier and more explosive stories, each film getting progressively better reviews than its predecessor, with the most recent installment, Fallout, earning the highest reviews for both the franchise and the action genre, currently maintaining a 97% approval rating from critics on Rotten Tomatoes while also acquiring the highest box office gross of the franchise at over $790 million worldwide.

Mission: Impossible 7 is set to premiere on November 19, 2021, followed by Mission: Impossible 8 on November 4, 2022.

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Disney reveals Us Again short to debut ahead of Raya and the Last Dragon

Walt Disney Animation has revealed a new theatrical short with the musical and vibrant Us Again that is set to debut ahead of next month’s Raya and the Last Dragon, the studio’s first in five years since the debut of Inner Workings ahead of the Oscar-nominated Moana!

RELATED: Check Out the Raya and the Last Dragon Big Game Spot!

Young at heart. See Walt Disney Animation Studios’ newest short “Us Again”, directed by Zach Parrish and dances choreographed by Keone & Mari, only in theaters before Raya and the Last Dragon starting March 5. pic.twitter.com/Nxc83p3GYF

— Disney Animation (@DisneyAnimation) February 15, 2021

Hailing from 11-year Disney Animation veteran and director Zach Parrish, the short is set in a vibrant city pulsating with rhythm and movement and centers on an elderly man and his young-at-heart wife rekindling their youthful passion for life and each other on one magical night. The years fade away as the joy of dancing propels them across the exciting cityscape of their youth and revives fond memories and ambitions. Us Again is told entirely without dialogue and set to an original funk and soul musical score reminiscent of the mid-60s.

The short is produced by Brad Simonsen (Big Hero 6) and executive produced by Walt Disney Animation Studios Chief Creative Officer Jennifer Lee and features music from Pinar Toprak (Captain Marvel) and choreography from award winners Keone and Mari (World of Dance).

“Working with Keone and Mari was the key to making this film work,” Parrish said in a statement. “From the very beginning, I knew that I wanted this film to be music driven. And I felt that dance is a universal language that can translate into any culture. I loved that their dance style felt like it was made for animation, and that there was this genuine, honest and organic connection between them because they were actually a married couple in real life.  The story itself was inspired by my own grandparents, who faced getting older in different ways, along with my own physical limitations in playing sports resulting from getting older and injuries. I started thinking about how someone might look at the world differently as things change and they grow older.”

“One of my priorities has been to bring back theatrical animated shorts and to give artists at our Studio an opportunity to explore new ideas,” Lee added in a statement. “Us Again has so much spirit and energy, and pushes the boundaries of our short form storytelling.”

Following its theatrical debut, Us Again is set to premiere on Disney+ in June.

Contactless Tickets – Advance ticket purchase and Mobile ticket entry on Fandango! – Going back to movie theaters!

Long ago, in the fantasy world of Kumandra, humans and dragons lived together in harmony. But when an evil force threatened the land, the dragons sacrificed themselves to save humanity. Now, 500 years later, that same evil has returned and it’s up to a lone warrior, Raya, to track down the legendary last dragon to restore the fractured land and its divided people. However, along her journey, she’ll learn that it’ll take more than a dragon to save the world—it’s going to take trust and teamwork as well.

Raya and the Last Dragon will be led by Kelly Marie Tran (Star Wars: The Last Jedi), who will be the first Southeast Asian to lead a Disney animated film. The titular role was originally set to be voiced by Cassie Steele (Rick and Morty), but the filmmakers and studio have chosen to adjust their vision and bring Tran in as the lead star, joining the previously cast Awkwafina (The Farewell), who is starring as a dragon in human form named Sisu.

In addition to Tran and Awkwafina, the cast for the film includes Gemma Chan (Captain Marvel) as Raya’s nemesis, Namaari; Daniel Dae Kim (Hellboy) as Raya’s visionary father, Benja; Sandra Oh (Killing Eve) as Namaari’s powerful mother, Virana; Benedict Wong (Doctor Strange) as Tong, a formidable giant; Izaac Wang as Boun, a 10-year-old entrepreneur; Thalia Tran as the mischievous toddler Little Noi; Alan Tudyk (Harley Quinn) as Tuk Tuk, Raya’s best friend and trusty steed; Lucille Soong (Fresh Off the Boat) as Dang Hu, the leader of the land of Talon; Patti Harrison (Shrill) as the chief of the Tail land; and Ross Butler (To All the Boys: P.S. I Still Love You) as chief of the Spine land.

RELATED: Sneak Peek For Peter Jackson’s The Beatles: Get Back Documentary Revealed!

Raya and the Last Dragon is co-directed by Don Hall (Big Hero 6), Carlos López Estrada (Blindspotting), Paul Briggs (Zootopia) and John Ripa from a script written by Adele Lim (Crazy Rich Asians) and Qui Nguyen.

The film will arrive in theaters and on Disney+ with Premier Access on March 5.

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