Wonder Woman Dips 67% in Second Weekend at the Domestic Box Office

Yikes! As it turns out, audiences weren’t particularly enamored with Wonder Woman 1984 as the Patty Jenkins-directed sequel dipped a massive 67% and hauled in just $5.5M at the domestic box office in its second weekend, according to Deadline. Naturally, there are a handful of reasons as to why this happened, first and foremost being the sequel’s simultaneous release on HBO Max, but its hard to look at the ho hum B+ audience score — down considerably from the original’s A+ grade back in 2017 — and lukewarm reaction from critics (60% on Rotten Tomatoes) and assume the fault lies anywhere but the picture itself.

RELATED: CS Soapbox: THAT WW84 Cameo and What it Might Mean for WW3

Clearly, moviegoers aren’t digging this iteration of Diana, who fights bad guys with love (?), doesn’t use a sword or shield and spends most of the movie galivanting with a stranger possessed by Steve Trevor. The film has amassed $28.5M domestically, but is projected to stall out at around $40M — nearly $20M less than Tenet’s suddenly not-so-disappointing $58M haul.

Obviously, WW84 was never going to do huge business amidst an ongoing pandemic, but the film did break the opening weekend milestone set by Tenet in September and was expected to at least match if not surpass Christopher Nolan’s mind-bending epic at the box office. So, again, clearly audiences want something different from their super heroine … maybe something darker, edgier … directed by Zack Snyder …

Anyways, WW84’s disappointing domestic run might have been saved had it performed admirably overseas (like Tenet), but, alas, Diana failed to do much business in China where it’s currently stalled at $25M (again, per Deadline) having collected just $800K this last weekend. It’s doing good business in Australia where a 16% drop has the pic sitting at $11.5M in the country. All told, the global tally is $118.5M with key markets, including Europe, Russia and Latin America, yet to open.

WW84 collected $672K from Imax screens. The film continues its rollout this week with exclusive IMAX previews in Russia.

RELATED: 5 TV Episodes Featuring WW84’s Dreamstone Plot

Note: WB has yet to reveal detailed streaming numbers for WW84, though it was reported by THR the film was watched by more people in its first few days than any 2020 SVOD title. 

Otherwise, domestically, Croods: A New Age pulled in $2.18M (+25%) for a running domestic total of $34.5M. The animated sequel surged past $100M over the weekend thanks to a $7.6M international haul and now stands at $115M worldwide. Meanwhile, the Tom Hanks drama News of the World collected $1.69M (-25%) for a $5.4M total to round out the Top 3.

Elsewhere, Pixar’s Soul is having a grand ole time in China where the animated pic pulled in $13.7M over its second weekend, a massive 149% jump from its $5.5M debut. Soul has amassed $25.7M in the market, with some estimations projecting it to climb past Incredibles 2 to become Pixar’s second biggest-grosser after Coco. And thanks to an additional $16.5M international haul the toon now stands at $32.5M internationally.

The post Wonder Woman Dips 67% in Second Weekend at the Box Office appeared first on ComingSoon.net.

CS Collectibles: Cyclops, John Wick & More!

Hello and welcome to the latest edition of CS Collectibles, ComingSoon.net’s newest weekly column that brings you the best in premium collectibles! Find out all the latest on statues, figures, posters, cards, eBay deals, Amazon deals & much more below!

News

Sideshow and @CollectPCS present the Marvel’s Spider-Man: Velocity Suit Statue, joining the Marvel Armory Collection inspired by the hit video game, Marvel’s Spider-Man.https://t.co/NPi5oP9wAU#SideshowCollectibles #SpiderMan #Marvel pic.twitter.com/wyYSsrh9Rp

— SideshowCollectibles (@collectsideshow) December 12, 2020

To celebrate today’s deals, we’re giving away the Thanos Collectible Figure by Bandai! https://t.co/4Kf8k8nv0N@bandaiamerica #SideshowCollectibles #Thanos #SideshowSpectacular pic.twitter.com/ypyOIY52cX

— SideshowCollectibles (@collectsideshow) December 12, 2020

Sideshow

Sideshow presents the Daredevil: Shadowland Sixth Scale Figure, ruling your Marvel Collectibles from the shadows of Hell’s Kitchen.

Inspired by the Marvel Comics storyline Shadowland, the Daredevil: Shadowland Sixth Scale Figure captures Matt Murdock’s dark persona as the leader of The Hand, a secretive ninja clan. Daredevil wears a black fabric bodysuit with red accents and sculpted armor, complete with red eyes and horns on his beastly cowl.

The Daredevil: Shadowland Sixth Scale Figure comes with a number of swap-out elements, allowing you to pose your Marvel collectible with ninja precision. His signature billy club has interchangeable parts allowing for three unique configurations including the full staff, dual billy clubs, and nunchaku. Matt Murdock also includes eight sets of black gloved hands; a pair of fists, a pair of gesture hands, a pair of angled grip hands, and a pair of straight grip hands. Unleash the Beast of the Hand with these accessories and complete your dynamic display with the additional flight attachment for the base, which allows for aerial poses.

The Daredevil: Shadowland Sixth Scale Figure is limited to an edition size of 400 pieces, so don’t miss this must-have collectible for fans of Marvel Knights!

Let the devil reign in Hell’s Kitchen and bring home the Daredevil: Shadowland Sixth Scale Figure today.

Daredevil: Shadowland Marvel Sixth Scale Figure – $235.00
from: Sideshow Inc.

Sideshow presents the Cyclops Premium Format Figure, ready to lead your X-Men Collection.

The Cyclops Premium Format Figure measures 17” tall, standing atop an icy tundra base that has been seared down the center by a powerful attack. Snow covers Scott Summers’ boots as charred rock crackles beneath him in the heat of battle.

The polyresin Cyclops Premium Format Figure features a fully sculpted costume inspired by his 90s era X-Men Blue team uniform. Scott has a sculpted blue bodysuit with yellow gloves, boots, trunks, and a utility and shoulder belt featuring red “X” belt buckles. The uniform is detailed with varied textures and musculature, giving this founding member of the X-Men a battle-ready look and physique.

Cyclops also features two portraits and three unique visor configurations, giving you multiple presentation options for this mighty Marvel mutant. Choose between his focused and enraged expressions and then decide which version of his red-lens visor you want to display- the standard visor, his optic blast visor, or the post-blast sizzle effect visor.

Pair the Cyclops Premium Format Figure with other members of the X-Men Collection, including his long-time love Jean Grey and the villainous Sabretooth to complete the snowy battle scene or assemble a team for Scott Summers to lead.

Keep your eyes on the prize and bring home the Cyclops Premium Format Figure for your universe of Marvel collectibles today!

Cyclops Marvel Premium Format Figure – $580.00
from: Sideshow Inc.

Diamond Select

A Diamond Select Toys release! John Wick is back with an all-new action figure inspired by the second John Wick film! Based on his appearance in chapter 2, This figure bears the likeness of actor Keanu Reeves and features the most articulation ever put on a select action figure, for a wide range of poses. Wick comes with his Nameless dog, an arsenal of accessories, and a blood Oath marker. Packaged in display-ready select action figure packaging. Designed by Yuri tming, sculpted by gentle giant Studios.

Purchase DIAMOND SELECT TOYS John Wick Select: Chapter 2 Black Suit Action Figure here!

A Diamond Select Release! The Marvel Gallery line explores the origins of Wolverine with the new Weapon X PVC Diorama! Depicting Wolverine as he appeared while under the control of the Weapon X program, this 9-inch sculpture is made of high-quality PVC and features detailed sculpting and paint applications. Packaged in a full-color window box. Designed by Caesar, sculpted by Alejandro Pereira.

Purchase DIAMOND SELECT TOYS Marvel Gallery: Weapon X PVC Figure here!

Mondo

Based on the seminal BATMAN: THE ANIMATED SERIES, the Catwoman Sixth Scale Scale Figure stays true to the animated classic. Sculpted to match the iconic style of the show with a paint scheme evoking the bold, graphic look of an animated cel. Designed by Joe Allard, sculpted by Ramirez Studios, and painted by Jason Wires Productions, the figure features packaging designed by Brent Ashe with art by Phantom City Creative.

Catwoman comes fully equipped to slink into your collection, and maybe take something from it…

Catwoman DC Comics Sixth Scale Figure – $160.00
from: Sideshow Inc.

Sideshow and Mondo present from their first line of officially-licensed Disney Tiki Mugs, Sorcerer Mickey from “The Sorcerer’s Apprentice” segment in the iconic, groundbreaking animated film FANTASIA. The boldly blue Elemental Variant stands tall at 11.5″ and holds approximately 22 ounces, which should be plenty of room to flood your own chamber.

Designed by Tom “Thor” Thordarson and sculpted by Istanbul-based Tufan Sezer, it’s produced by the sorcerers over at Tiki Farm. They make each of the mugs by hand, which means they’re all unique pieces of drinkware art (and there could be some slight variations from the images above).

Sorcerer Mickey (Elemental Variant) Disney Tiki Mug – $75.00
from: Sideshow Inc.

Iron Studios

Sideshow and Iron Studios are proud to present the T-Rex Attack (Set B) 1:10 Art Scale Statue from Jurassic Park. Based on original references from the film, this polystone statue depicts the iconic moment when Dr. Alan Grant and Dr. Ian Malcolm are attempting to distract the T-Rex from attacking Tim and Alex Murphy, who are trapped in the Jungle Explorer. This statue is hand-painted and comes with LED light-up effects, Alan Grant and Ian Malcolm figures, and the Jungle Explorer 05 with a right door that opens.

This collectible also includes exclusive artwork and can be combined with the T-Rex Attack (Set A) 1:10 Art Scale Statue to complete.

This limited edition art scale statue of the T-Rex Attack (Set B) is a must-have for any Jurassic Park fan to add to his or her collection!

T-Rex Attack Set B Jurassic Park 1:10 Scale Statue – $1,299.99
from: Sideshow Inc.

Winter Soldier is James “Bucky” Barnes, who after being seriously injured in World War II, was found by Russians who transformed him through freezing and mental manipulations into the Winter Soldier, a cold assassin responsible for important political assassinations that only managed to recover his memories thanks to Captain America.

In the Marvel Cinematic Universe he is portrayed by the actor Sebastian Stan.  Bucky Barnes has an implanted bionic arm that gives him strength and superhuman reflexes. In Avengers: Infinity War he vanishes after the Thanos snap.

Now, the Winter Soldier is back in Art Scale 1:10 form for Avengers: Endgame with a fully detailed base and an updated likeness of Sebastian Stan.

Winter Soldier Marvel 1:10 Scale Statue – $105.00
from: Sideshow Inc.

Prime 1 Studios

“Don’t ever apologize to no one for the way you look.”

Sideshow and Prime 1 Studio are excited to present the Joker Statue designed by no one else, but the incredibly talented Lee Bermejo, an American comics artist best known for his collaborations with writer Brian Azzarello including the Joker graphic novel.

Lee Bermejo’s Joker design is very dark with stunningly realistic features. Even the base is specially designed by Mr. Bermejo featuring Batman (from Batman: Noel graphic novel) chained to a stone which gives the whole statue even darker look.

The Joker Statue includes four portraits, three head stands, and three interchangeable right-hands holding a Revolver, Knife and Playing Cards.

The ultimate statue for any Joker fan and DC Comics collector!

The Joker Deluxe Version (Concept Design by Lee Bermejo) DC Comics Statue – $1,199.00
from: Sideshow Inc.

“There’s still work to do here in Arkham City.”

Sideshow and Prime 1 Studio are proud to present the 1:5 Scale Batman Statue from Batman: Arkham City developed by Rocksteady Studios and published by DC Entertainment and Warner Bros Games.

Batman fights alone against villains in the isolated Arkham City – a super-prison that was constructed to house all the inmates from both Arkham Asylum and Blackgate Prison. Prime 1 Studio has recreated Batman’s pose and gray suit with great attention to the details. Batman measures approximately 21.5 inches tall and comes with interchangeable right hands. This exclusive version includes an alternate angry portrait and an interchangeable left hand holding a Batarang.

This is a must-have for all Batman fans.

Batman DC Comics Statue – $499.00
from: Sideshow Inc.

PCS Collectibles

Ryu is the only character to appear in every Street Fighter game and every crossover. Capcom’s unofficial mascot and ambassador for other media. The irrefutable star of the #1 fighting game in history. Pop Culture Shock Collectibles is proud to present their very first 1:3 scale statue of Ryu, one of the most recognizable and beloved characters in all of gaming.

Included in the Ryu Evolution set is Ryu in his three most indelible looks. Classic Ryu, the attire that’s become identifiable worldwide over the last three decades. Battle Ryu, his hardened, more mature Street Fighter V variant. And Evil Ryu, infected by the Satsui no Hado in an attempt to master the darker aspects of the fighting arts. Each statue will measure a towering 29-inches tall.

Ryu Evolution Street Fighter Collectible Set – $2,699.99
from: Sideshow Inc.

“I shall grind beneath my heel all that exists.”

The Final Boss. The Mad Demon. Destroyer of Heaven. God of Rage. Akuma Beyond Shin Akuma. Evil Incarnate.

Completely consumed by the murderous intent of the Satsui no Hado, the entity once known as Akuma has many names. Comprised purely of fighting essence, he has become everything his brother Gouken once warned him about, devoid not just of honor and fighting code but entirely of human physicality and emotion.

Human no more, he is Kuruoshiki, man ascended to Godhood, an appraisal the wisest tournament combatants have accepted as truth. He is chaos personified, the eye of the hurricane, the heart of the volcano.

Retaining the Ansatsuken techniques he had mastered in his Earthly shell, Oni’s attacks ripple with superheated energy, more destructive than ever. Brutal and relentless, he believes all life is beneath him and thus undeserving of mercy. He will destroy any and all opponents in his path, regardless of health or ability, every fight a fight to the death.

Fans and gamers themselves, Pop Culture Shock’s expert craftspeople understood the desire to bring the perfect Oni home, and how much scrutiny he would face. A beast of a fighter deserved a beast of a statue, and the Pop Culture Shock Collectible artisans would settle for nothing less.

The results of their efforts are simply astonishing. Rendered in high-quality polystone, complete with trademark glowing hair and eyes, he seems to have erupted from the game full of fire and wrath.

Oni Akuma Summer Demon Street Fighter Statue – $319.99
from: Sideshow Inc.

Hot Toys

The elite soldiers of Imperial Intelligence, death troopers are encased in specialized stormtrooper armor with a dark, ominous gleam. These soldiers have returned on screen in the Star Wars live action series The Mandalorian, under the command of Moff Gideon to flush out the Mandalorian and his friends from the cantina.

Sideshow and Hot Toys is pleased to expand The Mandalorian collectible series and present the Death Trooper Sixth Scale Collectible Figure from this first-ever live-action Star Wars series!

The highly-accurate collectible figure is specially crafted based on the appearance of the Imperial Death Troopers in The Mandalorian. It stands at approximately 32.5cm tall, featuring a finely crafted black colored armor, helmet with scope and LED light-up function, blaster rifle, blaster pistol, and a figure stand!

Recruit the Death Trooper Sixth Scale Collectible Figure now and expand The Mandalorian collection.

Death Trooper Star Wars Sixth Scale Figure – $235.00
from: Sideshow Inc.

“Okay, who here hasn’t been to space? You better not throw up on my ship.”

Getting paid is no longer a priority for this genetically altered furry criminal. Rocket might have a fresh lease on life, but that does not mean he will hold back on any of his ammunition, explosives or wisecracks when it comes to fighting for the lives of his newfound family.

Sideshow and Hot Toys present the Rocket Sixth Scale Collectible Figure from Marvel Studios’ Avengers: Endgame.

Masterfully crafted based on the unique physique of Rocket in the movie, the figure features a newly painted head portraying his roaring expression with striking likeness, a meticulously tailored costume with interchangeable scarves, a number of interchangeable hands, pistols and blasters, highly-detailed accessories including a Sixth Scale Nano Gauntlet, a pair of goggles, an Aether extraction, and a specially designed dynamic figure stand with movie logo.

The Rocket Sixth Scale Collectible Figure is an essential addition to your Avengers: Endgame collection!

Rocket Marvel Sixth Scale Figure – $212.00
from: Sideshow Inc.

Super 7

Purchase Ivan Drago (Rocky IV) Reaction Figure by Super7 here!

Purchase Super7 Hordak (Masters of The Universe) Vintage Figure here!

Loot Crate

Get a surprise bundle of collectibles and gear from your favorite movies, TV shows, games, comics and more delivered to your door every month!

Click here to order!

Wizards of the Coast

Don’t mess with squirrels. EVER.

… Unless you’re preordering the We Hope You Like Squirrels Secret Lair drop from https://t.co/a0Wcy0cRYJ. pic.twitter.com/97rmhZ3HHZ

— MTG Secret Lair (@MTGSecretLair) December 11, 2020

Click here to purchase Zendikar Rising Draft Booster Box!

Click here to purchase Zendikar Rising Bundle!

Click here to purchase Ikoria!

Click here to purchase Core 2021!

What do you think of CS Collectibles so far? Let us know in the comments below!

The post CS Collectibles: Cyclops, John Wick & More! appeared first on ComingSoon.net.

CS Score Interviews Wild Mountain Thyme Composer Amelia Warner

Welcome back, film score lovers, to another edition of CS Score. This week we’ve got a handful of great interviews with Wild Mountain Thyme composer Amelia Warner and Call of Duty: Cold War composer Jack Wall. We also speak to Waxwork Records co-founder Kevin Bergeron, who discusses the recent vinyl release of Danny Elfman’s Edward Scissorhands. Let’s do this!

WAXWORK RECORDS KEVIN BERGERON TALKS EDWARD SCISSORHANDS

Edward Scissorhands is a bonafide masterpiece! Composed by Danny Elfman, the film is practically unmatched in its stunning use of choir and sweeping, gothic themes. This holiday season, Waxwork Records released a gorgeous vinyl presentation of the album, complete with new artwork by Ruiz Burgos, a 180 gram “Ice Sculpture Blue with Snow Splatter” colored vinyl, and re-mastered audio for vinyl from the original masters.

ComingSoon.net reached out to Waxwork Records’ co-founder Kevin Bergeron who took the time to discuss the new release and the work that went into its creation.

CS: First of all, thank you so much for this new release of Edward Scissorhands on vinyl. It truly remains one of my favorite scores and a must have for any soundtrack fan. What was the reason behind this release of Edward Scissorhands?

Kevin Ellen: We love Tim Burton’s imaginative stories. There’s this carnival nightmare thing going on, but then there’s this whole goth aspect to it all. Somehow he manages to make it all work in an accessible and family friendly sort of way. We are obviously fans of his work, and also of composer Danny Elfman. We released Beetlejuice back in 2018, and soon after that we acquired Edward Scissorhands. Perfect follow up.

CS: How difficult was it to pull this release together — getting artwork, creating the amazing looking record, etc.?

Kevin: We have a strong relationship with Universal, so that part came together swiftly. The artwork by Ruiz Burgos is really incredible. This was our first time working with Ruiz, but we felt confident that he would nail it, and he totally delivered. People are saying it’s some of the best album art for a Waxwork release, ever. The vinyl needed to tie into the film, so we went for an ice sculpture blue with snow splatter. We really wanted to keep everything tasteful. It had to look cold. Winter-like. There’s this tendency right now within the soundtrack community to create these cumbersome, elaborate packages with pop ups, and die-cuts, and liquid filled vinyl, and recreating actual items from the movie to include in the packaging. We’re partly to blame for this. But for Edward Scissorhands, we kept it straightforward, with high quality packaging and killer artwork. Keep it classy. It wasn’t difficult.

CS: What is it about this score that has allowed it to stand the test of time?

Kevin: Elfman’s scores are instantly recognizable. When we received the test pressings, we were reviewing them in the back offices at Waxwork. People at Waxwork would creep by, stick their head in and ask in an excited whisper, “Oh my god, are we releasing Edward Scissorhands?!” Good stuff sticks around.

CS: What are you most excited for fans of Edward Scissorhands to see/hear in this release?

The re-master sounds great. The packaging is awesome. The art is beautiful. I think it’s going to make some people happy.

CS: How important is vinyl in the musical world and why do you think it continues to be a popular part of music all these years later?

Kevin: With respect to recorded music, I think vinyl is the most important thing in the music world. Now, more than ever. We absorb entertainment differently now, and everything is so expired within a month of it being released. That kind of sucks really bad. The short attention span of everything now. People are getting hip to the fact that CD’s were these bogus things that never benefited the consumer in the long run. Like, CD’s are near extinct now. The idea of discussing releasing something on CD in 2020 is looked at as more absurd than if you were to say in 2000, “Hey, let’s release this album on vinyl”. Ultimately, I think people want nice stuff that they can feel proud of owning.

For more information on Waxwork Records upcoming releases, click here!

INTERVIEW WITH WILD MOUNTAIN THYME COMPOSER AMELIA WARNER

Amelia Warner’s Wild Mountain Thyme ranks among the best scores of the year. Seriously, if you haven’t listened to the soundtrack, pick it up at the link below. It’s a truly majestic blend of luscious themes and Irish influences that works wonders for John Patrick Shanley’s quirky comedy-drama.

To learn more about this lovely film score, check out the following interview with Warner, who sat down to discuss what drew her to the project and what it was like working with Shanley.

Purchase Wild Mountain Thyme (Original Motion Picture Soundtrack) here!

ComingSoon.net: So how did you get involved with this project?

Amelia Warner: I basically was – it just came through my agent just said, “Do you know about Wild Mountain Thyme? Have you heard about it?” And I was like, “Well, yes, I know about it.” And then, I read the script and I just absolutely kind of fell in love with it and just thought, oh my god, I have to be a part of it. And I just had like a really strong reaction to the script and I had a very strong kind of feeling of like, the sound of the film. And then, it was kind of a process that took quite a long time, but ultimately, it kind of, it went in my way. And it was such a lovely experience.

CS: What aspects of the script lured you to the film?

Warner: I think that like, John Patrick Shanley just has this incredible, unique way of building a world and kind of creating a world that you absolutely believe in and characters that you really care about. And the minute I started reading it, it was like entering this kind of, you know, magical space. And the dialogue, the lyrical dialogue, and it was so funny and it was just so weird and so wonderful. I mean, it just really got under my skin and I just kept thinking about the characters. I kept thinking about, you know, it made me cry in so many places. He’s just an incredible writer.

CS: Yeah, I’ve been a big fan of his ever since I saw Joe vs. the Volcano as a kid and Moonstruck. What was it like working with him and how much freedom did he give you on the project?

Warner: He was incredibly generous. I mean, I felt like I had such a lovely, loose reign on the whole thing. And he was just very supportive. And I think the main thing that he kind of did was just embolden me and give me confidence, which was really wonderful. He was just very economical with the kind of notes he gave, and he was very specific. He knew what he wanted, but he wasn’t bogging me down with language or kind of specific details. He would just get very kind of broad. He’s just give me a word or an idea to think about or something quite esoteric. You know, he’s very esoteric. And he’d just kind of be really thought provoking in something he would say that would make me approach something a bit differently. But he was just very kind.

The main thing that I found was that he was just incredibly kind, and yeah, and kind of gave me confidence to try things and to be bold. And he was just wonderfully kind and receptive to all of my ideas.

CS: Well, like most of his films, this film has a lot of quirky characters and comedy, but much of your score is played very straight and it’s very elegant and it features a lot of very sweeping themes. What was your approach to the film or what aspect of the film are you most interested in highlighting with your music?

Warner: Yeah, I think that’s really true, and I think that probably is where I focused and that was mainly my inspiration for the film was very much, you know, island and very much the kind of – it felt like a classic film, like it felt kind of old fashioned and it reminded me of just those old movies, like Ryan’s Daughter. And I just thought that it needed like a classic thematic score, you know? I kind of felt like it needed these melodies and these sweeping themes going through it. So yeah, so that was my main inspiration and kind of having that love theme was a really big part of it. And then also, I mean, I kind of tried – I remember trying some more kind of comedy cues and making them more out and out comedy and more fun and more silly. And then, I just remembered John actually saying, “Yeah, silly doesn’t really work, does it?” And I was like, “No, it kind of doesn’t.” And so, we definitely experimented. And I think early on, that was more the direction, was like, making it fun, make it silly, make it quirky. And it just didn’t work. And actually, what seemed to work, was kind of playing it really straight, and then that made it funnier, weirdly. It made the scenes funnier. It made the characters more ridiculous. It made those moments kind of work, whereas actually playing the silliness just didn’t really, it didn’t work for some reason.

CS: Were there any instruments that you had to become more familiar with that you hadn’t used before in other films that you’d composed?

Warner: Yeah, for sure. You know the kind of biggest surprise for me on this score was the accordion. The accordion was like the hero of the score, like the accordion, I couldn’t believe how versatile it was. And initially, we kind of featured it in more of the kind of folky trad band Irish cues. But then, I’d say the accordion is in every cue, and actually where I love it is when it’s kind of sitting underneath the strings, so there’s quite a lot of cues that just, you know, are strings with accordion underneath. And it just adds this amazing warmth. And I guess because it kind of has a drone quality to it. So it’s like this beautiful layer that just, yeah, it created this kind of depth and this warmth and a slight character. You know, so a kind of signature and a character that I felt was really wonderful. I was so, so happy with that. That was a real surprise, actually, of just how much the accordion was featured, and how kind of delicate it can be as well, because you always think of it as a kind of characterful, quite loud instrument. But actually, it has this beautiful delicacy to it. And so that was great. And then, I think with the more kind of Irish led themes, we had an amazing violin player called Sam Sweeney. And he came in and played on those pieces and he’s an amazing folk musician in the UK. Like he’s just brilliant and he’s amazing. He’s kind of improvising and he just has an amazing energy in the way that he plays, so kind of bringing him in to just, you know, give those cues, that energy and that fun and that slight wildness and kind of make them feel a bit more raucous and a bit more characterful, that was really great, having him on board, yeah.

CS: One of my favorite cues on the entire score is the moment when, I can’t spoil it for people, it was when a certain character ends up in the hospital about midway through the film and we get this beautiful montage of Rosemary at the church and the changing times …

Warner: Oh that’s my favorite cue.

CS: Is that the cue where you started from and sprung out of? 

Warner: Yeah, that’s so interesting and really perceptive of you to kind of pick up on that that is actually where everything sprang from. So it was kind of funny because I wrote that cue – so I’d written kind of the main theme, which is in the opening and it’s on several other points with Rosemary and Anthony’s characters. And then, I wrote this theme just kind of, you know, based on just watching that montage a couple of times. I absolutely love that montage. It was almost like a vignette or a short film and I felt like it was just this perfect, beautiful sort of filmmaking. And I wrote that theme just kind of very instant, you know, very much as a reaction to it. And I wrote it and I really loved it and I felt like it worked really well. And I remember I sent it to my orchestrator and I said, “This is the only point that this theme, like it should just be a standalone moment and I don’t want to hear it again.” Because actually, I didn’t plan to do any piano, either. I didn’t plan to have any piano themes, which you know, so I kind of wrote this one piece on the piano and I just thought, right, this is just going to be this one moment that you hear this music. And that’s it. And then, John watched it and he was like, that’s the scene and I want to see it here. Can we have a look at it on this? Can we have a look at it on this? And it ended up, yeah, being this kind of theme that grows and grows throughout the film.

And I think the first time you hear it is when you see Rosemary looking at Anthony and you realize how much she – you know, the love that she feels. And then you hear it when he has the ring and then he loses the ring. And so, it was so versatile and it was just one of those themes that just – it really just took to the film. It was like an amazing thing. And I remember when John said, oh, you try it when she’s looking at him in the boat, I thought he was crazy. I was like, this is like grief. This is the sorrow theme. And then, actually there was a way of making it this really hopeful theme and this really beautiful kind of, so and everywhere we tried it, it just kind of worked. And then, it ultimately became the song that we wrote. It just has this amazing journey through the film. But it did originate in that cue that you mentioned.

CS: How did you get involved with film composition? Because you worked as an actress for a majority of your career, correct?

Warner: Well, I actually was only an actress for probably, when I was about 17 to about 22, so it wasn’t actually a long time. It was about five years, four or five years. So that was I guess my way into kind of films and filmmaking. And it was an amazing way of understanding the process and how films are made and the kind of collaboration and what everybody does. And I loved that whole aspect of it. But you know, I didn’t feel that acting was just the right fit for me and I was very uncomfortable, and it was a bad kind of fit. But I knew that I wanted to be involved in telling stories and involved in film in some way. And then, I’d always written music since I was really, really small. But I guess I’d never really – I’m not classically trained, and I play mainly by ear. That’s just not a possibility and what a shame because I love music and I love composing and I’m always writing things and I’ve always thought I can’t do that because I don’t have the theory. And then it kind of changed for me when I got Logic for the first time. I got that software and I had a laptop and I had Logic. And then suddenly I could write, you know, arrangements and I could put things together and I just loved it. And I guess it was kind of like a slow journey. But I kind of did, a friend of mine asked for some music for her short film that she’d written. They didn’t have any money and she was like, “You play the piano, don’t you? Can you write something?” And so, I did that, and then I think once I had that experience of writing something to picture, it kind of just clicked, and I was like, oh my god, this is like everything that I love together.

And so, I never felt like a songwriter. That wasn’t the thing that kind of, you know, got me excited. And it was always kind of writing to picture. And also, I just always listened to soundtracks and scores and I think it just felt like something unattainable for a really long time, and then I just kind of started, you know, doing it. And then, once I was making my own music and releasing my own albums, I guess that was a way of kind of, you know, just sharing the music that I wanted to make with people. And the first film that I did was because the director heard one of the tracks and asked to license the track. And it was from one of my albums, and he wanted to license it. And I could write a score around that track. And so, that’s kind of how that happened. And once I started doing it, I mean, I just loved it so much and it felt like, you know, the thing that I’d been kind of searching for for such a long time.

CS: Do you have any other future projects that you can share with us that you’re currently working on right now?

Warner: No, not at the moment. I’m not sure. I mean, there’s a couple of things potentially in the pipeline, but it is such a weird time and it’s just not knowing when things are going to be in post, because obviously there’s been this kind of weird delay where like, nothing’s shot for a while. So I think, I mean, yeah, I’m not certain. I’ll definitely do another album next year. I know that much. But in terms of another scoring project, I’m not sure yet, but I mean, hopefully there’ll be something next year and I’m very keen to, you know, get my teeth stuck into something else.

INTERVIEW WITH CALL OF DUTY: COLD WAR COMPOSER JACK WALL

Check out this amazing interview with Call of Duty: Cold War composer Jack Wall, who breaks down the process of scoring a video game and reflects on his time in the COD franchise.

Purchase Call of Duty® Black Ops: Cold War (Official Game Soundtrack) here!

ComingSoon.net: What made you decide to tackle Call of Duty?

Jack Wall: Well, they asked me to audition and it’s one of the biggest entertainment properties on the planet, so you really can’t say no to that can you? It’s always a juicy enterprise to take apart the single player campaign and figure out the musical journey. Beyond the single player, Zombies and Multiplayer really shake things up. I’ve had the opportunity to write big band jazz and heavy electronic music. It’s always interesting.

CS: I love the usage of Soviet Choir — very ominous and dark. What made you decide to implement the choir into your score?

Jack: Having 32 people in a room singing in the era of COVID is going to be a superspreader event, so I honestly tried very hard not to. But after learning about the story and the backdrop of the Cold War, it just felt necessary. Also, being American and having grown up in that era, I wanted to think about the Cold War from the Soviet perspective. I thought it would give the game a real feeling of the time to have the choir singing in Russian.

CS: What were the challenges presented by the score? Or, how did this Call of Duty score challenge you compared to your other Call of Duty scores (which are fantastic, by the way!)?

Jack: Thank you! I suppose the biggest challenge was getting the choir recorded. Since we couldn’t put 32 people in a room to sing, we had to find the best singers in LA who had their own recording setups at home. Ayana Haviv, my choral contractor, did the ground work to source the necessary talent with the ability to record themselves in a professional way. Then we had to have all of these English speakers sing in Russian. I and Cindy Shapiro wrote the lyrics in English. Then we had a Russian translator, Nino Sanikidze who works at the LA Opera, translate them to Russian, then transliterate them for the singers phonetically. Nino gave us a recording of her pronouncing each word slowly so we could fully understand how to say these words so they sound convincing. Ayana then tweaked the spelling of the transliterations and provided a written legend so her singers could easily understand how to pronounce the lyrics. Once this was done, each section leader would then sing a guide track that would then be approved by first Nino, then me. After approval, Ayana would send out the tracks to the rest of the singers who were instructed to follow just their section leader’s guidetrack so it all sounded like one performance. There was even more to the engineering instructions for everyone to record each take well. This entire procedure took about 2 weeks and we did it twice! Compare that to knocking it all out in about 4 hours with the group in one room. But it was all worth it in the end I think. We’re all pretty proud of how it came out – a real team effort.

CS: You’ve worked on TV series such as Shadowhunters and Emerald City — how different is video game music composition from television? (More difficult, easier?)

Jack: Each medium has its challenges. TV – You have to write 20-40 minutes of music every week. Film – You have to write, record, mix and get 90-120 minutes done in 6-9 weeks. Games, we have 6-12 months to write the full score – in the case of Cold War, we had 2 ½ hours of music by the finish, fully orchestrated and recorded and mixed but with adequate time. Some games have less and some have much more.

I would say that it’s easy to know when you are done for the day in TV. You get your 5-6 minutes done every day and then you can turn it off and do other things. With games, even though you have a LOT more time, I find it hard to know exactly when to quit for the day. You also are not really following a linear medium like TV so there is the added complication that music has to be implemented in such a way as not to be too repetitive and account for any change the player makes. You don’t want to write too long a piece for a short section of the game. Transition writing is also an enormously important part of writing effective game music. In a sense, nothing is really different between Film, TV, and games in how you produce the music. It’s just how the music gets into each one of these media – that is the main challenge. In games, you have to think about that much more than the other two.

CS: What is your process — in other words, from start to finish, how do you go about creating your scores?

Jack: At the top, I ask questions. What’s the title? What is the story? Do you have playable levels I can look at? Let’s discuss tone. What are our references for the score? Is there a script for the actors yet? And so on.

Then I start to come up with ideas about the kind of music I’m thinking of writing. For Cold War, we initially came up with 80’s synth but modernized, mixed with orchestra and maybe choir. Choir solidified when the story did. This can all take some time – I really like to get way into it before I start writing anything.

At some point when I feel I have a grasp on the heart and soul of the story for the game and how the game will flow, I begin sketching a few themes. Once these are developed and approved, we have thematic material that will be injected into the score at appropriate times. At this point the real work begins but not before we come up with a naming convention for each music file that will end up in the game. Getting all the technical as well as creative prep can save so much time by the end of the development and prevent a load of headaches.

Next, we’ll start with the most ready level to score. We do what’s called a spotting session where the audio director and I go through a video capture of the level which was recorded by someone on the dev team doing a thorough playthrough of that level. They don’t go too slow or too fast but play the level through its golden path. The spotting session happens over Zoom or Slack. We sync the video up between us and watch it start to finish with frequent stops to discuss a particular scene. At each pause, we can discuss where music should go, what type of music it should be, the style, the instrumentation if necessary, and musical references or styles, etc. Once we finish that spotting session, my assistant writes up the notes and creates filenames for each piece, our initial thoughts of how the music will work in the game and a basic guess at how long the piece should be, whether it loops, transitions or functions as an in-game cinematic or a pre-rendered cinematic. This is now our roadmap to writing the music through the level. We continue this process through each level of the game until we finish all levels.

Intermittently, the major pre-rendered cinematics – usually level intros or big important moments in the game for character and story – will come in with a final timed cut. I can then score these hopefully before the next recording session. At the end of the production, we’ll typically get a bunch of these movies and have to add music very fast. This is where my experience in TV writing 20-40 minutes of music in a week helps very much!

CS: What is it like being a part of such a historic video game franchise like Call of Duty?

Jack: It’s an honor and a privilege to be trusted with something that is so big, so expensive to make (so hard to make!) and where hundreds of people are involved in bringing it to life. It’s such a wonderful feeling to be a small part of that team. The team at Treyarch, Raven and High Moon – the people I worked directly with – are such dedicated professionals. It’s such a pleasure – truly.

CS: According to IMDB, you’ve worked in the industry since 2000. What are some of the things you’ve learned along the way that have helped you develop as a composer?

Jack: Well I’ll have to get in there and correct that! It’s actually 1995. I would say that writing music for games is a team sport. You have to respect the overall vision for the project and understand that you’re there to serve that vision. Be easy to work with. Communicate well and be a problem solver. I’ve made plenty of mistakes over these 25 years but these are the main things that make the job much much easier. Oh yeah – regarding the actual music parts, always strive to be better at what you do in every way. Be an artist but also be a great producer striving to achieve the vision that the directors and designers are going for.

CS: What do you believe is the primary objective of a video game composer — particularly for something like Call of Duty? (Is it to underscore the emotion, drive the action, etc.?)

Jack: Equal parts of both and both need to tell a story. Use themes to make important parts of the story relate to one another and make sure there is a big musical payoff at the end. Be cinematic. Act like you are scoring a blockbuster movie, because you are – it’s just that this is an interactive movie. This is the big leagues, and it has to measure up musically to the best movies. Hearts need to beat fast and emotions need to be shaken (and stirred!)

CS: How did you get involved in your line of work?

Jack: Mostly it was all an accident. But I love where I ended up. I have a degree in Civil Engineering, but I always played in bands on the side. Then I got interested in recording engineering and mixing. Then games showed up at just the right time and someone invited me to score one. One follows the last, new opportunities arise and I never said no. The rest as they say, is history.

The post CS Score Interviews Wild Mountain Thyme Composer Amelia Warner appeared first on ComingSoon.net.

The 25 Most Anticipated 2021 Movies!

2021 is FINALLY here! Given 2020’s impact on the entertainment industry, ComingSoon.net doesn’t have to be clairvoyant to figure out which movies our readers can’t wait to see over the next 12 months. With that in mind, we present our 25 Most Anticipated 2021 Movies. Check out our list below!

RELATED: ComingSoon.net’s Favorite Movies of 2020 Lists!

Health and safety concerns revolving around the coronavirus pandemic halted productions and closed cinemas for the bulk of 2020, prompting studios to delay their films…over and over again. Films like Black Widow, No Time To Die, A Quiet Place Part II, and F9 were all supposed to release last year. Their inability to grace our screens has revolutionized the entertainment industry, shifting the focus to smaller films and streaming services—a future reliant on video-on-demand. 

Rather than push it to 2021, Warner Media decided to release Wonder Woman 1984 on HBO Max (simultaneous with theaters). If that blockbuster does well in our homes, other studios may follow suit and send their bid-budget films to respective services. However, many hope for a return to form—a steady resurgence of theatrical releases spearheaded by a tidal wave of shelved blockbusters. As the industry adapts, ALOT of films are itching to be seen. You’ll find a handful of thought-to-be 2020 films on this list as well as ones fortunate enough to be on track for 2021. 

RELATED: Death to 2020 Trailer: ‘Experts’ Weigh in On the Most Historic Year

25. A Quiet Place Part II (April 23)

Following the success of 2018’s A Quiet Place, John Krasinski returns (as both actor and director/writer) to helm A Quiet Place: Part II. The sequel again follows the Abbott family as they adapt to the outside world plagued by creatures that hunt by sound (among other things). Joining the cast is Cillian Murphy and Djimon Hounsou.

24. Uncharted (July 16)

The long-awaited take on Naughty Dog’s beloved Uncharted series finished filming this year. Ruben Fleischer’s film stars Tom Holland as Nathan Drake, Mark Wahlberg as his mentor Victor Sullivan, and will serve as a prequel to the video games. Here’s hoping it’s even remotely as faithful as that Nathan Fillion fan film from 2018. 

23. Mortal Kombat (April 16)

Simon McQuoid is set to make his feature directorial debut in Mortal Kombat, an adaptation of the video game franchise and a reboot of the cult film series. The film will star Ludi Lin, Joe Taslim, Tadanobu Asano, Jessica McNamee, Mehcad Brooks, Josh Lawson, Lewis Tan, Chin Han, and Hiroyuki Sanada. In addition to releasing in theaters on April 16, 2021, Mortal Kombat will also be available on HBO Max (as will the rest of the Warner Bros. films on this list). 

22. West Side Story (December 10)

Steven Spielberg’s adaptation of the 1957 Broadway musical of the same name will explore forbidden love and the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds. The cast includes Ansel Elgort, Rachel Zegler, and Ariana DeBose.

21. Encanto (November 24)

The Colombia-set Encanto with Zootopia co-director Byron Howard (Zootopia, Tangled), co-writer Jared Bush (Zootopia), and co-director Charise Castro Smith (The Death of Eva Sofia Valdez) follows a young girl named Mariana, who grows up being the only non-magical member of her family. The film features all-new songs by Emmy, Grammy, and Tony Award winner Lin-Manuel Miranda (Hamilton, Moana, In the Heights). 

20. Elvis (November 5)

Baz Luhrmann’s Elvis biopic stars Austin Butler (Once Upon a Time in Hollywood, The Dead Don’t Die) the King alongside Tom Hanks, who is playing Presley’s manager Colonel Tom Parker. Olivia DeJonge will play Presley’s only wife Priscilla. It will star Maggie Gyllenhaal as Gladys Presley, Rufus Sewell as Vernon Presley, and English musician Yola as Sister Rosetta Tharpe.

19. Candyman (August 27)

Oscar-winner Jordan Peele (Us) produces a fresh take on the 1992 film Candyman, written by Bernard Rose, and the short story “The Forbidden” by Clive Barker. Rising filmmaker Nia DaCosta (Little Woods) directs and co-writes this contemporary incarnation of the cult classic. The film stars Yahya Abdul-Mateen II, Teyonah Parris, Nathan Stewart-Jarrett, and Colman Domingo, along with Tony Todd and Vanessa Estelle Williams reprising their roles from the original film.

18. In the Heights (June 18)

Jon M. Chu (Crazy Rich Asians) directs In the Heights, based on Lin-Manuel Miranda‘s award-winning Broadway musical of the same name. Alongside Miranda, the film stars Anthony Ramos (Hamilton, A Star is Born), Corey Hawkins (Straight Outta Compton), and Golden Globe winner Jimmy Smits (NYPD Blue). 

17. The Conjuring: The Devil Made Me Do It (June 4)

This third installment in the core Conjuring films (eighth overall) will feature Paranormal investigators Ed and Lorraine Warren as they investigate a murderer’s claim of demonic possession. The film is based on the trial of Arne Cheyenne Johnson, a murder trial that took place in 1981 in Connecticut. Ruairi O’Connor, Sarah Catherine Hook, and Julian Hilliard also star.

16. Halloween Kills (October 15)

2018’s Halloween brought the iconic slasher franchise back to its roots (serving as a direct sequel to the 1978 original) and returning Jamie Lee Curtis to the role of Laurie Strode. Halloween Kills will continue the “adventures” of Michael Meyers and company on October 15, 2021.

15. Last Night in Soho (April 23)

The upcoming psychological horror film directed by the inventive Edgar Wright will explore twists and time travel in a plot uniquely its own. It stars Terrence Stamp, Matt Smith, and Anya-Taylor-Joy (Emma, Queen’s Gambit)—she seems to be on a roll lately. 

14. Venom: Let There Be Carnage (June 25)

Andy Serkis directs the second Venom film after appearing in two Marvel Studios movies. Sony’s Venom: Let There Be Carnage sees Tom Hardy his role as Eddie Brock alongside Michelle Williams as Anne Weying. Venom’s archenemy, Cletus Kasady, aka Carnage (Woody Harrelson), who was briefly introduced in the first film, will serve as the antagonist as Venom’s archenemy. Naomie Harris will also play the role of villain Shriek, who is Carnage’s love interest and accomplice.

13. F9 (May 28)

Fast & Furious 9 reunites Justin Lin ( Fast & Furious, Fast Five, and Fast & Furious 6) with the franchise in an entry that sees the bulk of the original cast starring as well as newcomers John Cena, Cardi B, Michael Rooker, Finn Cole, and Keanu Reeves himself. It peels into theaters on May 28, 2021.

12. Top Gun: Maverick (July 2)

Top Gun: Maverick sees Tom Cruise again as Pete “Maverick” Mitchell as he mentors a new generation of fighter pilots and rides another Kawasaki Ninja (presumably). The film also star The film stars Miles Teller, Jennifer Connelly, Jon Hamm, Glen Powell, Lewis Pullman, Ed Harris, and Val Kilmer. 

11. No Time to Die (April 2)

Daniel Craig’s fifth and final outing as James Bond sees 007 leave retirement to help Felix Leiter (Jeffrey Wright) rescue a kidnapped scientist, leading to a mysterious villain (Rami Malek) with a treacherous plan. No Time to Die is directed by Cary Joji Fukunaga and also stars Léa Seydoux, Ben Whishaw, Naomie Harris, Christoph Waltz, Rory Kinnear, and Ralph Fiennes, Lashana Lynch, Ana de Armas, Dali Benssalah, Billy Magnussen, and David Dencik. 

10. Godzilla vs Kong (May 21)

In the culmination of the monster-verse, Godzilla and King Kong will square off in an epic battle for dominance as humanity deals with the two’s destructive existence. The film stars Alexander Skarsgård, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Shun Oguri, Eiza González, Jessica Henwick, Julian Dennison, Kyle Chandler, and Demián Bichir.

9. Shang-Chi and the Legend of the Ten Rings (July 9)

Destin Daniel Cretton’s Shang-Chi and the Legend of the Ten Rings stars Simu Liu (Blood and Water, Taken) as the titular hero in Marvel Studios’ first Asian superhero-led movie. Joining Liu are Golden Globe-winning actress Awkwafina (The Farewell) and renowned Hong Kong actor Tony Leung, who is portraying the role of The Mandarin. 

8. Ghostbusters: Afterlife (June 11)

Ignoring 2016’s lackluster Ghostbusters, Ghostbusters: Afterlife will serve as a sequel to the original two films while simultaneously adopting a new look and feel. It stars Carrie Coon, Finn Wolfhard, Mckenna Grace, and Paul Rudd, while Bill Murray, Dan Aykroyd, Ernie Hudson, Sigourney Weaver, and Annie Potts reprise their roles from the original films.

7. Mission: Impossible 7 (November 19)

Christopher McQuarrie’s Mission: Impossible 7 will be his third entry in the franchise. It will see Tom Cruise return as MIF agent Ethan Hunt alongside Ving Rhames, Henry Czerny, Simon Pegg, Rebecca Ferguson, Vanessa Kirby, and Angela Bassett, all of whom reprise their roles from the previous films. Hayley Atwell, Pom Klementieff, Shea Whigham, and Esai Morales join the franchise as new characters. 

6. Eternals (November 5)

Marvel’s game-changing Phase 4 film about a group of immortal (kind of) humanoids tasked with defending earth is set to redefine the MCU. Its star-studded cast includes Angelina Jolie, Richard Madden, Kumail Nanjiani, Brian Tyree Henry, Lauren Ridloff, Lia McHugh, Salma Hayek, Don Lee, Barry Keoghan, Gemma Chan, and Kit Harington.

5. The Suicide Squad (August 6)

Famed Guardians of the Galaxy writer/director James Gunn’s The Suicide Squad will serve as a quasi-sequel/spiritual reboot of 2016’s Suicide Squad. It stars Pete Davidson as Blackguard, John Cena as Peacemaker, Idris Elba as Bloodsport, Alice Braga as Sul Soria (new character), Nathan Fillion is T.D.K. (another new character), Michael Rooker as Savant, David Dastmalchian as Polka-Dot Man, Sean Gunn as Weasel, Peter Capaldi as the Thinker, Flula Borg as Javelin, Daniela Melchior as Ratcatcher 2 (presumably related to the original Ratcatcher), and Mayling Ng as Mongal. Margot Robbie, Viola Davis, Joel Kinnaman, and Jai Courtney will be reprising their roles from 2016’s Suicide Squad. 

4. Black Widow (May 7)

After her demise in Avengers: Endgame, Black Widow will see Scarlett Johansson reprise her role in a prequel, taking place between Captain America: Civil War and Endgame, might feature the rumored return of Tony Stark (and a handful of other characters from the comics). The main cast also includes David Harbour, Florence Pugh, O-T Fagbenle, and Rachel Weisz.  

3. Dune (October 1)

This new adaptation of Frank Herbert’s source material by director Denis Villeneuve (Arrival) will be the first of two parts. Its ensemble cast includes Timothée Chalamet, Oscar Isaac, Rebecca Ferguson, Josh Brolin, Dave Bautista, Stellan Skarsgård, Zendaya, David Dastmalchian, Stephen McKinley Henderson, Charlotte Rampling, Jason Momoa, and Javier Bardem. 

2. The Matrix 4 (December 22)

Lana Wachowski returns to helm The Matrix 4. The film will see Keanu Reeves, Carrie-Anne Moss, Jada Pinkett Smith, Lambert Wilson, and Daniel Bernhardt reprise their roles from previous films in the series and Yahya Abdul Mateen II will reportedly play a young Morpheus. How will Neo and Trinity return? Will time travel/flashbacks be involved? 

1. Untitled Spider-Man 3 (December 17)

The untitled Spider-Man Far From Home sequel will see Tom Holland reprise his role as Peter Parker (whose secret is out). It will also see the return of Zendaya, Jacob Batalon, and Marisa Tomei. Joining them will be Benedict Cumberbatch’s Doctor Strange who will presumably be dealing with some multiverse madness. That said, Jamie Foxx and Alfred Molina are reprising their roles from past Spider-Man films and Tobey Maguire and Andrew Garfield are heavily rumored to appearing as their versions of the web-slinger. With the multiverse open, there’s no telling who may show up in this movie or the Marvel Cinematic Universe at large moving forward. 

HONORABLE MENTIONS: Cherry (February 26), Nobody (February 26), Coming 2 America (March 5), Chaos Walking (March 5), Raya and the Last Dragon (March 5), The King’s Man (March 12), Morbius (March 19), The Unbearable Weight of Massive Talent (March 19), Free Guy (May 21), Spiral (May 21), Samaritan (June 4), Minions: The Rise of Gru (July 2), Space Jam: A New Legacy (July 16), Old (July 23), Jungle Cruise (July 30), Deep Water (August 13), Death on the Nile (September 17), The Last Duel (October 15), Snake Eyes (October 22), Sing 2 (December 22), Babylon (December 25), The French Dispatch (2021)

Which of our 25 Most Anticipated 2021 Movies are you the most excited about? What are some other films not included in our list that you are looking forward to? Let us know in the comments below!

The post ComingSoon.net’s 25 Most Anticipated 2021 Movies! appeared first on ComingSoon.net.

Richard Donner Confirms He Will Direct Lethal Weapon 5!

Even at 90, Richard Donner is not too old for this sh*t! At least when it comes to teaming up with Mel Gibson and Danny Glover, who will return to star in one final Lethal Weapon film. Donner revealed as much in an interview with The Telegraph, and confirmed that he will indeed direct Riggs and Murtaugh’s final outing.

“This is the final one,” Donner said. “It’s both my privilege and duty to put it to bed. It’s exciting, actually… Hahaha! It’s the last one, I’ll promise you that.”

The Lethal Weapon franchise began in 1987 and has since spawned four films, the last being Lethal Weapon 4 way back in 1998. That film ultimately grossed $285 million at the box office (against a massive $100-150 million budget), but score lukewarm reviews and reactions from critics and audiences alike. Hopefully, Donner has enough juice left to give us something more along the lines of Lethal Weapon 2 so the series can go out with a bang.

RELATED: Zack Snyder Teases “Super Rad” Wonder Woman Action in Justice League

Earlier this year, Danny Glover told Variety that “there is something of a plan” in regards to a fourth sequel.

“I don’t want to give away the plot on the script that I read, but I found the plot had very strong relevance to some of things that are happening today,” Glover said. “I can say that. But that was in January. History changes so fast. But yes, there’s been talk about it. I can only tell you, if it does happen, there is something extraordinary in it. If Lethal Weapon gives us some sort of contribution to understanding a little bit more. It would be interesting to do. It would be interesting to see how we take this within the political framework we are in; the economic framework that we are in. And especially that framework as opposed to the communities that have been affected by the kind of police violence, the kind of police standards, and the power that they exert as well. And what would be interesting from that vantage point is what that attempt could be like at this particular moment.”

Created by Shane Black, the first film was directed by Richard Donner and released in 1987 and followed beleaguered veteran detective Roger Murtaugh (Glover) as he is partnered with reckless and PTSD-afflicted Martin Riggs (Gibson). The buddy comedy received rave reviews from critics and grossed over $120 million on a $15 million budget and spawned a franchise that included three sequels starring the two and a TV adaptation with Damon Wayans Sr. and Clayne Crawford taking on the roles of Murtaugh and Riggs that ran for three seasons on Fox before being cancelled.

RELATED: Robert Rodriguez Says Alita: Battle Angel 2 Could Happen On Disney+

A fifth film has been in the talks for years, though stalled for a long time as Gibson and Glover have expressed a lack of interest and problems with various scripts offered over time until January saw the news that Lethal Weapon 5 was in active development with the duo returning alongside Donner.

The post Richard Donner Confirms He Will Direct Lethal Weapon 5! appeared first on ComingSoon.net.

Chris Pine Knows the Plot of Patty Jenkins’ Rogue Squadron

In a recent interview, Chris Pine told Collider that his Wonder Woman 1984 director Patty Jenkins revealed the plot of her upcoming Star Wars film, Rogue Squadron, and the actor thought it was “really great.”

“I had spoken to her about, not my involvement, but the story. She talked to me about it,” he said. “It sounds really, really great. But I’m ecstatic for her, excited for what she’s about to embark on. If there’s anyone that can reimagine and breathe fresh, new life into it, it’s her.”

RELATED: Rogue Squadron: Patty Jenkins Teases Story for Star Wars Film

While not much is known about Rogue Squadron, which will serve as the next big-screen Star Wars feature, Jenkins did tell Lucasfilm that she’s excited to take the helm, explaining: “It’s been a lifelong dream as a filmmaker to one day make a great fighter pilot film. As the daughter of a great fighter pilot myself, some of the best memories of my life are of seeing my father’s squadron take off in their F4s every morning, and hearing and feeling the awe-inspiring power and grace. When he passed away in service to this country it ignited a burning desire to one day channel all of those emotions into one great film. When the perfect story arrived in combination with another true love of mine, the incomparable world of ‘Star Wars,’ I knew I’d finally found my next film. I’m extremely honored and excited to take it on, and grateful to Lucasfilm, Disney, and the fans for extending that thrill to me.”

Rogue Squadron will be the next Star Wars film to be released and will also mark the first feature film in the long-running franchise to be directed by a woman. The story will introduce a new generation of starfighter pilots as they earn their wings and risk their lives in a boundary-pushing, high-speed thrill-ride, and move the saga into the future era of the galaxy.

Recommended Reading: Rogue Squadron (Star Wars: X-Wing Series, Book 1)

The Star Wars video game series had first made its launch on December 7, 1998, with Rogue Squadron where it was set between A New Hope and The Empire Strikes Back. It was then followed by three game sequels: Rogue Leader, Rebel Strike, and Episode I: Battle for Naboo. However, before the video game had debuted, the X-Wing: Rogue Squadron novel was first published in 1996 which was the first installment in author Michael A. Stackpole’s X-Wing novel series.

Patty Jenkins’ Rogue Squadron is currently set for a December 22, 2023, theatrical release.

RELATED: Star Wars Mystery Thriller Series The Acolyte Coming to Disney+

Star Wars continues to create more opportunities for women. Along with Jenkins, Victoria Mahoney served as a second unit director on The Rise of Skywalker, Deborah Chow directed an episode of The Mandalorian and is currently steering the highly anticipated limited series Obi-Wan Kenobi for Disney+. Bryce Dallas Howard also directed two well-received episodes of The Mandalorian, including the third episode of the second season, titled “The Heiress.”

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Report: The Flash Begins Production In the U.K. In April

After an endless series of directorial shakeups and changes to the script, it looks like cameras are finally set to roll on Warner Bros.’ standalone Flash movie (via SuperHeroHype). A new listing found on Backstage claims that the film will start shooting in April, with Andy Muschietti planted firmly in the director’s chair.

Production on The Flash will take place at Leavesden Studios in the United Kingdom. Currently, that studio is serving as the home of another highly-anticipated DC movie, The Batman. Backstage also notes that The Flash’s casting process is underway with Rich Delia and Kate Ringsell presiding. Delia isn’t a stranger to DC projects, having been the casting director on Shazam!, DC Universe’s Swamp Thing, and The CW’s Stargirl. Ringsell also worked as a casting associate on the original Wonder Woman movie.

RELATED: Micheal Keaton Won’t Confirm Involvement in The Flash

So far, The Flash’s cast includes Ezra Miller as the title character, with Michael Keaton and Ben Affleck playing two alternate versions of Bruce Wayne/Batman. Additionally, Billy Crudup is reportedly set to reprise his Justice League role as Barry Allen’s father, Henry. However, Ray Fisher’s return as Cyborg seems very unlikely. Earlier today, Fisher said that he will not work with DC Films’ Walter Hamada.

The Flash will hit theaters on November 4, 2022.

Are you happy to hear that the movie finally has a start date? Let us know in the comments down below!

Recommended Reading: Flashpoint

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5 TV Episodes Featuring WW84’s Dreamstone Plot

One of the more head scratching elements of Wonder Woman 1984 was its bizarre Dreamstone plot in which a person’s ultimate wish brings about negative consequences. In the film, Diana’s (Gal Gadot) wish for the return of Steve Trevor (Chris Pine), who was killed off in 2017’s Wonder Woman, is granted but at the expense of her powers. Barbara Minerva (Kristen Wiig) wishes to be more like Diana and ends up becoming just as powerful as Wonder Woman, but loses her, ah, nice personality in the process — and grows Cheetah hair. Max Lord wishes to be the wish maker and becomes sick (?) and so grants the world all of their wishes and steals their health (?) … ?

Yup. That’s the plot of Wonder Woman 2, a film that eschews Diana’s more aggressive personality in order to cater to the four fans of the 1970s TV show starring Lynda Carter. She doesn’t even carry a sword or shield … which is just … eh …

Anyways, if the plot sounds vaguely familiar its because we’ve seen it countless times before in other movies and TV shows. So, if you’re itching for more wacky hijinks in the vein of Max Lord’s yearning to “touch as many people as possible at once” scheme, then check out this list of Five TV Episodes Featuring Wonder Woman’s Dreamstone Plot, which itself is a variation of the “Be Careful What You Wish For” TV trope seen in countless Nick at Night shows, in case you were wondering. Which you probably weren’t. But now you know.

RELATED: CS Soapbox: Wonder Woman 1984 is Basically Superman II

The Simpsons: Treehouse of Horror II (1991)

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This Simpsons episode was the first thing that came to mind during our viewing of WW84. In it, Homer happens upon a monkey’s paw that grants its users four wishes. Except, each wish comes with terrible consequences. For example, Lisa wishes for world peace which beckons aliens to take over the weapon-less planet; Bart yearns for fame, but is quickly ousted after people become tired of his family’s antics. In the end, Homer gives the paw to Ned Flanders, whose wishes go off without a hitch, prompting Homer to wish he had a monkey’s paw. It’s actually one of the better Treehouse of Horror episodes and quite clever in the way it adapts W.W. Jacobs’ 1902 short story, “The Monkey’s Paw,” which is probably why Patty Jenkins and Geoff Johns felt the need to rework the script as a big budget superhero film.

Actually, there are quite a few TV adaptations of “The Monkey’s Paw,” namely an episode of The Monkees (obviously) titled, ahem, “The Monkee’s Paw,” an episode of Are You Afraid of the Dark? titled “The Tale of the Twisted Claw,” and an episode of Creepshow titled, “Night of the Paw,” among many others.

The Brady Bunch: Hawaii Bound (1972)

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In the premier episode of The Brady Bunch Season 4, everyone’s favorite sycophantic family travels to Hawaii where Bobby finds a magical tiki that inevitably brings bad luck to anyone unfortunate enough to hold it. The family shrugs off the warning and instead carry the tiki into a surf competition where Greg is mauled to death by a Great White shark, who then proceeds to devour all the Brady children before following a grieving Carol to the Bahamas. Naturally, Carol begins a tepid affair with Michael Caine but must deal with the Great White personally after it attacks Alice on a banana boat. It’s really great stuff. Though, we’re not sure what happened to the tiki.

Buffy the Vampire Slayer: The Wish (1998)

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In this episode of Buffy, Cordelia is given a pendant with which she wishes the titular Buffy had never come to Sunnydale. Lo and behold, the pendant giver is actually a demon who grants Cordelia’s wish and, in a wacky twist on It’s a Wonderful Life, watches her supposedly shitty existence with Buffy get shittier without her. The Master and his vampires take over without any opposition to challenge them and actually kill Cordelia, who learns that her life quite literally hinges on Buffy’s existence. Basically, she’s everyone in Bedford Falls, whose lives are all the worse without George Bailey. How said is that?

Charmed: Be Careful What You Witch For (2000)

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A genie quite dissimilar from Robin Williams/Will Smith grants the Halliwell’s three wishes. Prue wishes she would feel the same way she did when she first met, ahem, Dick; Piper wishes Dan would move on; and Phoebe wishes for power. Naturally, the wishes all come true albeit with unintended consequences. Prue reverts to a 17-year old mentality, Dan decides to move on to San Francisco and Phoebe suddenly has uncontrollable powers. All three witches run amok until an 8-year old, a virgin, Allison and a cat murder them in cold blood on All Hallows Eve.

Power Rangers Dino Charge: Wishing for a Hero (2015)

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Look, this particular reference is simply to show just how asinine WW84’s plot was. Please don’t get too caught up with our love of Power Rangers, especially Dino Charge, which stands as perhaps the greatest show to ever grace American screens. Anyways, in the episode “Wishing for a Hero,” a monster does some evil magic to wishing cards that allows the user’s wishes to come true. But, again, there’s a price. Koda wishes for a burger and ends up getting sick, Shelby wishes to be alone with Tyler and their date ends with blindness-by-bubbles and ants-on-food madness. There’s also a wish for a new Ranger and other wacky bits, though nothing as ridiculous as an oil tycoon granting all the wishes to the world so he can sure up his failing organs.

Note: there are hundreds of other episodes featuring this trope, but these were the first that appeared when we searched Google these were the best examples we found. Hell, even The X-Files had an episode with a genie who grants literal wishes that turn out to be disastrous. Again, the concept here is that WW84 borrowed a long-used TV trope, which is weird considering the budget and talent involved in the sequel. Then again, as Patty Jenkins no longer allows Wonder Woman to brandish a sword or shield and has inexplicably decided to push the character closer to her TV roots, it makes sense that the plot would adhere to television rather than cinema. But it’s still a weird artistic choice and light years from Diana’s first appearance in Batman v Superman … for better or worse. 

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Zack Snyder Teases “Super Rad” Wonder Woman Action in Justice League

In case you were disappointed with Patty Jenkins’ Wonder Woman 1984, in which Diana never uses her sword or shield, Zack Snyder has made it known that his cut of Justice League will feature “super rad” Wonder Woman action more on par with Batman v Superman: Dawn of Justice.

“Super rad Wonder Woman action. She goes completely off the charts,” Snyder told Beyond the Trailer when asked what kind of action fans can expect from Diana in Justice League. Snyder also elaborated a little more on Diana’s journey, stating: “I feel like Wonder Woman’s journey in our movie is really [that] she’s kind of the glue. A lot of the glue that kind of holds the team together. She is the dose of love that everyone kind of needs. She has a line where she’s talking to Aquaman (Jason Momoa), where he has a slight sort of malice towards his people, and he’s talking about it. And she says, of course, things like, ‘Hate is useless.’ And he’s like, ‘Maybe.’”

Snyder also added: “I feel like that’s kind of her mantra throughout the film, is just saying things to Victor about [how] the world needs his gifts.” Her leadership is sorely needed to guide what Snyder describes as “literally a team of misfits. All the way down to Bruce. Alfred (Jeremy Irons) says to him, ‘A man who broods in a cave for a living isn’t necessarily the right guy to be the leader of the pack.’ So it’s kind of fun. I think that that’s really great.”

RELATED: CS Soapbox: How Jared Leto’s Joker Fits Into Zack Snyder’s Justice League

Zack Snyder’s Justice League will reportedly cost around $70 million in order to properly finish the editing and visual effects of the director’s original vision, as well as the additional photography. The original post-production crew is also expected to return along with the cast members to record additional dialogue for the cut. 

It was revealed at DC FanDome that the movie will release on HBO Max in 2021 by being broken up into four one-hour parts that will also be released as one four-hour film.

Fueled by the hero’s restored faith in humanity and inspired by Superman’s selfless act, Justice League sees Bruce Wayne enlist the help of his newfound ally, Diana Prince, to face an even greater enemy. Together, Batman and Wonder Woman work quickly to find and recruit a team of metahumans to stand against this newly awakened threat. But despite the formation of this unprecedented league of heroes—Batman, Wonder Woman, Aquaman, Cyborg, and The Flash—it may already be too late to save the planet from an assault of catastrophic proportions.

Justice League, which features a screenplay from Chris Terrio from a story by Snyder and Terrio, stars Ben Affleck as Batman, Henry Cavill as Superman, Gal Gadot as Wonder Woman, Jason Momoa as Aquaman, Ezra Miller as The Flash, Ray Fisher as Cyborg, Willem Dafoe as Nuidis Vulko, Jesse Eisenberg as Lex Luthor, Jeremy Irons as Alfred Pennyworth, Diane Lane as Martha Kent, Connie Nielsen as Queen Hippolyta, with J.K. Simmons as Commissioner Gordon, and Amy Adams as Lois Lane.

RELATED: CS Soapbox: THAT WW84 Cameo and What it Might Mean for WW3

Released in November 2017, the film earned mixed reviews from critics and audiences alike, praising the action and performances from Gadot and Miller while criticizing every other aspect of the film, namely the inconsistent tone that many fault Joss Whedon (The Avengers) for after taking over directorial duties from Snyder. With a large budget of $300 million and a break-even point of $750 million, the film is considered a box office bomb having grossed only $658 million.

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