While rumors have been swirling for months that the Golden Globe nominee would be reprising the role for the forthcoming infamous director’s cut, Ryan Reynolds took to Twitter to confirm he will not be returning as Green Lantern for Zack Snyder’s Justice League in March.
It’s not me. But what a cool pirate flag to cameo as Hal. Maybe it’s another GL? But for me, the suit stays in the closet. I mean, computer. https://t.co/QU4NRVadiz
— Ryan Reynolds (@VancityReynolds) February 22, 2021
With the theatrical cut of the film featuring a Lantern and Snyder himself teasing a major hero cameo at the end of his film that hardcore fans of the DC world will go nuts for, many suspected that Reynolds might return to the role at the butt of endless jokes — especially from the Deadpool actor himself — since its release, but while his comments confirm his Hal Jordan won’t be returning, the development of a TV series centered on multiple Lanterns in the works at HBO Max does leave the possibility open for one of them to appear.
Justice League will be hitting HBO Max solely as a four-hour movie on March 18. It was originally 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, but Snyder’s new comments seem to indicate it will solely be released as the one-off film instead of the four-part series. In an informal Q&A with the director via the comments, Snyder also revealed that there will be no after-credits scenes, the release date is still set for March even as potential competition Godzilla vs. Kong just moved to the same month and its runtime is four hours prior to the credits.
Zack Snyder’s Justice League has 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.
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.
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.
The post Ryan Reynolds Shuts Down Zack Snyder’s Justice League Cameo Rumors appeared first on ComingSoon.net.
On March 26, 2019 ComingSoon.net took a jaunt to Village Roadshow Studios idyllic Queensland, Australia to visit the set of a little movie with two very big protagonists: Godzilla vs. Kong! Warner Bros. Pictures and Legendary’s fourth entry in their MonsterVerse series follows in the footsteps of previous entries Godzilla (2014), Kong: Skull Island (2017) and Godzilla: King of the Monsters (2019), all of which share the common thread of the omnipresent Monarch organization monitoring and attempting control of the iconic monsters referred to as Titans.
While there have been many films featuring both Godzilla and King Kong separately, there is a precedent for the two to duke it out with Ishirō Honda’s 1962 cult classic King Kong vs. Godzilla. This new $200 million version from noted genre director Adam Wingard (Death Note, The Guest, Blair Witch) dispenses with the painfully dated depiction of islanders, man-in-suit effects and pretty much everything else from the ’62 film in favor of a neon-soaked modern take that is not a remake but definitely a follow-up to what was mapped out in King of the Monsters, a movie that -at the time of filming- had yet to come out in theaters. Thus, both we as visitors to the set and Wingard as a filmmaker had the unique experience of experiencing a sequel-in-the-making before the previous installment had even been seen by audiences.
Upon entering the War Room we are greeted by vivid neon-soaked production paintings of Kong and Godzilla going at it something fierce in the streets of Hong Kong in the film’s third act. These are instantly iconic images of the two cinematic beasts swinging parkhour-style from buildings or blasting fire breath at each other, respectively. We catch a glimpse at HEAVs: Hollow Earth Aerial Vehicles, a reference to the (IRL crackpot) theory espoused by Dr. Houston Brooks (Joe Morton/Corey Hawkins) in King of the Monsters/Skull Island which turns out to be true. The paintings also tease a massive action set piece where Godzilla attacks a flotilla of ships carrying Kong, where the two of them first face off.
We learn about a few changes since the events of KOTM: Kyle Chandler’s Dr. Mark Russell is now a director at Monarch (marking Chandler’s second Kong movie after Peter Jackson’s 2005 King Kong), and there has been a lot of rebuilding in the wake of monster destruction which is mostly handled by the powerful Apex Corporation. Kong is significantly larger than he was (he was still an adolescent in Skull Island) and Godzilla has suddenly become unstable after a few years of keeping the other Titans contained. Russell’s daughter Madison (Millie Bobby Brown) believes Apex is somehow behind Godzilla’s erratic behavior.
“The movie opens on Skull Island, which has changed a lot in the 40-something years since we last saw it in ‘Kong,’ and when the movie first opens we are witnessing the beginning of a really massive event, a massive mission being undertaken to stem this global threat,” says producer Alex Garcia, who has shepherded all four MonsterVerse movies to the screen. “The Titans are around the planet, they have largely remained dormant at the end of King of the Monsters, we see that there are many Titans in the world and Godzilla has been reinstated as the apex predator and he’s maintaining a balance. But as we come into this movie Godzilla has been acting erratically for the last few months – no one knows why. He’s been attacking certain cities, facilities. Madison Russell – who is Mille Bobby Brown’s character – she is really the advocate for Godzilla in this film. She spends the film trying to vindicate Godzilla. She believes, with all her heart, that for a lot of personal and emotional reasons that there must be a reason Godzilla is doing what he’s doing. She believes that while he’s not benevolent to us, that what he wants is good for all mankind. The other side of the story is that Monarch, in reacting to this global fear of the creatures, has spent a lot of time and a lot of money creating entrances into the Hollow Earth, these areas where it can be an easier entry into that eco-system.”
“At the start of the movie, we see that first mission into the Hollow Earth, and the mission is they’re gonna take this device into the center of the Earth which will draw all the creatures slowly back to the center of the world through various openings and they’ll seal it. The hope is that will bring back a balance and that the fear, the perceived threat, will be stemmed. It goes catastrophically wrong. We got a character, Nathan Lind (Alexander Skarsgaard), who has spearheaded this mission – mission goes completely south – the entire world is in disarray. Madison, who is aware of all this, decides to go off and find out on her own, because she’s afraid of what’s going to happen to Godzilla, she goes on a fact-finding journey to dig into what she believes is a conspiracy caused by this organization called Apex. She launched off with a good friend named Josh (Julian Dennison), and they eventually intersect with Bernie (Brian Tyree Henry), who is a former, disgruntled employee of Apex. The three of them become this funny trio trying to uncover the mystery at the center of Apex.”
Appropriately when we first step on set we pass an oversized Kong/Godzilla-sized slate made for the production. Turns out that everything is big here. Entering the massive “Skull Set” on Stage 8, we are greeted by a MASSIVE practical Ghidorah skull, which was acquired by Charles Dance’s Alan Jonah with the flesh still on it at the tail end of KOTM. There are many multi-colored ultraviolet wires going into the skull from the ceiling. It is highly detailed, with many machine elements embedded into the design. There is a portal through the jaw, with is a control room inside the skull sporting a computer array, where the floor is black and reflective and everything is bathed in blue light, with the overall feel of an MDM nightclub.
We see Millie Bobby Brown (Stranger Things), Brian Tyree Henry (Joker) and Julian Dennison (Deadpool 2) rehearse a scene where they infiltrate the entrance of the jaw. They look above at the clear glass floor and see people walking above them. As they enter sneakily with Millie in the lead, Julian asks, “What are you doing, Madison?”
Above them Shun Oguri as Ren Serizawa says, “Thank you for your service.”
“This is a stupid plan,” whispers Julian.
Then the 15-year-old Millie shoots past her mark by accident, and exclaims “Oh s**t, I’m sorry,” breaking character. She moves back and they continue the take.
“I play Dr. Ishiro Serizawa (Ken Watanabe)’s son,” says Oguri. “He works for Apex, which is a tech company, a privately owned tech company, that’s trying to solve the Titan problems. And he is one of their scientists. His father was very occupied solving world problems with Godzilla, and he did sort of follow into his father’s footsteps, but he doesn’t believe he was heard by his father. In general, he is a character who wants to protect the Earth and that is his goal in general. I think the means to get to the goal is a little bit different from everyone else, and his father.”
“Five years have gone by and Madison has grown up,” Brown tells us later. “It’s definitely a coming of age story for her. Her storyline has definitely evolved greatly in the way she deals with things, her attitude towards life, how much more stronger of a person. Really trying to follow in her mother’s footsteps as well as strength-wise she’s becoming more strong, more independent and understanding what she needs to do. Five years are gone by and she’s basically a badass. In ‘King of the Monsters’ her relationship with Godzilla was pretty distant. There are moments in ‘King of the Monsters’ where she gets to have amazing scenes with him, but definitely this movie is much more about the technical side of it, learning more about the data of him as a Titan. It’s much more technical and she’s becoming more knowledgeable of him.”
“My character, Josh, he’s kind of a nerd, adds Dennison. “He doesn’t really have a lot of friends and Madison’s kind of his only friend and he’s always trailing behind her and she’s always very direct. He’s kind of the realist in the duo, and he kind of brings it, ‘Oh, we shouldn’t do that because we’ll die.’ And she’s, ‘No, it will be fine.’ So, I think they play very well. And they’re a very good mix of just craziness.”
“My character is Bernie Hayes, he used to be an employee of Apex Industries, kind of one of the cogs in the chain of all the things they do there,” says Henry. “He lost his wife along the way and kind of turned in on himself and decided to expose Apex for what it really is. He’s kind of like an inside conspiracy theorist, he runs his own podcast that kind of exposes what’s going on in this random world of technology we have found ourselves in and the corruptness of it all. He ends up being befriended by these two kids – Madison (Millie Bobby Brown) and Josh (Julian Dennison) – to kind of embark on this journey with them to expose this industry that is kind of bringing amongst the destruction with Godzilla – and all the things going on with Godzilla and Kong.”
Each time the team goes again for another take the actors change it up slightly, keeping it fresh. On take 2 Brian says, “This doesn’t seem like a really smart idea. They can come back at any time.” Then Shun enters from above.
On take 3, Julian says, “What are you guys doing?”
“C’mon,” replies Bryan. Millie looks tense while she waits underneath the translucent floor, then covers her mouth.
On take 4, Julian starts with, “Madison, wait.” Then Brian whispers/orders, “Down down down down.”
On take 5 Julian starts with, “What’re you guys doing?” Then Brian whispers/orders “Get down, get down.”
Millie looks at Shun above her, following him with her hands and eyes, then moves forward. Brian reluctantly follows, exclaiming, “That’s it, follow the teenagers.”
Take 6 is similar but moves a lot faster, with Julian starting with, “What’re you doing?” and Brian ending on the sarcastic, “Okay, it’s an adventure.”
On Take 7, Brian takes it further, this time buttoning the scene on, “Okay… ’cause following teenagers always works, Bernie. I’m not gonna survive… You’re gonna survive.”
Then on Take 8, Brian says, “Yeah, that’s it Bernie…. ’cause following teenagers always works out in your favor, right? Now I sound like a pedophile, can’t do that.”
“They’re absolutely incredible, you know, says Henry of his co-stars. “I get a little nervous sometimes when I think about working with teenagers in this capacity because what they have to do and what they’re called upon is so difficult and so hard, and especially with Millie’s character there’s an emotional center for what she’s lost from the previous movie. So my duty is just to be there to nurture them, and just protect them in this way. I kind of refer to myself as the Brienne of Tarth of this movie (laughs). Other than that, you know, it’s a weird kind of comradery of being the adult with these teenagers and you wanna make sure there is an authority figure, that there is someone watching out for them, but at the same, I’m still going through what I’m going through of trying to figure out how this industry can do something so harsh and so mean and so cruel to the world, while also trying to give them hope for the future. I feel like that’s my place as Brian with them as actors too, honestly.”
Godzilla vs. Kong is set to open in theaters and stream on HBO Max beginning March 31.
After unveiling special new prints of the iconic John Carpenter horror-thriller last year from Patrick Connan and Tom Whalen, Vice Press has revealed they are reuniting with Bottleneck Gallery for a special new lenticular print of the original poster for The Thing by Drew Struzan! A sneak peek of the poster can be viewed below!
— Vice Press (@VicePressNews) February 22, 2021
Well known to John Carpenter and cinema fans alike, Drew’s iconic imagery for The Thing comes to life in these amazing lenticular prints, with Vice Press having worked closely with the original source images to ensure that the art is replicated to the highest quality.
Vice Press and Bottleneck are collaborating to develop two versions of the print, one is a one-millimeter thin flexible PET lenticular print that is mounted on dense paper back while the other is a four-millimeter thick print, akin to plexi-glass, called polystyrene. The thinner versions will be limited to 300 copies and will sell for approximately $100 while the thicker version will be limited to 150 copies and will sell for approximately $200, all of which are set to ship sometime in June or July this year and will go on sale on February 25 at noon EST here!
The original film, which was technically the second adaptation of John W. Campbell Jr.’s Who Goes There? after the 1951 The Thing From Another World, followed a group of American researchers in the Antarctic who discover a parasitic alien organism that assimilates and imitates other lifeforms. As it makes its way through the group, disguising itself as various members, paranoia sets in and those still human seek to find a way to kill it off before it finds a way to get to civilization.
The Carpenter film was considered a disappointment upon release, earning mixed reviews from critics and audiences alike at the time and only grossing $19.6 million on its $15 million in the US, but in the years following its release, it became a cult classic, finding a large audience upon home release. Critics also revisited the film in the years since and most changed their tune, praising its paranoia-driven atmosphere, shocking visual effects and strong performances from its cast, led by Kurt Russell.
The film spawned a franchise of its own, including haunted house attractions, novelizations and sequel comic books, a 2002 video game and a prequel in 2011 from Universal Pictures, which received mixed-to-negative reviews and grossed only $31.5 million on a $38 million budget.
The post Vice Press & Bottleneck Gallery Team for Lenticular The Thing Posters! appeared first on ComingSoon.net.
As the month of February begins to come to a close, Amazon Prime Video has unveiled its full list of film and TV titles set to stream in March, including the long-awaited Coming 2 America, the animated series adaptation of Robert Kirkman’s Invincible and more! The full list can be viewed below!
Only on Prime Video, be sure to also check out Amazon Original Movies and Series recently nominated for 10 Golden Globes awards, including:
Women’s History Month and International Women’s Day
Starting March 1, Prime Video will feature a dedicated landing page with a curated selection of titles to honor Women’s History Month and International Women’s Day, celebrating Women Who Dare and highlighting the voices of women actors, producers, writers and filmmakers.
Here’s what’s new on Prime Video in March
March brings new Amazon Original Movies and Series including Coming 2 America (2021), the highly anticipated sequel to the Eddie Murphy and Arsenio Hall 80’s comedy classic; the premiere of Invincible, an adult animated superhero series from The Walking Dead creator Robert Kirkman and featuring the voice of Steven Yeun; La Templanza (The Vineyard), a Spanish romantic drama based on the novel by María Dueñas set in the second half of the 19th century; and Making Their Mark, an Australian Football League docu-series.
Can’t Miss Amazon Original
New Movies to Prime:
Prime Video Channels Sampling:
Here’s what’s new on IMDb TV (Amazon’s free streaming service) in March
New IMDb TV Originals:
New Movies to IMDb TV:
The full list of titles streaming on Amazon Prime Video in March are as follows:
48 Hrs. (1982)
Another 48 Hrs. (1990)
As Good As It Gets (1997)
Attack Of The 50 Foot Cheerleader (2012)
Attack The Block (2011)
A Very Brady Sequel (1996)
Back To The Future (1985)
Back To The Future Part II (1989)
Back To The Future Part III (1990)
Due Date (2010)
E.T. The Extra-Terrestrial (1982)
For Colored Girls (2010)
I Can Do Bad All By Myself (2009)
Instant Nanny (2015) (UP Faith & Family)
In The Line Of Fire (1993)
Mae West: Dirty Blonde (2020) (PBS Living)
Neil Young: Heart Of Gold (2006)
Patriot Games (1992)
Patriots Day (2017)
Rain Man (1988)
Shine A Light (2008)
Sydney White (2007)
The Full Monty (1997)
The Spirit (2008)
The Terminal (2004)
The Whole Nine Yards (2000)
Tyler Perry’s Meet The Browns (2008)
Wet Hot American Summer (2001)
American Masters – Dorothea Lange: Grab a Hunk of Lightning (2014) (PBS Living)
And She Could Be Next: Season 1 (PBS Documentaries)
Brad Meltzer’s Decoded: Season 1 (History Vault)
Breathless: Season 1 (PBS Masterpiece)
Captain Marleau: Season 1 (MHz Choice)
Civilizations: Season 1 (PBS Documentaries)
Dorothy & the Wizard of Oz: Season 1 (Boomerang)
Ella the Elephant: Season 1 (Kidstream)
Fifth Ward: Season 1 (ALLBLK)
Jo Frost: Nanny on Tour: Season 1 (UPP Faith & Family)
Life With Elizabeth: Season 1 (Best TV Ever)
London Kills: Season 1 (Acorn TV)
Nightwatch: Season 1 (A&E Crime Central)
Not for Ourselves Alone: The Story of Elizabeth Cady Stanton & Susan B. Anthony: Limited Series (PBS Documentaries)
Range Rider: Season 1 (Best Westerns Ever)
Rhymes Through Times: Season 1 (Noggin)
Somewhere South: Season 1 (PBS Living)
The Paris Murders: Season 1 (PBS Masterpiece)
The Returned: Season 1 (Sundance Now)
Out of Africa (1985)
Coming 2 America – Amazon Original Movie (2021)
Jack And Jill (2011)
Honest Thief (2020)
Making Their Mark – Amazon Original Series: Season 1
Words On Bathroom Walls (2020)
Invincible – Amazon Original Series: Season 1
La Templanza (The Vineyard) – Amazon Original Series: Season 1
The Ghost Writer (2010)
IMDb TV New in March – Available for free, no Prime membership needed.
Project Blue Book S1-2
Mary Queen Of Scots (’18)
Monsters Vs. Aliens (Dwa)
The Last Witch Hunter
Fast Times At Ridgemont High
The Hurt Locker
Madea’s Witness Protection
Coal Miner’s Daughter
The Guardian (’90)
Land Before Time Ii: The Great Valley Adventure
Land Before Time Iii: The Time Of The Great Giving
Land Before Time Iv: Journey Through The Mists
Land Before Time Ix: Journey To The Big Water
Land Before Time Sing Along
Land Before Time Sing Along 2
Land Before Time V: The Mysterious Island
Land Before Time Vi: The Secret Of Saurus Rock
Land Before Time Vii: The Stone Of Cold Fire
Land Before Time Viii: The Big Freeze
Land Before Time X: The Great Longneck Migration
Land Before Time X: The Great Longneck Migration
Land Before Time Xii: Day Of The Flyers
Land Before Time Xiii: The Wisdom Of Friends
Land Before Time: Journey Of The Brave
Meet Joe Black
Nanny Mcphee Returns
Rock The Kasbah
Rules Of Engagement
Scent Of A Woman
Sea Of Love
The Sum Of All Fears
Sweeney Todd: The Demon Barber Of Fleet Street
What Dreams May Come
Pride + Prejudice + Zombies
No Strings Attached
The post Amazon Prime Video March 2021 Movie and TV Titles Announced appeared first on ComingSoon.net.
Just in time for the true crime drama’s digital debut, ComingSoon.net got the opportunity to chat with four-time Emmy nominee Michael K. Williams to discuss Body Brokers as well as his possible return to the final season of Netflix’s F is for Family and hopes for a second season of HBO’s Lovecraft Country.
ComingSoon.net: Body Brokers is a really interesting concept and it’s a field I feel is not really explored too often on film. What about the project really drew you to it?
Michael K. Williams: I was pretty taken back that this is actually based on real events. This is, in my opinion the story and the poster child of capitalism taking advantage of vulnerable people. The same mentality that we reveal in Body Brokers, to me, is the same mentality with for-profit prisons, like these institutions are meant to rehabilitate and help to correct people’s wrongs and they get exploited. It becomes more about filling the bed than actually helping people that are in those beds, it’s just kind of disheartening, in my opinion. Then there was Wood. Wood was a huge draw for me. In a lot of the films or the stories that we’ve told or that I’ve seen that deal with addicts or recovery, it’s implied that just because a person puts down the drug or alcohol that all their problems go away and that couldn’t be further from the truth. The drug is not the problem, the drug is a symptom of the problem and there’s all sorts of character defects that still exist there when the drugs are gone. To me, Wood was a perfect example of that.
CS: So what kind of research did you find yourself conducting prior to starting filming, to really get in tune with the story?
MKW: There wasn’t really much research that was needed. John Swab, in my opinion, he did all the groundwork for us. You know, for me at least, I just needed to lock in and look for the truth that was already on the page. But Wood and the capitalists, it was kind of black and white until it came time when we had to make a decision that involved Utah toward the end. Other than that, he’s pretty much black and white, man. He’s a poster child for capitalists and as far as the world was concerned, everything you see on that and every frame of that movie, John Swab had already put it on the page.
CS: What did you find were some of the biggest creative challenges for you then, getting to the heart of Wood?
MKW: I don’t know if it was anything that was hard, but I will tell you one of the more liberating scenes when he stomps that doctor out to death, when he kills that guy. That felt really liberating in that moment, I understood where that rage is coming from of being looked down upon. It felt familiar and there was also the moment when he realized that he cared. He genuinely cared about Utah, when they had that conversation in the car, you know? That’s a really beautiful moment between Wood and Utah and Jack Kilmer, man, he just brought such a vulnerability and an honesty and a strength to Utah, it was just all right there in his eyes, man. Those two moments were very liberating for me.
CS: Since you mention Jack, so much of the film really rides on the evolving chemistry that you two have with one another. What was it like for you sort of building that chemistry with Jack prior to filming?
MKW: It was effortless, he and I, I think we met on set. If you ever get to talk to him, he is effortless to, you know, I can’t really explain it, but like we say in Brooklyn, real recognize real. He’s a real young man. You know, we met on set and we actually ended up, once we worked together, then we began to hang out. It was a flow, like we hung out a little bit in Tulsa and I got to know him off the set. That happened again, like I said, after we started working, so he brings this energy to the set that you look him in his eyes and there’s nothing that needs to be said. You know where you need to go to connect because he’s all the way in it and truly, I really enjoy working with him, really enjoy it.
CS: That’s fantastic. What was it also like then building the chemistry with Frank Grillo? You two don’t have too many scenes together, but the chemistry you do have in those few scenes is really intriguing to watch.
MKW: I love the connection between — I forget Frank’s character’s name right now, but I love the dynamic because after we see Wood lose his temper and refer to his old ways, we see when he’s talking to Frank Grillo’s character, all of a sudden now the man becomes the child. You know, there was this moment when they’re talking in the parking lot and Wood is asking him what to do with the body and you could see the change in Wood’s energy, like Frank’s character became the fixer and Wood became the bright-eyed, the wide-eyed kid who needed to be told what to do. Frank brings this thing, he’s got this sinister-ness to him, but he gives you this assurance that everything’s going to be all right. He brought that vernacular, again effortless, he gave me what I needed to shift. Because we need to see a shift in Wood at that point. We didn’t have many scenes together, we really had like, I think really that one, but yeah, I needed that. What he brought to the table, I needed that for my shift, and it was a great exchange of energy, great.
CS: A lot of the shooting locations, too, in the film really interested me, it seemed like some of it was here in LA, but then some of it seemed really sort of ambiguous as to where it was. Could you tell me what shooting on some of the locations was like?
MKW: Most of the film, I think, I remember was shot in Tulsa, Oklahoma, I believe that’s where John Swab is from, and that’s a really forgotten city for a multitude of reasons. The opioid epidemic ran rapid there, if you remember when one of those pharma companies had to pay off all those millions of dollars or trillions of dollars or billions, whatever, but I think Johnson & Johnson made the payout for the opioid, the epidemic, when they caught them coming and going. That money went to the City of Tulsa, Oklahoma. So you know, to see the city coming out of that and there are a lot of people hurting themselves in that city, and you can see the city trying to come back from that when we were filming. That was really humbling to see. What blew my mind, what really dropped me to my knees was actually standing on the corner of Greenwood, Archer and Pine which is where Black Wall Street was, and knowing what happened there. I don’t know if you know this, but we were filming — I filmed Body Brokers while I was on break from filming Lovecraft Country, So to have that experience of going to Tulsa to tell a story like this, like Body Brokers, in a city like Tulsa, to have the opportunity to see where the ancestors used to live and what it looks like now, I can’t really put it into words, electrifying, maybe. A lot of emotion. I want to be clear, they’re coming back. The spirit of the people is alive and you see that. They may be down, but they ain’t out. The people, the spirit of the people in Tulsa, Blacks and whites, you can see the fight in their eyes, man. That city is on the mend and I just want to make that clear. I saw that, it was very humbling to see the fight that was still in that city.
CS: That’s incredible. Since you do mention it, Lovecraft Country ended not too long ago with its first season and there’s been a lot of — personally, I’m hopeful for a second season, but we just heard word that the writers are still looking for a possible path for the future. Can you see yourself coming back for more, if they found a path for Montrose?
MKW: Yeah, you know, it’s a lot of we’ll have to wait and see. But if there’s one thing I’ve learned in Hollywood, is they say to never say never. [Laughs] But yeah, you know, I could see me going back if things aligned and the paths were still aligned. You know, that show took three years to write, so I’m not expecting anything anytime soon. By the time they were ready to start casting actors, those writers have already given two and a half years of their life in the writers’ room. I could be wrong, but I think it would be very ambitious of us as an audience to expect another season right away. I could be wrong, I don’t know.
CS: Sure. I can appreciate that. For my final question, we also heard back in October that F is for Family would be coming back for one more season and I’m curious if Bill Burr has reached out to you to have you come back as Smokey for any more episodes in the final season?
MKW: [In Smokey’s Voice] Damn, they want to hear that Smokey might be coming back? I don’t know, motherfucker, I hear he might be coming back. He might, he might, he might be coming back. One mo’ time, one mo’ time. [Laughs] I heard rumors that there’s going to be another season and I do hear that.
CS: That would be awesome to see you come back in that role because that is one of my favorite side characters on that show.
MKW: I think you stand alone because that’d be one of the funniest things I’ve ever worked on that no one knows about, so I mean, that really made my day that you even know what that is because like, nobody in my house knows. [Laughs]
Written and directed by John Swab, Body Brokers is based on a true story and centers on a drug addict who is brought to Los Angeles for treatment, but soon learns the treatment center is not meant to help people but instead acts as a coverup for a fraud operation enlisting addicts to recruit other addicts.
The ensemble cast for the film includes Jack Kilmer (The Nice Guys), Williams, Jessica Rothe (Happy Death Day), Alice Englert (Them That Follow), Peter Greene (The Mask), Frank Grillo (Boss Level), Melissa Leo (I Know This Much is True) and Thomas Dekker (Miss Bala)
Body Brokers is now available on digital platforms and VOD, the first season of Lovecraft Country is available to stream on HBO Max and the first four seasons of F is for Family are available to stream on Netflix now!
The post CS Interview: Michael K. Williams on Body Brokers, F is for Family & More appeared first on ComingSoon.net.
While currently at work on his latest Jason Statham-led spy thriller Five Eyes, Guy Ritchie has already found his next project in the form of a film adaptation of Damien Lewis’ World War II history novel Ministry of Ungentlemanly Warfare for Paramount Pictures, according to Deadline.
The novel, published in 2016 by Quercus, explores the era of 1939 WWII when Britain was being beaten down by Germany in mainland Europe and saw Winston Churchill respond by electing to stop fighting under accepted rules of engagement and build a band of warriors who became the first secret operatives to strike behind enemy lines. Essentially Britain’s first black ops unit, members were recruited knowing they would likely not make it out alive but formed a close bond with the rest of their group and won numerous key victories against the Nazis.
Paramount acquired the rights to the novel since 2015, ahead of its publishing and outbidding a number of other studios, and have landed the Aladdin and Sherlock Holmes filmmaker to write and direct the project, with previous writers attached to the project including Arash Amel (A Private War), Paul Tamasy (The Outpost) and Eric Johnson (The Finest Hours).
Ministry of Ungentlemanly Warfare is set to be produced by Jerry Bruckheimer and Chad Oman via the former’s Jerry Bruckheimer Films banner while Ivan Atkinson is set to executive produce and Paramount’s Senior VP of Production Vanessa Joyce overseeing the project for the studio.
(Photo Credit: Mike Marsland/WireImage)
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As production on the romantic comedy is about to get underway, Amazon Studios has unveiled the cast for I Want You Back which features an ensemble roster of stars including Charlie Day (It’s Always Sunny in Philadelphia), Jenny Slate (Big Mouth), Gina Rodriguez (Kajillionaire) and more.
Emma (Slate) and Peter (Day) thought they were on the precipice of life’s biggest moments – marriage, kids, and houses in the suburbs – until their respective partners dumped them. In their thirties and terrified that they have missed their shot at happily ever after, Emma and Peter are horrified to learn that their partners have already moved on. With no prospects on the horizon and the threat of dying alone hanging over their heads, they hatch a desperate plan to put an end to their exes’ new relationships and win them back.
“It’s a dream to be able to bring Isaac and Elizabeth’s brilliantly authentic vision to the world! It will surely capture the hearts of our Prime Video customers,” Jennifer Salke, Head of Amazon Studios, said in a statement. “We couldn’t be more excited to see this amazing ensemble come aboard this fun and witty story that audiences will fall in love with.”
Alongside Day, Slate and Rodriguez, the ensemble cast for the film is set to include Scott Eastwood (Pacific Rim: Uprising), Manny Jacinto (The Good Place), Clark Backo (Letterkenny), Jami Gertz (Difficult People), Jordan Carlos (The First Wives Club), Midori Francis (Dash and Lily), Mason Gooding (Love, Victor), Isabel May (Alexa & Katie) and Luke David Blumm (The King of Staten Island).
The film is being penned by Love, Simon writers and This Is Us co-showrunners Isaac Aptaker and Elizabeth Berger and helmed by Jason Orley (Big Time Adolescence), with Peter Safran and John Rickard producing for The Safran Company alongside The Walk-Up Company’s Aptaker and Berger.
“I immediately fell in love with Isaac and Elizabeth’s funny, heartfelt script, and I am so honored that they, along with the amazing team at Amazon are allowing me to bring their timeless love story to life, and that I get to do it with such an incredible group of actors,” Orley said in a statement.
Production on I Want You Back is set to begin in early March in Atlanta.
(Photo Credits: Getty Images)
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Universal Pictures and DreamWorks Animation have provided ComingSoon.net with an exclusive The Croods: A New Age deleted scene from the animated hit’s upcoming Blu-ray and digital release. The film is now available on digital platforms, and on Blu-ray, 4K Ultra HD and DVD on February 23. In the clip the hilarious Ryan Reynolds gives us a top notch depiction of a teenage boy in love and in distress. Check out the animatic clip in the player below!
It’s bonus features will include: two exclusive animated shorts, a gag reel, deleted scenes and activities the whole family can enjoy together, this fun and entertaining adventure is the must-own family movie of the new year! The full art for the Blu-ray copy can be seen in the gallery below!
Bonus Materials on digital, Blu-ray, 4K Ultra HD and DVD:
>DEAR DIARY: WORLD’S FIRST PRANKS – In this exclusive original short film, Eep reveals how a comical accident led her and Dawn to discover the joys of tricking their families and set about performing “the world’s first pranks”
>FAMILY MOVIE NIGHT: LITTLE RED BRONANA BREAD – In another exclusive original short, join the Croods as they settle down for a very prehistoric family movie night experience. With shadowy figures around every corner, Eep must keep Gran and her delicious Bronana Bread safe from punch monkeys.
>TO: GERARD – In this original DreamWorks animated short, an elderly man brightens the day of a little girl through magic.
>THE CROODS’ FAMILY ALBUM – Meet the actors who portray the Croods and their new cast members, the Bettermans. What makes them tick, how do they resemble their characters and what lessons have they learned from making the film.
>THE EVOLUTION OF… – In this fun making of, we hear from the filmmakers and stars of THE CROODS: A NEW AGE about the evolution of the Croods franchise.
>HOW TO DRAW: CAVEMAN STYLE – Join one of DreamWorks talented illustrators inside the cave as they demonstrate how to draw our favorite characters.
>FAMILEAF ALBUM – Inspired by the prehistoric family album given to guy by the Betterman’s, we create a fun video showing you how to make your own using real leaves or green construction paper for pages and string (or even dental floss!) to hold it all together.
>STONE AGE ATTACK – A three-part featurette highlighting fun, easy to make recipes that kids and parents can make together.
>FEATURE COMMENTARY WITH DIRECTOR JOEL CRAWFORD, PRODUCER MARK SWIFT, HEAD OF STORY JANUEL MERCADO AND EDITOR JIM RYAN
The Croods have survived their fair share of dangers and disasters, from fanged prehistoric beasts to surviving the end of the world, but now they will face their biggest challenge of all: another family. The Croods need a new place to live. So, the first prehistoric family sets off into the world in search of a safer place to call home. When they discover an idyllic walled-in paradise that meets all their needs, they think their problems are solved … except for one thing. Another family already lives there: the Bettermans. The Bettermans (emphasis on the “better”)—with their elaborate tree house, amazing inventions and irrigated acres of fresh produce—are a couple of steps above the Croods on the evolutionary ladder. When they take the Croods in as the world’s first houseguests, it isn’t long before tensions escalate between the cave family and the modern family. Just when all seems lost, a new threat will propel both families on an epic adventure outside the safety of the wall, one that will force them to embrace their differences, draw strength from each other and forge a future together.
DreamWorks Animation invites you on an all-new adventure back in time with The Croods: A New Age. The sequel sees the return of the first film’s voice cast consists of Nicolas Cage (Mandy), Emma Stone (Maniac), Ryan Reynolds (Deadpool 2), Catherine Keener (Kidding), Cloris Leachman (American Gods) and Clark Duke (I’m Dying Up Here) as The Croods face their biggest threat since leaving the cave: another family.
New voice cast members include Star Wars alum Kelly Marie Tran as the only child of the Bettermans named Dawn with Leslie Mann (Blockers) and four-time Emmy winner Peter Dinklage (Game of Thrones) as Dawn’s parents. The sequel is directed by Joel Crawford with Mark Swift set to produce.
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As the film gears up for its select theatrical and digital debut, IFC Midnight has shared an exclusive clip from debuting writer/director Keith Thomas’ horror-thriller The Vigil teasing the supernatural chiller steeped in ancient Jewish lore and demonology. The clip can be viewed in the player below!
The Vigil is a supernatural horror film set over the course of a single evening in Brooklyn’s Hasidic Borough Park neighborhood. Low on funds and having recently left his insular religious community, Yakov reluctantly accepts an offer from his former rabbi and confidante to take on the responsibility of an overnight “shomer,” fulfilling the Jewish practice of watching over the body of a deceased community member. Shortly after arriving at the recently departed’s dilapidated house to sit the vigil, Yakov begins to realize that something is very, very wrong.
The cast for the film includes Dave Davis (The Big Short, The Walking Dead), Malky Goldman (Unorthodox, God of Vengeance), Menashe Lustig (Menashe) and Lynn Cohen (The Hunger Games: Catching Fire, The Affair).
“This sequence comes at a pivotal moment in the film, the sort of horror movie “turning point” when our main character, Yakov, realizes that the house is no longer safe to be inside,” Thomas wrote in a statement to ComingSoon.net. “And while he’s desperate to get Mrs. Litvak to join him in leaving this doomed place, she has lived there long enough to know there is no easy escape…Both Lynn Cohen and Dave Davis turn in great, tense performances in this scene, and I especially love the way Lynn breaks into that sinister and yet empathetic smile.”
The Vigil, which is produced by Adam and Raphael Margules and J.D. Lifshitz and executive produced by Daniel Finkelman, is set to hit select theaters, digital platforms and VOD on Friday, February 26.
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Coming on the heels of co-starring in the Allison Janney-led dark crime comedy Breaking News in Yuba County, Golden Globe nominee Mila Kunis has found her next feature project in the form of an adaptation of Jessica Knoll’s Luckiest Girl Alive at Netflix.
First published in 2016 by Simon & Schuster, the story centers on Ani FaNelli, a sharp-tongued New Yorker who appears to have it all: a sought-after position at a glossy magazine, a killer wardrobe, and a dream Nantucket wedding on the horizon. But when the director of a crime documentary invites her to tell her side of the shocking incident that took place when she was a teenager at the prestigious Bradley School, Ani is forced to confront a dark truth that threatens to unravel her meticulously crafted life.
The script for the film is being developed by Knoll herself with Mike Barker (Black Match, The Handmaid’s Tale, Fargo) attached to direct the mystery drama-thriller. Barker, whose previous film credits include Best Laid Plans, To Kill a King and A Good Woman, most recently partnered with the streaming platform to helm the pilot for the highly-anticipated series adaptation of Neil Gaiman’s The Sandman and four episodes of the drama series Hit and Run.
Made Up Stories’ Bruna Papandrea and Jeanne Snow will produce the project alongside Erik Feig and Lucy Kitada for PICTURESTART and Mila Kunis via her Orchard Farm Productions banner, with Knoll, Orchard Farms’ Lisa Sterbakov, PICTURESTART’s Shayne Fiske Goldner and Made Up Stories’ Steve Hutensky all set to executive produce.
(Photo Credit: Michael Kovac/Getty Images for Acura)
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