Katie Dippold penning new Haunted Mansion movie for Disney

It’s been a decade since word first broke that Guillermo del Toro (Pinocchio) would be writing and producing a film based on Disney’s The Haunted Mansion and now it appears the studio is going a different route as Katie Dippold (Ghostbusters) has been hired to pen the script for a new adaptation, according to The Hollywood Reporter.

RELATED: Fear Street Film Trilogy Moving from Disney to Netflix

Plot details are currently being kept under wraps for the new adaptation of the Burbank-based ride, especially given the only real story for the attraction is that guests are traveling through the titular location full of supernatural frights including a graveyard alive with spirits and the ghastly psychic Madame Leota.

The 50-plus-year-old ride was previously adapted for film in 2003 with the Eddie Murphy-starring pic of the same name directed by Rob Minkoff (Mr. Peabody & Sherman) that took a more liberal approach to the source lore and received generally negative reviews from critics for its lack of effective scares or humor, though it was a box office hit, grossing over $180 million on its $90 million budget.

Del Toro previously made the surprise announcement at 2010’s San Diego Comic-Con International that he would be writing and producing a new, darker take on the ride for the House of Mouse, aiming for a PG-13 rating and seeing the Hatbox Ghost as the main antagonist to the story, while word broke in 2015 that Ryan Gosling (First Man) was in talks to star in the project. The last word spoken of the project came in 2019 when del Toro revealed that he was unsure if the project would ever get off the ground though still held a good feeling about the scripts he turned into the studio and that he believed they still had interest in it.

RELATED: Disney Recasts Raya and The Last Dragon With Kelly Marie Tran as New Lead

After working on MADtv as a staff writer from 2006-2009 and a staff writer and co-producer on NBC’s Parks and Recreation, Dippold entered the world of films with the action comedy The Heat starring Sandra Bullock and Melissa McCarthy, which received generally positive reviews from critics and audiences, and followed it up with the all-female reboot of Ghostbusters, which she co-wrote with director Paul Feig in her third collaboration with him.

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CS Visits the Set of The New Mutants

It’s Wednesday, August 16, 2017 and we are at the Medfield State Hospital in Massachusetts, which has played host to several film shoots in the past including The Box and Shutter Island. On this night 20th Century Fox (before it became 20th Century Studios under Disney) is filming The New Mutants, what would ultimately become the final installment in Fox’s storied X-Men franchise. At the time, though, director Josh Boone (The Fault in Our Stars) had no idea of the many twists of fate that would leave his film unreleased until this very weekend just over three years later, August 28, 2020.

RELATED: CS Interview: Co-Writer/Director Josh Boone on The New Mutants

At the time of shooting the New Mutants crew had taken over five buildings at the imposing Medfield, which in the movie is referred to as Milbury Hospital. All five buildings represent one in the film. Outside the main building is a big, ominous angel statue in a fountain. The epigraph reads: “In the shadow of your wings I will take refuge.”

We head inside one building, where we find the common room set full of old furniture, board games, a stereo/tapedeck, TV, DVDs (Buffy and X-Files), a foosball table, books, art supplies/easel, loudspeaker, and a security camera to keep an eye on our teenage heroes. All the games are Greeked, with made-up names like Oh Snap!, Electric Quiz, Gravity Maze, Chaos, Password, Codenames, etc. The film was originally meant to be set in the 1980’s, but the studio told them to change it to modern day after the poor reception of 80’s-set X-Men: Apocalypse. That said, the setting still has a bit of a timeless quality, not really of any one era.

Outside at the graveyard exterior the ground is covered with fake snow. It is, after all, summer. They have the stunt double for Anya Taylor-Joy’s Illyana Rasputin/Magik attached to wires holding a glowing sword that will be enhanced with CG later. They’re filming her fall from the sky from directly overhead into the snow. She is lifted up by a huge crane with a light on the top that flares up when she falls.

Within the context of the story it’s supposed to be hard to tell whether this is a flashback, hallucination, or actually happening. Josh Boone tells us Magik is coming out of limbo in the shot. In video village artist Bill Sienkiewicz, the comics artist who originated the 80’s “Demon Bear” storyline on which the movie is based, sits with Boone sketching on a drawing pad and chatting with him between takes.

After they do the wide shot of Magik falling out of limbo, they do a new setup with Henry Zaga’s Roberto da Costa/Sunspot carrying an injured Dani Moonstar/Mirage (Blu Hunt), with Charlie Heaton’s Sam Guthrie/Cannonball and Maisie Williams’ Rahne Sinclair/Wolfsbane heading to the rear of the facility.

In yet another setup, Cannonball runs out of the building into the snow looking up at something we don’t see which we discern is Demon Bear, a giant bear-like creature that draws power from negative emotions first introduced in the pages of The New Mutants #18. Cannonball is wearing a hoodie and baseball cap. He has a visible bruise on his cheek, and brandishes an arm cast for the whole movie. He looks like he’s starting to prep himself for something, trying to use his powers of flight.

RELATED: CS Interview: Alice Braga Talks Playing Dr. Reyes in The New Mutants

As it stands now, on the day of the film’s release when it is getting pounded by critics (and it’s co-creator) and seemingly buried in a COVID-19 market where many theaters have yet to reopen, The New Mutants stands much like Charlie Heaton did that night: Bruised, bandaged and trying hard to muster the strength to save the day. And, like that final Cannonball scene from that night in 2017, The New Mutants is a franchise that we never got to see truly take flight.

The New Mutants is now playing in theaters.

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CS Interview: Alice Braga Talks Playing Dr. Reyes in The New Mutants

ComingSoon.net had the opportunity to chat with 20th Century Studios’ The New Mutants star Alice Braga about taking on the Marvel Comics character Dr. Cecilia Reyes in the new horror thriller, her time on set, and what it feels like to finally have the movie released and now playing in theaters.

RELATED: Some Memories Never Fade in Terrifying New Mutants Clip

20th Century Studios in association with Marvel Entertainment presents The New Mutants, an original horror thriller set in an isolated hospital where a group of young mutants is being held for psychiatric monitoring. When strange occurrences begin to take place, both their new mutant abilities and their friendships will be tested as they battle to try and make it out alive.

Pick up a copy of the New Mutants Vol. 1 here!

The film stars Anya Taylor-Joy (Split, The Witch) as Magik and Maisie Williams (Game of Thrones, gen:LOCK) as Wolfsbane, with Henry Zaga (13 Reasons Why) as Sunspot, Blu Hunt as Dani Moonstar, and Stranger Things’ Charlie Heaton as Cannonball.

The New Mutants adapts the monthly comic book series of the same name that launched in 1982. Created by Chris Claremont and Bob McLeod, The New Mutants follows on a group of teenage mutants as heroes in training in the Marvel Universe. The feature is expected to be a departure from the sci-fi-action spectacle of other X-Men films and is instead being described as a “Stephen King meets John Hughes”-style horror movie.

In November 2017, ComingSoon.net exclusively revealed a leaked concept animatic from the film, which features Wolfsbane, Magic, and Cannonball facing the Demon Bear.

RELATED: CS Interview: Co-Writer/Director Josh Boone on The New Mutants

ComingSoon.net: Great to see you again. I was lucky enough to be on the set. I guess that was two years ago.

Alice Braga: Yeah, three. I think it was 2017.

CS: That’s right, yeah. My daughter hadn’t been born yet. Oh my god.

Braga: Yeah.

CS: I remember having this thought like, man, after what I’ve seen today of the three X-Men movies they’re making right now, this is the one I want to see the most. And I still haven’t seen it yet.

Braga: Thank you so much for saying that. Appreciate it.

CS: I’m obviously a little handicapped from not having seen the film, but I guess the first most obvious question is just, how does it feel to finally see it getting out there, and you know, even amidst all the mess that we’re going through right now?

Braga: It’s been really special. I mean, we’ve been waiting for such a long time. We had so many changing dates for the release that it’s exciting to feel the audience, you know, the fans waiting with us side-by-side for the film to come out. So I think that warms my heart to, okay, finally we’re bringing it to them. And especially in a hard time for the world, for everyone. So I think the movie will bring something that people are excited to see in times that is hard. I think it’s special. So I’m really excited. I was really excited to promote and to talk to the journalists, the fans, for everyone to bring it on.

CS: Yeah. And would it be fair to call your characters sort of like a Nurse Ratched kind of a character within this film?

Braga: Yeah, I mean, Josh [Boone] and I discussed a lot about references and stuff like that right before we started filming, when I joined the cast. And it was definitely one of our references, not necessarily for her behavior or for me to copy her, but there is this kind of vibe. And Josh is a movie fan. I mean, like he loves comics. He loves movies. He loves horror films, thrillers, psychological thrillers, so definitely one of his references was that and we discussed. We talked about it and it is, in a way. I mean, we got the comics because the character is from a different comics… My character’s Cecilia Reyes. So specifically, I tried to merge a little bit into that like, getting that character into this world with that kind of psychological thriller vibe.

CS: Yeah, and when you were on set, I don’t even think I asked you about this when we were on set, but when you guys were all together, did you like, keep a certain distance from everybody else or was it just like regular camaraderie on the set?

Braga: No, we’re actually very close. I mean, like I called them the kids, because for me, they’re my kids. But they were like 20… So they wanted to party. They were a little bit bored. So we would go out sometimes. And we would sometimes go to the movies together.

CS: Sure.

Braga: But sometimes, I would just stay in reading and being the older person in the gang. But it was great. I mean, like it was a very special group of people. It felt like we were doing an independent film because it’s such a small cast and crew. It was very, very exciting.

CS: Yeah, I actually went to school in Boston, so I know everything kind of shuts down after one o’clock. 

Braga: Well, I love the area. It’s such a beautiful area of parks and amazing walks in the woods. I loved it.

CS: Yeah, no, it’s a very cool area. And you mentioned that Josh, he’s all in on all the material and everything. And I think I remember it was a very swift thing of you being cast and you having to go shoot. Did you have time to deep dive into the material? Did you read certain comics? How familiar were you with sort of the X-Men universe?

Braga: I mean, I was very familiar with the X-Men universe just because my mom always loved comics and stuff like that. So I kind of always loved those types of films and stuff like that. But specifically for this film, I tried to connect with Josh to understand how he wanted to build this character, instead of like, just digging deep only in the comics. But more to connect with Josh to understand how he wanted to build this character, to help this, you know, New Mutants to rise and to create their journeys and all of that. So I really connected with Josh for the references, but I also got her personality and then her spine from the comics, meaning she’s a mutant that is very focused on her career. She’s a doctor. She’s very committed to that. She’s not committed at all with her powers. So I kind of like, tried to bring that.

CS: Yeah, and what would you say was the most arduous scene to film?

Braga: Well, it’s out in the trailer, so it’s great I can talk about it, but when I had the prosthetics in my face, that was crazy, because I never had to use lenses, contact lenses. So, I was anxious. I was super excited because I always loved how the eye looked. But it’s a gigantic contact lens, so I had to have a doctor to put it in my eye because it was so big that I couldn’t do it by myself. I wear contact lenses, but even though, it was hard. So that gave kind of like a crazy vibe on set, when you’re working with prosthetics and stuff like that. That was exciting.

CS: Yeah, I mean, it seemed like there was a huge commitment to doing as much as they could practically. Is that true?

Braga: Yeah, it was. It was. I mean, Josh is a very particular director. He’s so passionate for comics, for this type of genre and for these characters, so I really think that the fans are going to be happy with this film, because you can get it all. Like you get psychological thriller/horror. You get superhero, you know, New Mutants vibe. And it’s kind of like, it feels like in a way sometimes like just a classic movie. So you kind of like have all that vibe in one.

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Rating: 

8.5/10

Cast:

Eddie Izzard as The Duke

Kate Dickie as Sergeant Morag

James Cosmo as Farmer

Kevin Guthrie as PC Hamish

Jonathan Aris as Mr. Carlyle

Alice Lowe as Superintendent

Samuel Bottomley as Ian

Viraj Juneja as DJ Beatroot

Rian Gordon as Dean Gibson

Lewis Gribben as Duncan MacDonald

Georgie Glen as The Duchess

Written & Directed by Ninian Doff

Click here to stream Get Duked!

Get Duked! Review:

The coming-of-age genre is one so full to the brim that when something unique and endlessly enjoyable comes along, it’s like a gift from cinematic heaven, and though Get Duked! may not be a masterpiece, it is hands-down one of the freshest and subversive takes on the coming-of-age and horror-thriller genres that makes for one hell of a ride.

Dean, Duncan and DJ Beatroot are teenage pals from Glasgow who embark on the character-building camping trip — based on a real-life program — known as the Duke of Edinburgh’s Award, where foraging, teamwork and orienteering are the order of the day. Eager to cut loose and smoke weed in the Scottish Highlands, the trio find themselves paired with strait-laced Ian, a fellow camper determined to play by the rules. After veering off-path into remote farmland that’s worlds away from their urban comfort zone, the boys find themselves hunted down by a shadowy force hell-bent on extinguishing their futures.

As we’re first introduced to the central troublemakers, there’s unfortunately an air of familiarity as each troublemaker is certainly a character type audiences have seen time and again as the resident outsiders to the authoritative system, the druggie, the aspiring hip-hop artist and soon-to-be pyromaniac, as well as their involuntary partnership with a straight-laced goody-two-shoes. Thankfully, this quickly passes and the kinetic look into each of their lives that Doff offers viewers proves to not only be insightful but also rather original and helps connect audiences to the group faster than most bouts of dialogue in other genre fare would.

Once the boys are left on their own to the wilderness, the fishes out of water humor plays out very effectively and allows the four leads to show their comedic chops very early on in the film, from trying to peddle hip-hop music to isolated farmers to smoking what appears to be gunpowder-infused marijuana. The chemistry that the boys display with each other, including the uncool Ian, is some of the most believable and seamless any coming-of-age film focused on a group of kids has displayed since the days of the Brat Pack. There’s no awkwardness between them, no hesitation or uncertainty about playing off of each other’s energies or jokes, they all show a true commitment to their characters and each other that helps make every scene a riot to watch.

Doff subsequently wastes no time putting these characters’ lives in jeopardy with the mysterious Duke and Duchess hunting them down through the highlands and the transition between the genres only further highlights the debut filmmaker’s grip on the tricky task of balancing the seemingly conflicting tones. While we are made to fear for the boys’ safety a number of times and feel as though we’re being set up to watch them die in a number of scenes, Doff does a great job of allowing the humor to still flow from these moments and subvert audience expectations at nearly every turn.

One of the film’s biggest highlights truly is the manic energy on display throughout the film in Doff’s direction, feeling like a happy blend of the hyperkinetic energy of Edgar Wright’s Cornetto Trilogy and the expertly small-scale nature of Joe Cornish’s Attack the Block. From raves with farmers partaking in hallucinogenics to haunting nighttime sacrificial rituals, Doff not only keeps the film looking great from start to finish but also keeps the pace feeling brisk without losing the necessary character development moments.

Overall, Get Duked! may suffer from some formulaic plotting at the start of its story, but thanks to rich direction and a subversive script from Doff and zany performances from its cast, it sets itself apart as one of the freshest and entertaining entries into the coming-of-age genre in a long while.

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CS Score Reviews Planet Wax and Interviews Author Jeff Szpirglas

Welcome back, film score lovers! This week we get to take you on a tour of Planet Wax: Sci-Fi/Fantasy Soundtracks On Vinyl, the awesome new book from Aaron Lupton and Jeff Szpirglas, the creators behind 2019’s Blood on Black Wax: Horror Soundtracks on Vinyl. We were also lucky enough to have Szpirglas discuss his new book in an exclusive interview! Let’s do this thing!

RELATED: CS Score Reviews Casper and Chats with Emmy Nominee Amanda Jones

Planet Wax Review

As a kid, I spent a lot of time lounging in front of my CD player listening to film soundtracks. I can remember my dad buying me the score for John Williams’ Star Wars: Episode I — The Phantom Menace and staring intently at Drew Struzan’s artwork whilst avoiding the spoilery content on the back. My soundtrack collection spanned bookshelves, and I’ve always regretted the day I switched to digital and dumped a vast majority of that collection. (I’m currently in the process of restocking!)

Planet Wax, the terrific new book from Aaron Lupton and Jeff Szpirglas feels like a celebration of those records and/or CDs we used to purchase and prop up like a holy relic in our homes before the internet obliterated the music store and relegated our favorite soundtracks to compressed byte-sized data on our cell phones. Ah, the good ole days.

The book spans over 200 pages and features beautiful artwork from renowned film scores such as John Williams’ Star Wars trilogy, Brad Fiedel’s The Terminator, Dave Grusin’s The Goonies, James Horner’s Cocoon, and Vangelis’ Blade Runner, among, oh, so many others. And each picture is accompanied by details about the score on display as well as the occasional interview with the likes of director Richard Donner, and composers Christopher Young, David Shire, Laurence Rosenthal, Barry Schrader, Brad Fiedel, Bruce Broughton, and many others who reveal interesting tidbits regarding the great science fiction/fantasy scores of our time.

Really, it’s genuinely thrilling to read about Donner’s first reaction to Williams’ now iconic Superman theme — “…if you really listen,” Donner says at one point, “he actually says ‘Superman’ with the music [in that three-note motif].” — or the way Bruce Broughton was inspired by Mozart for Harry and the Hendersons. There’s even a bit in which music producer Craig Huxley discusses what it was like working with Jerry Goldsmith and James Horner on Star Trek: The Motion Picture and Star Trek II: The Wrath of Khan. Great stuff!

And, as stated, each of these stories features artwork from the records themselves, which makes for an entertaining visual to flip through on a Saturday afternoon. It is strange to see so many unique movie posters designed with so much attention to detail, created by real artists on a physical canvas — a stark contrasts with modern movie ads that seem plastered together using photoshop. Planet Wax entombs these undervalued masterpieces in one gigantic, thrilling read that true film score enthusiasts will most certainly appreciate. Essentially, it’s like reading a massive collection of linear notes, which was always part of the fun when purchasing a new soundtrack.

If anything, Planet Wax transports the reader back to that magical moment in time where one could head to their local music store and spend hours sifting through mountains of records and CDs in search of their favorite artist, band, composer, or score and run home with a little bit of magic tucked under their arm.

Planet Wax: Sci-Fi/Fantasy Soundtracks On Vinyl will release on September 29. Pre-order your copy here!

Interview with Planet Wax Author Jeff Szpirglas

About Jeff Szpirglas: Jeff has been rabidly listening to film soundtracks since picking up an audio cassette of Return of the Jedi back in 1983. Over the years, he has contributed to Film Score Monthly and now regularly writes for Rue Morgue magazine. He is also the author of over 20 books for young readers, ranging from horror novels to nonfiction tomes. Follow him at JeffSzpirlgas.com.

Click here to purchase Blood on Black Wax!

ComingSoon.net: Talk about the book Planet Wax — where did the idea originate to do a follow up to Blood on Black Wax?

Jeff Szpirglas: Long before I delved into horror scores, I’d been listening to and collecting the music from the sci-fi films that defined my youth. Being born in the mid-Seventies means that I grew up in the midst of the Spielberg/Lucas years, which was such a Renaissance for all of these genre films. As much as I enjoy horror soundtracks like Dracula or Halloween, the scores that really got me into collecting were for films I was actually allowed to watch as a kid. Even as Aaron and I were writing Blood on Black Wax, I had the thought of pursuing a book about SF scores in the same manner.

CS: What are some of the ways you consider this book different than its predecessor?

Szpirglas: Blood on Black Wax dips back into really early classics, like Bride of Frankenstein and King Kong, and hurtles through the years all the way up to modern entries like Get Out and Hereditary. With Planet Wax, we decided upon keeping the soundtracks tied to the seventies through to the end of the nineties, so that the book wouldn’t be dated so quickly. Aaron and I do explore some earlier scores, especially for the iconic television series that came out in the sixties: Star Trek, Doctor Who, Lost In Space, etc. We didn’t cover any television scores in the first book, but television was such a great medium for the sci-fi genre that we felt it would be a huge oversight to skip over those scores.

CS: What about vinyl has struck a chord in contemporary times — or, why do you think vinyl has made such a strong comeback?

Szpirglas: Aaron’s probably your best bet to answer that question, given that he has an attic full of records, while my collection fills a shelf or two. Records obviously showcase the art – look at labels like Waxwork, Terror-Vision, or Enjoy The Ride Records, and you get these wonderfully deluxe new editions that are often quite lavish – a far cry from some of the earlier albums that may have simply reproduced the poster art on their covers, although even then, the 12×12” space of a record was almost like having a mini-poster you could keep on your shelf. I think the appeal of record collecting, apart from the enjoyment of the music, says something about our enjoyment to curate, and also of the tactile nature of owning something – whether it’s art, or comics, or in my case, soundtracks and Doctor Who memorabilia. I think the resurgence of vinyl speaks to this desire to contain the intangible nature of video and music into something more concrete.

CS: Part of the fun for me, as someone who collects CDs, is having a physical case and cover to look at — I’ve always appreciated the artwork and information found within the linear notes — this book seems to be a celebration of that ideology, would you agree? Why or why not?

Szpirglas: I’m a big CD collector myself, for the reasons that you mention. I got into soundtrack collecting at a point where people were making the jump for vinyl to digital. In fact, I vividly remember dropping fifty bucks on the Japanese CD of Raiders of the Lost Ark, only to find out that DCC Compact Classics issued a deluxe double-length CD a year or two later, and with copious liner notes (I still have both CDs). So, to get to your question, yes – the books really embrace the idea of a collection; something tactile that you can hold in your hands, and with some explanation as to what you’re listening to, or how it was created. Listening to film music in isolation is a unique experience; you’re often recreating the film in your head, or your memory of the film in your imagination. And hearing the music divorced from the story, the sound effects, and dialogue allows for a different portal into that film experience.

CS: What were the challenges of developing the book?

Szpirglas: There was always a wealth of music and films to choose from, and in some cases, paring down the choices, or cutting down the length of the interviews was sometimes tricky. The goal of the book is to unpack the film and the score in a limited amount of space. So the book isn’t going to go into the same degree of depth as an academic text. We’re really trying to distill the essence of the music and its importance in around 300 – 350 words, and I could have devoted four pages to the power and the glory that is the soundtrack to Krull.

CS: What was it like interviewing all of these directors — Richard Donner, Nicholas Meyer — and composers?

Szpirglas: For me, those interviews were really the raison d’etre of writing the book. If it were possible, I would have included interviews for every entry, although some of the composers are long gone, and not everyone was reachable. Some of the interviews were done live, and some via email, but it was a pleasure to hear from some of my childhood heroes – such as Laurence Rosenthal, who kindly, and quite eloquently, answered all of my questions about Clash of the Titans. A lot of these scores are thirty to forty years old, so there’s always that fear that you’re speaking about something really esoteric that may not be well-remembered, and yet you have a guy like Stu Phillips, who wrote an insane amount of television and film music over the years and can still speak with a high degree of clarity about the differences of orchestrating for the likes of Buck Rogers and Battlestar Galactica.

CS: Were there any stories you wanted to include, but couldn’t?

Szpirglas:  Because of the visual nature of the book, it did mean that we had to cut back on some of the interview quotes. For example, Craig Safan recounted how he came up with one of the themes for The Last Starfighter while driving around, at a stoplight. I’d heard that story before, but the new revelation is that the little sub-theme that plays around the main refrain is actually a musical statement of those words: “The Last Starfighter.” It’s what John Williams does with his punchy theme for Superman, or what James Bernard did for Hammer, having the music actually say the words “Dracula” or “Quatermass.”

CS: What do you want readers to take away from Planet Wax?

Szpirglas: As with Blood on Black Wax, you’re basically taking away a record collection in book form. But I hope the book will provide an opportunity to appreciate the innovative use of sound and music in a genre that has traditionally asked for a lot, visually speaking. Whether or not the special effects for these movies hold up, they are aided immeasurably by their sound design and music to help render and evoke their imaginary worlds.

CS: What soundtracks do you wish you could have included?

I was really pushing for some of the older sci-fi soundtracks from the fifties and sixties, although their vinyl representation aren’t great. But scores like Dimitri Tiomkin’s The Thing (From Another World) and Bernard Herrmann’s work in the genre, like The Day The Earth Stood Still and Fahrenheit 451, are exemplary. And because we had a chapter on sci-fi/horror in Blood on Black Wax, it meant that we didn’t include things like Forbidden Planet or the Alien films this time around.

CS: What future books do you have planned, if any?

Szpirglas: This is the year where literally four books were due to come out, and then COVID-19 hit. I’m working away at an anthology of children’s horror stories, and I do have at least one more soundtrack book I’d like to pursue. Let’s hope Planet Wax does well enough to justify a third entry in the series.

CS: What is your favorite soundtrack in Planet Wax? Why? Which one is the most underrated?

Szpirglas: I’d be lying if I didn’t say Star Wars, although Empire is my favorite score (and film) in the series. That music was a ubiquitous part of my childhood, and elevates those movies to such a cosmic level. John Williams is largely responsible for imbuing the saga with its fairy-tale quality. Visually, the story evokes the future, but the music is archaic, coming from the derring-do swashbucklers of the past.

I’m glad we also have a place to celebrate the music of Doctor Who, which, aside from the eerie theme music, could sound like almost anything. The show utilized everything from library tracks to really experimental electronic music to small chamber orchestras to this bold, glossy synth music in the eighties. There’s a real, malleable quality to what Doctor Who as a show is – you can change the lead character, change the style of storytelling, and still boil down the essence of the show into something that endures. I find that this is the case musically, as well.

Plus, you know, Krull.

The post CS Score Reviews Planet Wax and Interviews Author Jeff Szpirglas appeared first on ComingSoon.net.

Lord, Miller, Morales & Fiallo Team for Miami-Set Comedy at Universal

Phil Lord and Chris Miller (The LEGO Movie) are expanding their roster of upcoming projects at Universal Pictures by teaming up with Natalie Morales (Dead to Me) and Cyrina Fiallo (Abby’s) for an untitled Miami-set comedy, according to The Hollywood Reporter.

RELATED: Lord, Miller & Lucas Brothers Team Up for Untitled Comedy

Based on a pitch from writers-turned-stars Morales and Fiallo, the film will focus on a Cuban-American woman as she is forced to return to her overbearing family in Miami or a baptism, a quinceañera, a wedding and a funeral, with the tone and themes being compared as akin to Nia Vardalos’ My Big Fat Greek Wedding.

The duo are set to write the script and executive produce the project alongside Will Alegra from Lord Miller Productions and Vincent Nastri of Bleecker Street Entertainment, while the eponymous duo will produce the film with their production banner’s President of Film Aditya Sood and Universal Pictures, where they have a major first-look deal and have been frequently setting up new projects in the year since. Sources report the film is also being seen as a close-to-home project for Lord, who hails from Miami and is of Cuban descent, as well as Morales and Fiallo as they are both originally from the Sunshine State and have Cuban heritage.

RELATED: Afterparty: Apple Orders Chris Miller & Phil Lord Murder Mystery Comedy Series

The untitled comedy marks the latest feature project Lord and Miller have backed at Universal after last week brought word that the duo would be reuniting with 22 Jump Street stars/comedians The Lucas Brothers for an untitled film that the latter duo will write and star in. It also marks a reunion between Morales and the former duo as the 35-year-old star appeared in Spider-Man: Into the Spider-Verse as Miss Calleros, a teacher to the titular protagonist.

(Photo Credits: Getty Images)

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New to Stream: Crackle’s September 2020 Movie & TV Lineup

Crackle, the free streaming network, has announced its September 2020 movie and television lineup, including new originals and exclusives such as Spides, an eight-episode Crackle Original sci-fi series premiering on September 17. The full list of September titles can be viewed below!

RELATED: New to Netflix September 2020: All Movies & Shows Coming and Going

New Crackle Original Series in September

Spides (September 17): The Crackle original series Spides is an eight-episode sci-fi series following a murder investigation that somehow takes a darker than the police expect. A club drug known as “Blis” has hit the streets and is resulting in disappearances, violence, death, and possibly something even worse. Trail the investigators as they enter a perilous underground world of criminals, synthetic narcotics, and psychic phenomena. We hope you’re comfortable on the edge of your seat, because you’re in for a wild ride!

New Crackle AVOD Exclusives in September

Corporate Animals (Feature, September 1): In this hilarious dark Crackle exclusive, Demi Moore plays a self-obsessed CEO of an edible flatware startup. Looking to raise the bar in the organization she takes her corporate crew on a team-building excursion led by the wonderfully inept Ed Helms. All goes according to plan until a cave-in traps everyone far below ground and even further from any hope of rescue. As hunger becomes their constant companion, this edible startup wonders what (or who) they’ll have to eat next.

Metro Sexual (Series, September 1): Hilarious Australian sit-com gives you a peek behind the doctor’s curtain at a small local sexual health clinic and their wacky employees. Uncomfortable doctor visits have never been so funny!

Blue Iguana (Feature, September 1): When two ex-cons working dead-end jobs in a greasy spoon diner get the caper of a lifetime dropped into their laps, comedy quickly ensues. Sam Rockwell (Jojo Rabbit, The One and Only Ivan) and Ben Schwartz (Space Force, Parks and Recreation), lead the crew chasing the most sought-after diamond, the Blue Iguana, as you hold your sides and try to keep up!

New Channels Coming to Crackle in September

Crime Time (Launching September 1): The channel created for armchair detectives everywhere! Get your sleuthing skills on with great shows such as the classic Unsolved Mysteries, as well as Forensic Files, Psychic Investigators, and features like An American Crime.

Trapped Channel (Launching September 1): Feeling trapped? Find a little freedom with a channel that delivers titles like the hilariously dark Corporate Animals, action-packed 10 Cloverfield Lane, zombie classic Train To Busan, and beautifully bizarre Dave Made a Maze!

Sam, Snakes, and Planes Channel (Launching September 1): Join us in celebrating all things snakes, planes, and Sam Jackson with titles like Changing Lanes, Black Snake Moan, the series Pan Am, and hyper-reptilian feature, Anacondas: Trail of Blood.

Emmy Winners Channel (Launching September 17): Kick back and walk through television history with some of the greatest Emmy winners in the entertainment industry like Tina Fey, and the casts of TV classics All in the Family, The Carol Burnett Show, and Barney Miller.

Because Aliens Channel (Launching September 17): Sometimes a strange time calls for a strange channel! Check out the sci-fi excellence of the Crackle Original series, Spides, the classic My Favorite Martian, and features like Alien Hunter and Starship Troopers: Invasion!

New Crackle Spotlight Titles in September

White House Down: While touring the White House a D.C. police officer (Channing Tatum) has to battle terrorists in order to save not only his daughter but also the President (Jamie Foxx) from certain destruction.

Dead Man Down: A mobster’s lieutenant (Colin Farrell) is helped by a woman (Noomi Rapace) who seeks revenge on the man who permanently scarred not only her face but her entire life.

Stealth: Three pilots (Jamie Foxx, Jessica Biel, and Josh Lucas) deep in a hush-hush government program must use all their skills and brains to outthink an AI computer program that is dead-set on starting World War III.

The International: An Interpol agent (Clive Owen) and an American District Attorney (Naomi Watts) risk their lives to battle an international banking conglomerate and bring their illegal arms dealing to the world stage.

Wind Chill: When two college students (Emily Blunt and Ashton Holmes) heading home for Winter Break encounter a snowstorm and a wrong turn, the weather ends up being the least of their terrifying problems as the past truly comes back to haunt them.

Hard Rain: A star-studded cast tells the story of the nephew of an armored-car driver (Christian Slater) who, during a flood, battles a gang of thugs led by Morgan Freeman to keep three-million dollars from flowing into their hands.

RELATED: Amazon Prime Video September 2020 TV & Film Titles Announced!

Additional New Movies in September

12 Round Gun

13 Ghosts

Above Ground Level: Dubfire

All We Had

Another You

Army Of Frankensteins

Baffled!

Bat 21

Beneath The Harvest Sky

Blue Iguana

Bodysnatch

Breakable You

Creature With The Atom Brain

Da Sweet Blood Of Jesus

Dave Made A Maze

Don’t Knock the Rock

Dying Laughing

First To The Moon

I’m Not Here

Jonestown: Paradise Lost

Killer Bees

Lake Placid 2

Manny

Manson

Moon Man

Mr. Sardonicus

Rampart

Saving Jaws

Starship Troopers 3: Marauder

Starship Troopers: Invasion

Sunlight Jr.

The Damned United

To Sleep With Anger

U Want Me 2 Kill Him?

Wind Chill

Additional New TV Shows in September

Backlot (Season 1, Episodes 1-49)

Backlot (Season 2, Episodes 50-52)

Father Knows Best (Season 2, Episodes 1-37)

Grand Designs (Season 11, Episodes 1-9)

Grand Designs (Season 12, Episodes 1-7)

Psychic Investigators (Season 2, Episodes 1-15)

The Carol Burnett Show (Season 1, Episodes 1-31)

The Goode Family (Season 1, Episodes 1-13)

Thunderbirds (Season 1, Episodes 1-32)

Urban Legends (Season 1, Episodes 1-15)

The post New to Stream: Crackle’s September 2020 Movie & TV Lineup appeared first on ComingSoon.net.

Exclusive: Chris Matheson & Ed Solomon on Their Bill & Ted 3 Cameos!

Orion Pictures provided ComingSoon.net with the chance to speak with Bill & Ted Face the Music co-writers Ed Solomon & Chris Matheson, who also co-wrote the first two films. Now that the film is out today and earning some most excellent reviews, we asked them about their cameo as demons during the hell sequence in the threequel! The cameo follows a tradition of them appearing in the previous films, first as “Stupid Waiters” in Excellent Adventure and then as “Stupid Seance Members” in Bogus Journey.

Click here to rent Bill & Ted Face the Music on PVOD!

ComingSoon.net: Bill & Ted are your characters, but there’s also YOUR characters. You went from ice cream guys to New Age guys, and now you’re demons. So talk a little bit about your characters’ arc in these movies.

Chris Matheson: I think you just said it. Ice cream guys to New Age guys to demons. That’s it.

Ed Solomon: I think it’s pretty fair to say that what you pointed out is really correct. The movie really is about those characters. It’s about the Ziggy Piggy ice cream guys as they attempt to find meaning in a sort of New Age way, but ultimately end up as demons in hell. And I think that the reason we aren’t in more of the movie is I think Dean felt as though we would really distract from Alex and Keanu. I’m just joking. I can’t even… the idea of seeing that in print makes me barf into my own mouth. No… (laughs)

Matheson: We did, we loved the idea that the ice cream guys somehow had just fallen apart and were now in hell. Like, you know, that stuff just strikes us as kind of funny.

Solomon: Yeah, we just were glad we actually got to play a part. We were going to play a different part, but we got cut. And then, at the last minute we got shoved in, which I’m glad we did because I’m really glad we got to have a little part in it.

RELATED: Bill & Ted Face the Music Review: Nostalgia & Fun Outweigh Predictability

Bill & Ted Face the Music centers on Bill S. Preston (Alex Winter) and Ted “Theodore” Logan (Keanu Reeves), who are now fathers and have yet to fulfill their rock ‘n’ roll destinies. Their lives change when they are visited by a messenger from the future who warns them that only their song can save life as we know it.

Click here to own Bill & Ted’s Excellent Adventure!

Click here to own Bill & Ted’s Bogus Journey!

Joining Winter and Reeves are Samara Weaving (Ready or Not) and Brigette Lundy-Paine (Atypical) as Bill and Ted’s daughters, respectively. The film will also feature Anthony Carrigan (Barry), Jillian Bell (Workaholics), Kristen Schall (Toy Story 4), Holland Taylor (Gloria Bell), Kid Cudi, Erinn Hayes, Jayma Mays, and Beck Bennet. William Sadler is also set to reprise his role as Death alongside franchise returners Amy Stoch and Hal London Jr. Newcomer.

RELATED: Be Excellent to Each Other With New Bill & Ted Face the Music Featurette

Bill & Ted Face the Music is now in theaters and on Premium VOD!

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Diamond Select’s Spring 2021 preview includes Marvel, Mortal Komba t& more!

It’s almost September, which means the September Previews catalog is on its way to comic shops around the world from Diamond Select Toys that features a dozen items you’ll have in your hot little hands come February including toys based on Avatar: The Last Airbender, Disney, Iron Giant, Marvel Comics and more! Check out the upcoming figures in the gallery below!

RELATED: New Diamond Select Figures Include Bruce Lee, Sub-Zero & More!

Avatar: The Last Airbender Deluxe Action Figures Series 3 Asst.

Get ready to feel the earth move! Fan-favorite earthbender Toph joins the action figure line based on Avatar: The Last Airbender in this epic third assortment! Toph is joined by Firelord Ozai, dressed as he appears in the Battle at Wulong Forest. Each 7-inch-scale figure features approximately 16 points of articulation and includes alternate hands and element-bending accessories. Packaged in deluxe window box packaging. Designed by Eamon O’Donoghue, sculpted by Richard Force, the figures run for $25 each and can be pre-ordered here!

Castlevania Gallery Dracula PVC Diorama

The antagonist of the Castlevania animated series on Netflix, Dracula rises from the flames in this dramatic Gallery Diorama. Crafted from high-quality PVC, it features detailed sculpting and paint applications and comes packaged in a full-color window box. Designed by Caesar, sculpted by Alterton. Formerly a GameStop exclusive, the diorama runs for $50 and can be pre-ordered here!

Disney D-Formz PVC Figurine Counter Display

Time for Disney to D-Form! The D-Formz line of super-cute PVC figurines expands into the Disney Universe with this all-new assortment. Featuring stylized sculpts of Tron, Jack Sparrow, VINCENT, Kermit, the Mad Hatter and the Rocketeer, each approximately 3-inch figure comes packaged in a full-color blind box. With 12 figures in every counter display, you’re guaranteed to get two of each figure! Designed by Barry Bradfield, sculpted by Rocco Tartamella, the figurines run for $8 each and can be pre-ordered here!

Iron Giant Vinimates Attack Mode Iron Giant 4” Vinyl Figure

The Iron Giant goes into full-on Attack Mode in this all-new Vinimates vinyl figure! Depicting him with his dome up, chest plate open and all weapons live, no one is safe from his extraterrestrial onslaught! Measuring approximately four inches tall, this vinyl figure features detailed sculpting and paint applications, and comes packaged in a full-color window box. Designed by Barry Bradfield, the figure is set to run for $10! (Item #SEP201924, SRP: $9.99)

Legends in 3D Video Game Kingdom Hearts Mickey Mouse 1/2 Scale Bust

Hail to the King! Kingdom Hearts’ resident royal Mickey Mouse gets the Legends in 3D treatment with this half-scale resin bust. Measuring approximately 10 inches tall, it depicts a portrait of Mickey in his black Organization 13 robes atop a pedestal. Limited to only 1,000 pieces, it comes packaged in a full-color box with a certificate of authenticity. Designed by Joe Allard, sculpted by Varner Studios, the bust is set to run for $175 and can be pre-ordered here!

Marvel Animated Spider-Man 1/7 Scale Resin Bust

Cue guitar riff! The theme song to Spider-Man: The Animated Series will definitely run through your head every time you look at this resin bust based on the hit cartoon! Sculpted in 1/7 scale and standing approximately 6 inches tall, this bust depicts a 1990s animated-style Spidey spraying a webline and preparing to swing. Limited to only 3,000 pieces, it comes packaged in a full-color box with a certificate of authenticity. Designed by Barry Bradfield, sculpted by Paul Harding, the bust runs for $60 and can be pre-ordered here!

Marvel Comic Gallery Days of Future Past Wolverine PVC Diorama

Fight the future! Sporting his look from the dystopic future that is the “Days of Future Past” storyline, Wolverine rocks a leather jacket and grey temples in this all-new Gallery Diorama! With his claws fully extended and standing on some rubble, Logan looks ready for a tussle, and stands approximately 9 inches tall. This piece is made of high-quality PVC and comes packaged in a full-color window box. Designed by Caesar, sculpted by Alejandro Pereira, the diorama runs for $50 and can be pre-ordered here!

RELATED: New Diamond Select Figures Include The Crow, John Wick & More!

Marvel Comic Premier Collection Silver Surfer Resin Statue

Watch out Thor, the Surfer is coming! Swooping down to the surface at incredible speed, the Silver Surfer rides his shimmering surfboard in this dynamic statue. Hand-sculpted by Clayburn Moore based on a classic Marvel Comics cover, this statue pairs well with the Premier Collection Thor statue, and stands approximately 12 inches tall. It is limited to 3,000 pieces and comes packaged in a full-color box with a certificate of authenticity, the statue runs for $175 and can be pre-ordered here!

Marvel Comic Premier Collection Thor Resin Statue

Thou shalt not pass… without checking out this statue! The second full-size resin statue in the all-new Marvel Premier Collection is none other than Thor, God of Thunder! Based on a famous 1969 cover image, Thor wears his timeless classic outfit and swings his hammer as if preparing to hurl it skyward. Crouching on a circular base designed to represent Bifrost, the rainbow bridge of Asgard, this approximately 9″ statue of Thor is limited to only 3,000 pieces, and comes packaged with a certficate of authenticity in a full-color box. Sculpted by Clayburn Moore, the statue runs for $150 and can be pre-ordered here!

Marvel Movie Gallery Team Suit Captain America PVC Diorama

Whatever it takes! Captain America suits up to avenge his fallen comrades in the newest Marvel Gallery PVC Diorama from Diamond Select Toys! Based on his appearance in Avengers: Endgame, Cap strides towards the viewer in his white Quantum Realm suit in this approximately 9-inch sculpture featuring the likeness of Chris Evans. Crafted of high-quality PVC, it features detailed sculpting and paint applications, and comes packaged in a full-color window box with fifth-panel door. Sculpted by Rocco Tartamella! Formerly a GameStop exclusive, the figure runs for $50!

Marvel Select Rampaging Hulk Action Figure

It’s the Hulk of a lifetime! For years, fans have asked Diamond Select Toys to make a classic-style Hulk action figure, and now they have! Measuring approximately 9.75 inches tall with 16 points of articulation, this iconic character will become a centerpiece in any Marvel figure collection. Includes one set of alternate fists and an alternate Cosmic Hulk head. It comes packaged in display-ready Select figure packaging with side-panel artwork for shelf display. Designed by Yuri Tming, sculpted by Gentle Giant Studios, the figure runs for $30 and can be pre-ordered here!

Marvel Video Game Gallery Spider-Man on Taxi PVC Diorama

The hit video game Spider-Man is now the newest Gallery Diorama! The web-slinger hitches a ride to the hit sculpture line in style, crouched on a Daily Bugle sign atop a New York City cab in his new, already-iconic costume. Measuring approximately 9” tall, this sculpture of Spidey preparing to fire a web is made of high-quality PVC and comes packaged in a full-color window box. Sculpted by Cortes Studios. Formerly a GameStop exclusive, the diorama runs for $50 and can be pre-ordered here!

RELATED: DC Multiverse Batman Figure by Todd McFarlane Revealed!

Mortal Kombat Gallery Scorpion Deluxe PVC Diorama

Get over here! From the hit Mortal Kombat video game franchise, wearing his outfit from Mortal Kombat 11, Scorpion launches his kunai (chain-spear thingy) at an opponent in this dynamic, deluxe Gallery Diorama. Cast in high-quality PVC, it features detailed sculpting and paint applications, and comes packaged in a full-color window box. Designed by Nelson X. Asencio, sculpted by Salvador Gomes, the diorama runs for $75 and can be pre-ordered here!

All figures are set to hit shelves in early 2021!

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Rating: 

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8/10

Cast:

Keanu Reeves as Theodore “Ted” Logan

Alex Winter as William “Bill” S. Preston, Esq.

Brigette Lundy-Paine as Wilhelmina “Billie” Logan

Samara Weaving as Theodora “Thea” Preston

William Sadler as Grim Reaper

Kristen Schaal as Kelly

Anthony Carrigan as Dennis Caleb McCoy

Jayma Mays as Princess Joanna Preston

Erinn Hayes as Princess Elizabeth Logan

Holland Taylor as The Great Leader

Kid Cudi as himself

Jillian Bell as Dr. Taylor Wood

Hal Landon Jr. as Captain Jonathan Logan

Amy Stoch as Missy

Beck Bennett as Deacon Logan

Directed by Dean Parisot; Written by Chris Matheson & Ed Solomon

Click here to rent Bill & Ted Face the Music!

Bill & Ted Face the Music Review:

Looking at his career for the past 25 years, it’s hard to believe Keanu Reeves was ever once an airhead on film and after years of trying to get the ball rolling, he and Alex Winter have finally returned as the excellent time travelers Bill & Ted for the long-awaited threequel and though it may not live up to the legacy of the originals, Bill & Ted Face the Music proves to be a plenty fun and nostalgic trip for fans of the franchise.

The stakes are higher than ever for the time-traveling exploits of William “Bill” S. Preston Esq. and Theodore “Ted” Logan.  Yet to fulfill their rock and roll destiny, the now middle aged best friends set out on a new adventure when a visitor from the future warns them that only their song can save life as we know it. Along the way, they will be helped by their daughters, a new batch of historical figures, and a few music legends – to seek the song that will set their world right and bring harmony in the universe.

The idea of revisiting the titular duo in their mid-40s is a great concept and the script explores it pretty well, touching on themes of their inability to grow up and the struggle it’s brought to both their families and lifestyle in relatively decent fashion. Though it may not be to the height of some prestige dramas touching upon similar themes, it proves to resonate at a deep enough level to feel believable as Bill and Ted grow over the course of the story.

The humor present throughout the story may not quite click as nicely as it did the first two rounds in 1990 and ’91, but it still mostly proves to be effective for newcomers and longtime fans alike. The time-traveling continues to deliver plenty of outrageous hijinks both in the various past and present eras, from the titular duo running into increasingly nonsensical future versions of themselves to their daughters assembling the ultimate band to save the world from catastrophe, and it all proves an absolute blast from start to finish.

One of the film’s biggest highlights is the story’s handling of the loss of George Carlin, the legendary comedian who played Bill & Ted’s mentor from the future, Rufus, who would guide them from a distance on their time-traveling journeys in order to keep the timeline of a utopian future intact. When development on the film first began a decade ago, Winter confirmed the role of Rufus would not be recast and rather than leave him out entirely, the writers find a truly beautiful way to honor his character and keep him alive throughout the film in a manner similar to the Jumanji sequels, but feels much more emotionally rewarding, bringing a tear to my eye in multiple moments.

Not to mention the performances from its ensemble cast all prove to be a joy to watch, namely those of Reeves and Winter who effortlessly slip back into the roles that first made them household names. Having seen Reeves in the far-more straight-faced John Wick franchise for the past five years, save from a hilarious self-burning cameo in Always Be My Maybe, it’s great to see he can still portray a stoner-level airhead believably and the chemistry Reeves and Winter share together is not indicative of a near-30-year gap between sequels.

Samara Weaving has certainly been a badass to watch in the horror and thriller genres of late, but she shows her range a the daughter to Reeves’ Ted and sparks just as believable of chemistry with co-star Brigette Lundy-Paine as their on-screen dads. And after Bogus Journey, no Bill & Ted would be complete without William Sadler’s Death and with the story taking place long after his first appearance, he gets to shine in an even more nutty and hilarious take on the Grim Reaper, even if it’s not for nearly long enough.

Despite a lot of things going right in the film, there are a handful of things that go wrong that keep it from matching or surpassing its predecessors, with the two biggest flaws coming in the form of its usage of CGI and its fairly predictable nature. One certainly doesn’t go into a Bill & Ted movie expecting to see them lose or be left with an Avengers: Infinity War-level cliffhanger, but there are moments in which the film’s humor or story does tend to feel a little too familiar and convenient in comparison to the past. While the time travel element never looked superb in the prior films, and it does get a decent enough face lift in the threequel, the problem is the decision to create completely green-screen environments for Hell and the future in a truly unconvincing manner.

The preceding films took a more practical approach to bringing the underworld and the utopian future to life that actually felt pretty real and indicative of a competent effort made on the department of the effects department, but be it assembling a cast full of expensive talent or the lack of a desire to actually create believable sets, we’re instead treated to what’s obviously empty warehouses coated in green that makes the worlds feel empty and hollow.

Despite some of the flaws on display throughout, Bill & Ted Face the Music proves to be well worth the wait with a story that is full of heart, effective airhead personas and great performances from its cast, resulting in a plenty fun and nostalgic adventure for longtime fans that could even convert newcomers.

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