Generic – Page 129 – Movie Retakes

The Boys in the Band First Look Featuring Jim Parsons, Zachary Quinto & More

Netflix has released new photos from the upcoming feature The Boys in the Band, offering a first look at the Ryan Murphy-produced project centering on a group of gay men who gather for a birthday party in 1968 New York City, only to find the drinks and laughs interrupted when a visitor from the host’s past turns the evening upside down. You can check out the photos now in the gallery below!

More than fifty years after Mart Crowley’s play became an unexpected smash hit for putting gay men’s lives center stage with honesty and humor, The Boys in the Band returns to the screen in a new adaptation that reunites acclaimed director Joe Mantello with the all-star cast of the Tony-winning, 2018 Broadway production.

In 1968 New York City – when being gay was still considered to be best kept behind closed doors – a group of friends gather for a raucous birthday party hosted by Michael (Jim Parsons), a screenwriter who spends and drinks too much, in honor of the sharp-dressed and sharp-tongued Harold (Zachary Quinto). Other partygoers include Donald (Matt Bomer), Michael’s former flame, now mired in self-analysis; Larry (Andrew Rannells), a randy commercial artist living with Hank (Tuc Watkins), a school teacher who has just left his wife; Bernard (Michael Benjamin Washington), a librarian tiptoeing around fraught codes of friendship alongside Emory (Robin de Jesús), a decorator who never holds back; and a guileless hustler (Charlie Carver), hired to be Harold’s gift for the night. What begins as an evening of drinks and laughs gets upended when Alan (Brian Hutchison), Michael’s straight-laced college roommate, shows up unexpectedly and each man is challenged to confront long-buried truths that threaten the foundation of the group’s tight bond.

The Boys in the Band stars Jim Parsons, Zachary Quinto, Matt Bomer, Andrew Rannells, Charlie Carver, Robin de Jesús, Brian Hutchison, Michael Benjamin Washington, and Tuc Watkins.

The movie was directed by Joe Mantello from a script by Mart Crowley and Ned Martel, based on the play by Crowley. Producers include Ryan Murphy, David Stone, Mantello, Martel, and Alexis Martin Woodall.

The Boys in the Band will release on Netflix on September 30, 2020.

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Random Acts of Violence Review: Stylish, Gory & Thematically Compelling

Rating:

9/10

Cast:

Jesse Williams as Todd Walkley

Jordana Brewster as Kathy

Niamh Wilson as Aurora

Jay Baruchel as Ezra

Simon Northwood as The Man

Co-Written and Directed by Jay Baruchel; Co-Written by Jesse Chabot

Click here to rent or purchase Random Acts of Violence!

Random Acts of Violence Review:

Jay Baruchel has contributed a lot of great things to the world of cinema in his 20-plus years in the industry and though he may be best known for the How to Train Your Dragon franchise and some more outrageous comedies like She’s Out of My League and Fanboys, he’s had a number of projects which offer deeper messages and social critiques. With his second effort behind the camera, Random Acts of Violence, Baruchel has shown he’s found a great grip on delving into some timely themes and balancing it with some stylish and gory thrills.

Comic book creator Todd Walkley, his wife Kathy, assistant Aurora and best friend, Hard Calibre Comics owner Ezra, embark upon a road trip from Toronto to NYC Comic-Con and bad things start to happen. People start getting killed. It soon becomes clear that a crazed fan is using Todd’s “SLASHERMAN” comic as inspiration for the killings and as the bodies pile up, and Todd’s friends and family become victims themselves, Todd will be forced to take artistic responsibility.

In bringing Justin Bray and Jimmy Palmiotti’s graphic novel to life, Baruchel and writing partner Chabot take a different path in adapting the story, changing the driving conflict from a killer inspired by a contest of his favorite comic’s creators to the group happening to come across the real-life killer that inspired their comic and it proves to be a far more interesting path. In switching things from comics-based killer to killer-based comic, the writing duo choose to shift the spotlight from some of the toxic corners of the comic book community to the general exploration of violence in the media and its relationship with the real world and it’s handled with mostly successful results.

Some of the flashbacks and expository dialogue littered throughout the film does feel a little too on the nose and even muddles Baruchel and Chabot’s messages at times, but the majority of them do help tap into the interesting debate of life imitating art and vice versa and the questions raised are very timely and important ones. Violence in art, especially anything in the horror genre, has long been accused of influencing real world actions, and while the duo keep a mostly objective viewpoint throughout the film, it’s still fairly clear to see there’s a belief in a cycle of generational violence and it’s touched upon in mostly compelling fashion.

While one may argue that the film further loses the point of its messages with its gruesome and gratuitous violence on display throughout, it not only proves to be an outright joy for genre fans, but also a nice usage of its genre to further support its ideals, much in the same vein as Wes Craven’s Scream. Though not as meta as the Kevin Williamson-created franchise, there’s clearly a much more knowing approach on display throughout the film in comparison to other similar genre fare that will keep audiences on their toes for some exciting chills and thrills.

Having made his directorial debut on the so-so Goon: Last of the Enforcers, Baruchel showed he had potential behind the camera and with Random Acts of Violence it’s so apparent the passion he held for the project as it is an absolute stylish work of giallo-inspired art. From a color palette utilizing only a handful of shades to the clever usage of Dutch angles and animated sequences, the effort he put into making this film both a thematically rich and visually fascinating graphic novel brought to life is breathtaking and pays off in practically every frame of the film.

Though its story may occasionally miss its ambitious marks and there’s a lack of any kind of humor across its four central characters, Jay Baruchel’s Random Acts of Violence is an absolute treat for horror fans and filmgoers alike thanks to its timely messages, visceral and superb special effects, solid performances and stylish direction from Baruchel that should catapult him to becoming a sought-after talent for behind the camera just as much as in front of it.

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Darkman Behind-the-Scenes Details Revealed on 30th Anniversary

Darkman behind-the-scenes details revealed on 30th anniversary

Long before he redefined the modern superhero genre with 2002’s Spider-Man, Sam Raimi first tried his hand with the genre in the cult classic Darkman led by Liam Neeson and Frances McDormand and in a new oral history with The Hollywood Reporter for its 30th anniversary, the talent from in front of and behind the camera have opened up with new behind-the-scenes details on the film.

Based on a short story Raimi wrote paying homage to the classic Universal Pictures horror films, the story centered on mild-mannered scientist Peyton Westlake (Neeson) as he is brutally attacked and left for dead by ruthless mobster Robert Durant (Larry Drake) after Westlake’s girlfriend, attorney Julie Hastings (McDormand), runs uncovers a conspiracy with a corrupt developer. After an attempt at treating his injuries failed, he is left with super-human abilities and bouts of explosive rage, putting him on a path for vengeance against the man responsible for his disfigurement while also using synthetic skin to reclaim his love.

Before Raimi would dive into his original world, he had actually sought out the rights to both Batman and The Shadow with the plan to bring his unique tone to the properties, but with both already snagged by other filmmakers and studios, he had to shift gears into something that was actually his own.

“This movie was a labor of love for Sam Raimi,” Robert Tapert, producer and longtime collaborator of Raimi, said. “He tried very hard to make a movie about [pulp novel and radio character] The Shadow, but that proved impossible because at that time, it was going to be made by Bob Zemeckis. So Sam said, ‘I am going to create my own superhero and take aspects of other superheroes and incorporate them into the character of Darkman.’”

Click here to purchase the cult classic!

Neeson and McDormand led the cast at a time before they had become household names and while the list of potential names for the titular role included other talent such as Bill Paxton (Aliens), casting director Nancy Nayor notes “Liam was so perfect” in his audition and brought “such a powerful presence with such emotional range and haunted eyes,” while also revealing the studio was pushing hard for Julia Roberts as the female lead.

“She and Liam had dated briefly and were broken up,” Nayor said. “When they read the audition scene together, both actors had tears in their eyes. It was so intimate. Right after, her agent called and said she felt it might be better if she was taken out of consideration. I think she felt it would just be too awkward for them to work together again so soon under the circumstances.”

“The script appealed to the little boy in me because I know it would have been something I would have loved to have seen on a Saturday matinee growing up in Ireland, and it was a big fat juicy lead in a movie,” Neeson said.

“At the time, I had been sharing a house in Los Angeles with Sam, and [husband] Joel and Ethan Coen,” McDormand said. “When the project came up, Sam was very influential in getting me an audition. I think Liam had a lot to do with helping me get cast. We had a very good time together in the audition. I remember for the intimate scene being attached to the idea of making love with my socks on. I felt that was a really important element of the comfortable relationship. Sam said, ‘I am not sure about the socks,’ and I said, ‘I’m wearing the socks. I am wearing the socks.’”

Having just come off of the first two Evil Dead movies, Raimi was looking to have frequent collaborator and friend Bruce Campbell to star in the titular role, only for the studio to balk at the idea as they didn’t believe he could carry the whole film. Not wanting to leave his Evil Dead lead out of the project, Raimi approached the star with a compromise for himself and the studio.

“I was not enough of a [acting] commodity for Universal, but Liam Neeson at the time, he did a couple of well-known things in Europe, but I don’t think people could have picked him out of a police lineup here,” Campbell said. “Sam threw me the bone and said, ‘Why don’t you be the final [in disguise] Darkman.’ So, I am Darkman, technically (laughs).”

Once the casting process was finished and filming got underway, the cast and crew faced a new problem with the script itself, which Tapert said was “constantly being rewritten” and joked it had “5,000 names” on it by the time it had wrapped, including two future Academy Award winners.

“In hindsight, I am not sure it ever got better; it just incorporated more people’s pisses,” Tapert said. “The Coen brothers were not credited by the guild, but they were instrumental early on with building the structure. The idea sprung from Sam’s head, and Joel and Ethan coaxed him along that road. Chuck Pfarrer was the best at the villains.”

“The shooting of the film was exhausting, not least because of the long hours in the makeup chair, which started off at five hours, but we got that process time down to just over three hours,” Neeson said. “At the same time, I was also preparing to play a bare-knuckle boxer in a film [The Big Man] to be shot in Scotland immediately after completion of Darkman, so I was setting my alarm clock for about 3 a.m. in order to do a workout as preparation, so days were definitely long and for the most part tiring. But the exhaustion factor was in a weird way quite pleasing. I certainly led a very monastic existence for several months.”

A major hurdle Raimi faced in developing the script and heading into production was McDormand’s character Julie, which the writer/director was working to set apart from his past female characters that were frequently criticized. Though the future two-time Oscar winner wouldn’t go so far as to consider her and Raimi’s take on the character leading to “creative differences,” it did cause the occasional rift between the two on set.

“I think one of the things he was trying to say with the character of Julie was to show he could write a strong female character,” McDormand said. “But, in retrospect, I felt like I probably should not have tried to play Julie as a strong female character because at the end of the day, she still was the damsel in distress, waiting for the hero to come save her. I could have done a better job if I’d surrendered to that. I struggled against working in a way that I had never been trained to do. I was trained to be a theater actress. I was struggling with technically how to make movies. So it was an adjustment for me to figure out my purpose inside Sam’s technical world of making a movie. There were times when he thought we could be steamrolled and then pop right back up, like a cartoon character. I chafed against that a lot, but I learned a lot, too.”

In addition to bringing Campbell on in the finale cameo, Raimi reached out to his friend for help during post-production when editing it exhibited “all sorts of problems” for the writer/director, namely in the area of sound mixing, for which Campbell would do uncredited work on.

“We both loved sound. It needed lots of looping, lots of sound effects,” Campbell said. “So I made studio guy money and wound up voicing every criminal who fell to their death. Holy shit, I screamed my brains out. And they’re good, vintage screams. We got to a point where we were mixing and Sam goes, ‘Shit, I need Darkman to yell ‘Julie!’’ And he looks at me and says, ‘Get in the booth.’ So that’s in there. And I did all the television looping for Liam.”

The film faced its biggest problem yet in the editing process for test screenings and the studio, with Raimi first turning to David Stiven and seeing mildly positive feedback from audiences before the studio brought in their own editor Bud S. Smith, who partnered with Universal to keep the director out of the process and sent Raimi and Tapert to Florida for three weeks while Smith “tore into the film and did what I thought would be the right thing to make it viewable.”

“We came back, and the editor had cut it down from two hours to 85 minutes,” Tapert said. “We tested that, and it did not test as well as the longer version, which was Sam’s cut. I think we went through four or five more test screenings, and each time the score got lower and lower, and we got more depressed.”

“When I saw Sam taking this beating, I really got pissed,” composer Danny Elfman said. “There was even a point when I threatened to take my name off the film and return my fee, telling Sam, ‘Whatever I can do to support you on this.’”

“My favorite scene was cut because of a preview, Colin’s character starts to woo Julie, and you go, ‘Maybe this guy is all right,’” Campbell said. “Cut to his apartment and he’s wearing a towel, and he opens up a box and throws gold coins on the bed. Then drops his towel dives onto the coins buck-ass naked. They do previews, and that scene kept popping up. An exec looks at me and goes, ‘I’ll give you a copy of that scene because it’s never going to be in the movie.’ And I was like, ‘You pussy.””

After test screenings went on and the scores continued to remain low, Tapert and Raimi agreed with the studio to lock the film in with Smith’s approved cut and finally release it, but after a last-minute talk with now frequent collaborator Bob Murawski, who said “there is a much better movie than what we are locking right now,” the duo would decide to try one more time at a new cut behind Universal’s back.

“We spent 48 hours basically recutting the entire movie, restoring things we thought were important,” Tapert said. “We added nine minutes back in, things we really liked that the preview audiences would recoil from, but that was what it was meant to do. We locked it — and didn’t tell anybody. Universal came to watch it after the mix, and there was this giant outcry, but there was nothing to be done. The negative had been cut. Critic screenings were 48 hours later. Bob and I advocated very strongly for the deception. Sam, left to his own, probably would not have done that. He is not that kind of guy. But I am.”

“[Universal Pictures chairman] Tom Pollock was seriously fucking furious,” Sean Daniel, former Universal Production President, said. “I remember thinking, ‘That is one ballsy guerrilla move.’ Is it as big a breach of every conceivable protocol of delivering a movie in postproduction? Yes. Totally. It was an Ocean’s Eleven maneuver.”

With Tim Burton’s Batman proving to be a massive success the year prior, Universal decided to take a chance on the project and though there were some conflicts with the studio close to its release, it ended up paying off as the R-rated film opened at No. 1 at the box office and would go on to gross just under $50 million on a $16 million budget and receive rave reviews from critics and audiences alike. Its success would spawn a franchise that included comic books, action figures, video games, an unaired TV pilot and two critically-derided direct-to-video sequels.

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

BEGIN SLIDESHOW

Be excellent to each other with new Bill & Ted Face the Music featurette

With just over a week left until the highly-anticipated Bill & Ted Face the Music hits select theaters and VOD, Orion Pictures has debuted a new clip asking audiences to be excellent to each other and dive into the threequel’s ensemble cast of new and returning faces. The featurette can be viewed in the player below!

Bill & Ted Face the Music centers on Bill S. Preston (Winter) and Ted “Theodore” Logan (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.

Bill & Ted Face the Music is set to hit theaters and Premium VOD on August 28!
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BREAKING: Ben Affleck & Michael Keaton Both Confirmed for The Flash!

After word first broke in June that Michael Keaton was in talks to reprise his role as The Dark Knight in the forthcoming Flash film in the DC Extended Universe, Vanity Fair has now brought word that both Keaton and Ben Affleck are set to appear as Batman!

After initially retiring from the role due to his personal problems and the toll it was taking on him, Affleck seems to be on a more positive path and has agreed to return as Bruce Wayne for one more film in the upcoming Flash alongside Keaton in a “substantial” role, according to director Andy Muschietti. The former received the latest script for the long-developed project last week and subsequently agreed to join the film, while the latter appears to have finally closed his deal, and Muschietti says the reason they sought out Affleck to return was to establish the contrast between the alternate universes the titular speedster visits.

“His Batman has a dichotomy that is very strong, which is his masculinity—because of the way he looks, and the imposing figure that he has, and his jawline —but he’s also very vulnerable,” Muschietti said. “He knows how to deliver from the inside out, that vulnerability. He just needs a story that allows him to bring that contrast, that balance. [Affleck’s[ a very substantial part of the emotional impact of the movie. The interaction and relationship between Barry and Affleck’s Wayne will bring an emotional level that we haven’t seen before. It’s Barry’s movie, it’s Barry’s story, but their characters are more related than we think. They both lost their mothers to murder, and that’s one of the emotional vessels of the movie. That’s where the Affleck Batman kicks in.”

Alongside looking to capitalize on the fanbases for both iterations of the character, DC is looking to use the Batmen appearances as a launch point for introducing the concept of the multiverse to mainstream audiences so as to create a way for all of the different factions of the Warner Bros. and DC fandom to come together while still acknowledging their separation. The multiverse concept is one that has been used on the small screen for The CW’s Arrowverse, with Grant Gustin’s Flash coming face-to-face with Ezra Miller’s big screen iteration in the Crisis on Infinite Earths crossover earlier this year.

With his troubled past in the role being well-known in the news, producer Barbara Muschietti revealed they were concerned Affleck would not be interested in returning to the role given his road to recovery since departing, but that now that he’s in a “very different time in his life” he was “very open to it” when he was approached for Flash.

“We are all human and go through great times in our lives and terrible times in our lives,” Muschietti said. “Right now he’s in a place where he can actually enjoy being Batman. It’s a pivotal role, but at the same time it’s a fun part. This movie is a bit of a hinge in the sense that it presents a story that implies a unified universe where all the cinematic iterations that we’ve seen before are valid. It’s inclusive in the sense that it is saying all that you’ve seen exists, and everything that you will see exists, in the same unified multiverse.”

In addition to The Flash, Affleck will once again be seen in the role in a slightly different fashion with the notorious Zack Snyder’s Justice League, an extended and tonally different cut of the team-up blockbuster that is set to premiere on HBO Max sometime next year.

Keaton first took on the cowl in Tim Burton’s 1989 Batman, which proved a critical and commercial hit and helped pave the way for the comic book genre’s future box office domination. and his performance has largely been considered one of the best iterations of the character, despite initial hesitation from fans. He would return to the role in 1992’s Batman Returns with Burton directing, and after the financial success and continued positive reviews, the studio began development on a third installment, though quit after Burton was pushed out and replaced with Joel Schumacher, who would go on to direct Val Kilmer in Batman Forever and George Clooney in Batman & Robin.

Warner Bros. first revealed that their Flash film would be inspired by Geoff Johns and Andy Kubert’s Flashpoint comic as early as 2017, with the studio even going so far as to change the movie’s title to Flashpoint for a while before reverting it back to simply The Flash.

The Flash is scheduled to arrive in theaters on July 1, 2022.

What are you hoping to see from the movie’s interpretation of the Flashpoint story? Let us know in the comment section below!

Recommended Reading: Flashpoint

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Triple Frontier’s J.C. Chandor to Helm Kraven the Hunter at Sony

Triple Frontier’s J.C. Chandor to helm Kraven the Hunter at Sony

It’s been two yers since we last heard word on Sony’s Kraven the Hunter film set in the studio’s Marvel Universe and now Deadline has brought word that the project is taking a big step forward as Triple Frontier‘s J.C. Chandor has signed on to direct the project.

Sony has been attempting to bring Kraven to life on the big screen since Marc Webb’s The Amazing Spider-Man 2, which was supposed to be the launch point for a shared universe including a film centered on The Sinister Six, which would’ve included the the webslinger’s iconic adversary. The sequel even featured Kraven’s spear during a TASM2 end-credits scene to set up his appearances in Sinister Six and The Amazing Spider-Man 3, but with the sequel grossly underperforming at the box office and receiving mixed reviews from critics, these plans were scrapped and Sony made a deal with Marvel Studios for a new iteration of Spider-Man for the Marvel Cinematic Universe.

As Sony began building its Universe of Marvel Characters on the Tom Holland-led Venom, a Kraven the Hunter film was put into development with Richard Wenk (The Equalizer) set to pen the script and Antoine Fuqua (The Magnificent Seven) in talks to direct. Though Chandor has been hired in place of Fuqua, Wenk’s script, which is inspired by the popular storyline “Kraven’s Last Hunt,” is still being used for the project.

The film becomes the latest project in the works for the SPUMC, with Olivia Wilde and S.J. Clarkson signing on to reportedly helm Spider-Woman and Madame Web films set in the universe while Marc Guggenheim has been tapped to pen a Jackpot film. The next films in the series, Morbius and Venom: Let There Be Carnage, are set to hit theaters in 2021.

(Photo Credit: Amanda Edwards/WireImage)

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Exclusive DTF Documentary Trailer Takes to the Skies

Exclusive DTF documentary trailer takes to the skies

ComingSoon.net has received the exclusive first trailer for the Gravitas Ventures’ upcoming documentary DTF centered on a widowed pilot’s search for love and sex through Tinder and the friendly skies. The exclusive trailer and key art can be viewed below!

Over the course of 18 months, a filmmaker follows his friend “Christian” as his career as a long-haul pilot takes him to the far corners of the Earth. Widowed and lonely, “Christian” uses his career to find new love in far-off lands as the camera captures his misadventures in lust and love. From the Far East to North America, the friendship of the two men is thrown into turmoil as moral compasses are tested to the limits with a whirlwind of vice and addiction. The question soon turns from can you find true love in the modern global world via dating apps, to how well do you know your closest friends when you are thrown into their secret crazy environments?

A raw and audacious fly-on-the-wall expose documentary on the life of a long-haul airline captain, DTF charts filmmaker Al Bailey, who follows a widowed airline pilot around the planet as he searches to find new love via the dating app Tinder. The well-intended quest spirals into a controversial cautionary tale of one man’s addictive and outlandish behavior in a bubble of vice and depravity that conflicts with his consummate professionalism.

The documentary is set to premiere at Los Angeles’ Dances With Films later this month before launching nationwide on digital platforms and VOD on September 15!

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Paramount Sets PVOD Release for Dylan O’Brien-Led Apocalyptic Adventure

Paramount sets PVOD release for Dylan O’Brien-led apocalyptic adventure

After initially being pushed back for a 2021 theatrical release, Paramount Pictures is shifting gears on the Dylan O’Brien-starring post-apocalyptic adventure Love and Monsters, formerly titled Monster Problems, and setting it for a premium VOD release, according to The Hollywood Reporter.

“Given the demand for new, high-quality entertainment right now, Paramount has decided to release Love and Monsters widely on digital platforms,” Paramount COO Andrew Gumpert said in a statement. “While we eagerly look forward to the reopening of movie theaters, we wanted to make this original and imaginative film available for everyone to enjoy at home.”

Originally scheduled for March and April 2020 releases, the film was last delayed to February 2021 but has now been set for an October 16 release on VOD and digital platforms for a 48-hour rental period at $20, with some platforms offering early digital purchase for $25.

Monster Problems will be directed and written by Michael Matthews with Shawn Levy set to produce through his 21 Laps banner. The project is said to be a coming-of-age story that will center around a road trip with a young man living in a post-apocalyptic world overrun by monsters. The film is likened to both Mad Max and Zombieland with John Hughes overtones.

The film will also star Michael Rooker (Guardians of the Galaxy), Jessica Henwick (Iron Fist) as Aimee, Arianna Greenblatt (Avengers: Infinity War) as Minnow, and Dan Ewing (Occupation) as Cap. Rooker will be playing the role of expert hunter Clyde, who will serve as Joel Dawson’s (O’Brien) mentor on how to survive the Monster Apocalypse.

The spec script arrives from Brian Duffield who also wrote Jane Got a Gun. Levy jumped onboard the property way back in 2012, and the project has since lingered in Development Hell.

Matthews directed the South African Western thriller Five Fingers for Marseilles about the young ‘Five Fingers’ who fought for the rural town of Marseilles, against brutal police oppression twenty years ago.

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New to Stream: HBO Max September 2020 Highlights

HBO Max has unveiled their September 2020 highlights, which includes the premiere of Ridley Scott’s serialized sci-fi series Raised by Wolves, centering on two androids tasked with raising human children on a mysterious virgin planet, new film Unpregnant starring Haley Lu Richardson and Barbie Ferreira, which follows seventeen-year-old Veronica on a 900+ mile hilarious road trip to Mexico with her ex-best friend as she considers a decision she never imagined she’d have to make, and The Murders at White House Farm, a true-crime story about three generations of one family murdered at their isolated farm over thirty years ago, and much more!

Titles Coming to HBO Max in September

Exact Dates TBA:

Haute Dog, Season One Premiere
Mo Willems: Don’t Let the Pigeon Do Storytime!, 2020
The Great Pottery Throw Down, Seasons 1-3
The Murders at White House Farm, Season One Premiere

September 1:

93Queen, 2018
All The Right Moves, 1983 (HBO)
The Astronaut Farmer, 2007 (HBO)
Badlands, 1973
Ballmastrz: 9009, 2018
Bandidas, 2006 (HBO)
Barnyard, 2006 (HBO)
The Best Exotic Marigold Hotel, 2012 (HBO)
Black Dynamite, 2012
Blood Diamond, 2006
The Bodyguard, 1992
The Brak Show, 2000
Butterfield 8, 1960
Cat on a Hot Tin Roof, 1958
Caveman, 1981 (HBO)
Charlotte’s Web, 1973
The Cider House Rules, 1999 (HBO)
City Of God, 2003 (HBO)
Clara’s Heart, 1988
Clerks, 1994 (HBO)
Cold Creek Manor, 2003 (HBO)
Congo, 1995 (HBO)
The Conversation, 1974
Cop Out, 2010
The Curious Case Of Benjamin Button, 2008 (HBO)
Date Movie, 2006 (Unrated Version) (HBO)
Dave, 1993
The Devil Inside, 2012 (HBO)
Divine Secrets of the Ya-Ya Sisterhood, 2002
Doctor Who, Season 12
Dog Day Afternoon, 1975
Dolores Claiborne, 1995
Election, 1999
Fatal Attraction, 1987
Father of the Bride, 1950
Final Destination 5, 2011 (HBO)
Flight Of The Phoenix, 2004 (HBO)
Forensic Files II, Season 1
Going the Distance, 2010
A Good Year, 2006 (HBO)
Grease, 1978
Harlem Nights, 1989
Harvey Birdman: Attorney at Law, 2000
Heartbreakers, 2001 (HBO)
A Hidden Life, 2019 (HBO)
Honeymoon in Vegas, 1992
Idlewild, 2006 (HBO)
Impractical Jokers, Seasons 5-8
Impractical Jokers: After Party, 2002
Impractical Jokers: The Movie, 2020
Infomercials, 2013
In Good Company, 2004 (HBO)
Jackson, 2016
JFK, 1991
Joe Pera Talks With You, 2018
Journey 2: The Mysterious Island, 2012 (HBO)
Joyful Noise, 2012
A Kiss Before Dying, 1991 (HBO)
The Lake House, 2006
Lassie Come Home, 1943
Lazor Wulf, Season 1
Lean on Me, 1989
Life with Father, 1947
Little, 2019 (HBO)
Little Women, 1949
Lost in Space, 1998
A Man Apart, 2003
Mao Mao, Heroes of Pure Heart, Episodes 1-30
Marathon Man, 1976
The Mexican, 2001
Miracle Workers, Season 1
Midnight Run, 1988 (HBO)
Miracle At St. Anna, 2008 (HBO)
Miss Congeniality, 2000
Miss Congeniality 2: Armed and Fabulous, 2005
Moral Orel, Seasons 1-3
Murder by Numbers, 2002
Netizens, 2018
Observe and Report, 2009
Off the Air, 2011
An Officer and a Gentleman, 1982
OK K.O.! Let’s Be Heroes, Seasons 1-3
The Operative, 2019 (HBO)
The Outsiders, 1983
Over the Garden Wall, 2014
Over The Hedge, 2006 (HBO)
Point Break, 1991 (HBO)
Private Benjamin, 1980
Prometheus, 2012 (HBO)
PT 109, 1963
Red Riding Hood, 2011
The Replacements, 2000
Replicas, 2019 (HBO)
Reversal of Fortune, 1990
A Room With A View, 1986 (HBO)
Sealab 2021, Seasons 1-5
See No Evil, 2006 (HBO)
Shrek Forever After, 2010
Sin Cielo, 2018 (HBO)
The Sitter, 2011 (Unrated Version) (HBO)
Snakes on a Plane, 2006
Son of the Mask, 2005
Squidbillies, Seasons 1-12
Star 80, 1983
Sunrise at Campobello, 1960
Superjail!, Seasons 1-4
Tennessee Johnson, 1942
Three Kings, 1999
Tigtone, Season 1
Tim and Eric Awesome Show, Great Job!, Seasons 1-5
Too Beautiful: Our Right to Fight, 2018
Two Weeks Notice, 2002
V for Vendetta, 2006
Victoria and Abdul, 2017 (HBO)
The Wedding Singer, 1998
Wes Craven’s New Nightmare, 1994
When We Were Kings, 1996 (HBO)
Who’s Afraid of Virginia Woolf?, 1966
The Wind and the Lion, 1975
Young Sheldon, Seasons 1-3

September 3:

Raised by Wolves, Season 1 Premiere

September 4:

Lo Dejo Cuando Quiera (Aka I Can Quit Whenever I Want), 2019 (HBO)

September 5:

Spies in Disguise, 2019 (HBO)

September 10:

Unpregnant, Film Premiere

September 11:

Detention Adventure, Season 1
Huracán (Aka Hurricane), 2019 (HBO)
Make It Big, Make It Small, Season 1

September 12:

Coastal Elites (HBO)

September 14:

The Third Day, Limited Series Premiere (HBO)
We Are Who We Are, Drama Series Premiere (HBO)

September 15:

Re:ZERO, Season 2

September 17:

Weston Woods, 2020

September 18:

Habla Now (HBO)
La Musiquita Por Dentro, 2019 (HBO)

September 19:

The Invisible Man, 2020 (HBO)

September 23:

Agents of Chaos Part 1 (HBO)
Agents of Chaos Part 2 (HBO)

September 25:

Fandango at the Wall, 2020 (HBO)

September 26:

Just Mercy, 2019 (HBO)

September 27:

Patria, HBO Europe Series Premiere (HBO)

LAST CHANCE TO CATCH: SELECT TITLES LEAVING HBO MAX IN SEPTEMBER

September 7:

A Star is Born, 2018 (HBO)
The Hate U Give, 2018

September 8:

The Oslo Diaries, 2018 (HBO)

September 28:

24/7 College Football, 2019 (HBO)

September 30:

Alita: Battle Angel, 2019 (HBO)
Anna, 2019 (HBO)
Apocalypse Now, 1979 (HBO)
Armageddon, 1998 (HBO)
Blade, 1998
Blazing Saddles, 1974
Bohemian Rhapsody, 2018 (HBO)
The Departed, 2006
The Exorcist, 1973
Free Willy, 1993
Grease, 1978
Gremlins, 1984
Interview with the Vampire, 1994
Journey to the Center of the Earth, 2008
Madagascar, 2005 (HBO)
Mad Max 2: The Road Warrior, 1983
Mrs. Doubtfire, 1993 (HBO)
The Postman Always Rings Twice, 1981
Saving Private Ryan, 1998
Shaft, 2019 (HBO)
Space Jam, 1996
Superman Returns, 2006
Troy, 2004
War of the Worlds, 2005 (HBO)
Wedding Crashers, 2005
The Wedding Singer, 1998
The Wild Bunch, 1969

The post New to Stream: HBO Max September 2020 Highlights appeared first on ComingSoon.net.

Robert Eggers’ Viking Film The Northman Begins Production in Ireland

Robert Eggers' Viking Film The Northman Begins Production in Ireland

Robert Eggers’ Viking film The Northman begins production in Ireland

According to Deadline, Robert Eggers’ forthcoming Viking revenge film The Northman has officially begun its production in Ireland which was previously scheduled to start back in March but was delayed due to the ongoing pandemic. In addition, Grammy-nominated Icelandic singer-songwriter Björk has joined the star-studded cast along with Game of Thrones alum Kate Dickie with Björk reportedly portraying the role of a Slav Witch.

The Northman is described as Viking revenge film which will be set in Iceland at the turn of the 10th Century.

Eggers has put together an all-star ensemble for the film including Oscar winner Nicole Kidman, Alexander Skarsgård, Bill Skarsgård, and Claes Bang, plus previous collaborators Willem Dafoe (The Lighthouse) and Anya Taylor-Joy (The Witch). Eggers will direct from a script he co-wrote with Icelandic novelist Sjón.

Eggers first gained recognition through his 2015 feature directorial debut The Witch which is a horror period film that immediately received critical and commercial success. This was then followed by 2019’s psychological thriller The Lighthouse which was shot on 35mm black-and-white stock using equipment from the 1920s and ’40s. Starring Robert Pattinson and Willem Dafoe, the film opened in theaters on October 18 to rave reviews from critics and was a modest commercial success, grossing over $18 million on a $4 million budget, and was nominated for an Oscar for Best Cinematography.

(Photo by Larry Busacca/Getty Images)

The post Robert Eggers’ Viking Film The Northman Begins Production in Ireland appeared first on ComingSoon.net.

Author: Generic