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Little Monsters: Josh Cooley to Direct Universal’s Newest Monster Project

Little Monsters: Josh Cooley to direct Universal’s newest monster project

Universal Pictures continues to expand and invest in their classic monsters with The Hollywood Reporter bringing word that the studio is currently developing a new project titled Little Monsters which will reportedly be a more family-friendly take on the iconic horror characters. Long-time Pixar animator Josh Cooley, who is known for directing the Oscar-winning animated film Toy Story 4, has officially signed on to write and helm the project.

Plot details for Little Monsters are still being kept under wraps but the outlet’s sources have described it as a live-action hybrid monster film which will be a “love letter to classic Hollywood and the history of filmmaking with a story that takes a multigenerational approach to the monsters.”

The film will be a co-production between Universal and Mandeville Films with Todd Lieberman and David Hoberman set as producers. It is unclear if the studio would also be using a modest budget for the project in the same direction they’re taking with their other monster projects.

The Little Monsters film will now become a part of Universal’s growing list of upcoming monster projects including Paul Feig’s Dark Army, Dexter Fletcher’s film about Dracula henchman Renfield, Elizabeth Banks’ Invisible Woman, Matt Stawki’s Monster Mash, James Wan’s untitled monster film, Karyn Kusama’s Dracula, the Ryan Gosling-led Wolfman film and David Keopp’s long-in-development The Bride of Frankenstein reboot.

Universal Pictures attempted to create its own shared universe with its legacy monsters; an ambitious project that would have featured the likes of Johnny Depp, Angelina Jolie, and Javier Bardem. Then The Mummy, starring Tom Cruise, crashed and burned with a middling $409 million worldwide gross and subsequently derailed Universal’s Dark Universe.

Because of that, the studio has decided to abandon the shared universe approach and instead focus on character-driven films guided by strong filmmakers and good stories. The first result of their new strategy was Leigh Whannell’s The Invisible Man starring Elisabeth Moss and Oliver Jackson-Cohen which garnered positive reviews from critics and had grossed over $57 million in its opening weekend on a $7 million budget.

(Photo by Jemal Countess/Getty Images)

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Random Acts of Violence Trailer Brings an R-Rated Comic Book to Life

Random Acts of Violence trailer brings an r-rated comic book to life

Shudder has released the official red band trailer for actor-director Jay Baruchel’s slasher film adaptation of Random Acts of Violence, giving us a preview of the gruesome deaths that will be featured in the film. Also starring Jesse Williams, the film had its world premiere at the 2019 Fantastic Fest in September and will be having its streaming debut in the US, UK, and Ireland on August 20, exclusively on Shudder. It will also be arriving in Canada in theaters and on-demand on July 31. Check out the video in the player below!

Based on the graphic novel by Jimmy Palmiotti and Justin Gray, Random Acts of Violence follows the story of comic book creator Todd Walkley (Jesse Williams), along with his girlfriend, Kathy (Jordana Brewster), assistant Aurora (Niamh Wilson), and best friend and Hard Calibre Comics owner Ezra (Baruchel) as they go on a road trip. On their way from Toronto to New York for Comic-Con, bad things start to happen and people start getting killed in a fashion eerily similar to the kills portrayed in his Slasherman comic. It becomes clear that a very avid fan is out there following them and hurting people, and using Todd’s comic as inspiration. As the bodies pile up, and Todd’s friends and family become targets and victims themselves, Todd will be forced into taking responsibility for everything his ideas have wrought.

Pick up a copy of the graphic novel here!

The movie stars Jay Baruchel (The Sorcerer’s Apprentice), Jesse Williams (Grey’s Anatomy), Jordana Brewster (Fast and Furious franchise), and Niamh Wilson (Saw III). Baruchel — who expressed his desire to direct the movie adaptation of Random Acts of Violence a few years ago — co-wrote the screenplay for the horror feature alongside writing partner Jesse Chabot.

Random Acts of Violence is produced by Elevation Pictures (The Imitation Game, Room, Moonlight). Noah Segal (The Hummingbird Project) and Randy Manis (Margin Call) serve as producers with Williams, Chabot, Ricky Tollman, Jonathan Bronfman, Jimmy Palmiotti, and Justin Gray set as executive producers. Ariella Naymark serves as co-producer.

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CS Score! Reviews Dracula 2000 and The Thin Red Line 4-CD Set

Welcome back, film score lovers! On this week’s CS Score! we’ll go over the release of Varèse Sarabande’s Dracula 2000 by Marco Beltrami and dive deeper into Hans Zimmer’s masterpiece, The Thin Red Line.

Before we get to ole Dracula, we want to debut a clip from the upcoming Ramy Seasons One and Two (Original Composition Soundtrack Album), featuring music by composers Dan Romer (Beasts of the Southern Wild, Skin) and Mike Tuccillo (Out of Omaha). The score to the comedy-drama series was released digitally by Lakeshore Records on July 3 and can be purchased by clicking the link below!

Ramy: Seasons One and Two (Original Composition Soundtrack Album)

Listen to “Tame the Untamable”

Dracula 2000 by Marco Beltrami

Boy, who doesn’t love discovering a new soundtrack? Dracula 2000 arrived in theaters without much fanfare and grossed a ho-hum $47.1 million in the United States against a $54 million budget. This despite a stellar cast that included Gerald Butler, Christopher Plummer, Omar Epps, Sean Patrick Thomas, and Jennifer Esposito. Not to mention the involvement of horror maestro Wes Craven. Critics tore the pic to shreds with only 17% awarding it a positive review on Rotten Tomatoes.

Because of that, Marco Beltrami’s exciting score lay largely unheard for nearly two decades until Varèse Sarabande released it as part of its Little Box of Horrors 12-disc set. And now, the label has seen fit to provide the long-lost title as a standalone album available July 24.

While Beltrami doesn’t break any new ground with his work, he does deliver an exuberant sense of classical gothic fun. Take a listen to the opening track, “Lifeboat,” which begins with a dark and ominous underscore accompanied by the wailing vocals of Mamak Khadem and evolves into the thunderously exciting main theme replete with drums, powerful horns, and gothic choir. The whole soundtrack evokes some of Shirley Walker’s best work (namely Memoirs of an Invisible Man and even Batman: The Animated Series) with its powerful, dramatic brass and driving rhythms.

The next few tracks consist of typical horror ambiance — choir, dark piano chords, synthesizer — before the track “Mission: Impossible” explodes with a series of electronic beats more in line with Beltrami’s own Terminator 3 score.

Tellingly, Dracula 2000 doesn’t truly come alive until its sixth track, titled, “The Movable Feast/Come to Daddy,” which begins with electronic pulses before erupting into the type of gothic crescendo that would make Danny Elfman proud.

Other tracks like “Mary and Priest” lean on Khadem’s vocals (reminiscent of Lisa Gerrard’s work with Hans Zimmer on Gladiator) and occasionally pair the vocalist with lush violin, or ominous choir to rousing effect. The album’s best track, “At Home with the Creeps/Old Man in the C/Goodnight Moon” is a deliciously creepy bit that slowly builds to an exuberant finish full of wild percussions, choir, and some rather exciting orchestra.

“Tickle Me Elmo/Mary, Mary Quite Contrary/Mary & Drac Left Hangin’” is a lengthy piece that meanders about for its first half and eventually brings the entire soundtrack together with some exciting choir-driven action music. This new release also includes two additional versions of “The Sun Also Rises,” aka the main theme, and “Canned Heat.”

Again, while not groundbreaking, Beltrami’s work on Dracula 2000 sounds better than it has any right to, especially considering the hackneyed film it accompanied. Sure, it evokes memories of better scores and seems to borrow from the vocal influences of the time, but Dracula 2000 remains an exciting, even underappreciated gothic work.

You can purchase the original Dracula 2000 Soundtrack by clicking here!

The Thin Red Line by Hans Zimmer

The Thin Red Line remains one of the great scores of the last two decades. Ripe with powerful, sweeping themes and featuring one of the truly great tracks of our time in “Journey to the Line,” Zimmer’s work for Terrence Malick’s masterpiece is beyond astonishing.

La-La Land Records released a 4-CD package of The Thin Red Line in 2019, and we finally got our hands on the collection for a brief review. You can check out our unboxing photos in our last edition of CS Score. For this entry, we’ll take a deeper dive into the set.

The score to the film is presented over the first two CDs, which contain roughly two hours worth of music, including “Concerto for Beam (Extended Version)” by John Powell. Highlights of the first pair of discs include the tracks “Witt with Melanesians,” which introduces one of the main themes to the film; one that draws inspiration from the Melanesians track “God Yu Takem Laef Blong Mi.” “March Inland” features a quieter, though no less powerful, version of “Journey to the Line,” which serves as the main motif during the majority of the recollection sequences.

Another more sinister theme, mostly heard during the sequences featuring Nick Nolte’s Lt. Col. Tall, receives its first statement in the second half of track 3, “Witt in Brig/Tall and Quintard,” and pops up time and again between the more lyrical tracks. Zimmer also employs a more somber death theme in tracks such as “Keck’s Death”; and more dramatically in “Welsh Helps Tella.” More introspective music appears during “Bell’s Patrol.”

The first CD builds towards “Attack in the Bivouac (Long Version)” aka “Journey to the Line,” as its more commonly known, which remains one of Zimmer’s most stunning (and, ironically given the scene in which it’s used, inspiring) compositions. This music has popped up in any number of trailers and managed to lend power and grace to blockbusters like Michael Bay’s Pearl Harbor.

Disc 2 is certainly quieter than Disc 1 as the film slows down to offer more character reflection. A majority of the music is a tad redundant and doesn’t offer much in the way of new material, but still features plenty of tracks to enjoy. “Airfield – Bell Flashback” is a quiet, somber, and heartbreaking cue comprised of rising and falling strings; while “Witt Killed” remains one of my all-time favorite Zimmer cues not only because of the context of the scene in which it is featured in the film, but also due to its stunning emotional core. Truly masterful stuff.

A number of alternate cues round out Disc 2, while Disc 3 provides the original motion picture soundtrack released back in 1999. A number of pieces not heard in the final film appear on this album, so it is essential in terms of gathering all the music crafted by Zimmer and co., though it feels a little cheap to force people to shell out $60 for a soundtrack they already own. In fact, it’s said that Zimmer wrote four hours of film score for The Thin Red Line. Why not include the music we didn’t get to hear?

Another disappointment in this collection lies in the fourth and final disc, which is comprised of Melanesian choir songs, only one of which was heard in the actual film. While the music is interesting, it most certainly won’t tide over fans yearning for more of Zimmer’s work.

Essentially, you’re paying $60 for two CDs and a spiffy making-of booklet with notes about the score and the film. If you don’t own the original soundtrack, then the addition of it in this set is only a bonus. However, it’s tough not to be disappointed by this set considering the material La-La Land had to work with. Though, the first two CDs are absolutely essential for every film music collector.

You can purchase the original The Thin Red Line soundtrack by clicking here!

You can purchase the 4-CD package of The Thin Red Line soundtrack here!

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Paul W.S. Anderson’s Monster Hunter Pushed Seven Months

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Paul W.S. Anderson’s Monster Hunter pushed seven months

Another film has bit the release delay dust as Paul W.S. Anderson’s upcoming film adaptation of the hit Capcom video game franchise Monster Hunter starring Milla Jovovich (Resident Evil) has been pushed back seven months from September 2020 to April 23, 2021, according to The Wrap.

Monster Hunter centers on the leader of a UN military team named Artemis, played by Jovovich, who is transported to another realm populated by monsters. There she meets the Hunter (Jaa), with the two teaming up to close a portal to prevent monsters from attacking earth. The movie will be a highly stylish big-screen adaptation of the video game.

The film adaptation will be led by Milla Jovovich (Resident Evil franchise) and Tony Jaa. It will also star Ron Perlman (Hellboy, Drive), T.I. Harris (Ant-Man and The Wasp), Diego Boneta (Luis Miguel, Rock of Ages), Meagan Good (Code Black), and Josh Helman (X-Men: Days of Future Past).

Monster Hunter is written and directed by Paul W.S. Anderson. The film is a production by Sony Pictures, Constantin Film and Impact Pictures with Anderson, Jeremy Bolt, Robert Kulzer, Martin Moszkowicz, and Dennis Berardi serving as producers.

Pick up your copy of Monster Hunter World: Iceborne Master Edition here!

The video game series consists of action role-playing games where players and their friends work together to take down larger-than-life beasts in a living, breathing ecosystem. Since the first Monster Hunter title made its debut 14 years ago in 2004, the series has attracted a dedicated fan base, and grown into a global mega-hit with Monster Hunter: World, the latest title in the series, shipping 10 million units worldwide, with cumulative sales of the series exceeding 49 million units as of August 20, 2018.

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David Ayer Reveals Original Enchantress Design for Suicide Squad

David Ayer reveals original Enchantress design for Suicide Squad

Much like Zack Snyder’s Justice League before him, the internet rabbit hole surrounding David Ayer’s 2016 Suicide Squad continues to deepen further as one fan on Twitter unveiled a treasure trove of character concept art, namely for Cara Delevingne’s Enchantress showing a completely new look the writer/director originally wanted.

This is where I wanted to take her look. https://t.co/Hl6vwdzG6E

— David Ayer (@DavidAyerMovies) July 8, 2020

As a director who clearly adores and appreciates his fan base, Ayer has been pretty responsive and open when it comes to a variety of questions surrounding the various cuts and changes made to his project, from the original designs and motivations of the Parademons to more Jared Leto Joker footage. His last social media revelation showed that one big Parademon was originally supposed to be the final “boss fight” of sorts in the film before Warner Bros. nixed the idea and they went with the barely expanded-upon brother of Enchantress, Incubus.

The ball is firmly in Warner Bros. court on this one. It certainly bodes well that Ayer doesn’t seem to harbor any ill will toward the studio, nor with Gunn and vice versa. Ayer has also said that there’s a lot more footage of Jared Leto’s Joker nestled somewhere in the WB archives. Regardless, there’s the matter of what kind of resources the studio is willing to give Ayer to realize his true vision of the film. Warner Bros. is reportedly giving Snyder an estimated $20-30 million to properly finish his Justice League cut, but with Ayer recently confirming he wouldn’t need anywhere close to that to finish his version, many are questioning why not just allow him to go for it.

Would you like to see a proper director’s cut of David Ayer’s Suicide Squad down the line? Let us know in the comment section below!

Recommended Reading: Justice League vs. Suicide Squad

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CS Interview: The Russo Bros. Talk Flash Gordon

ComingSoon.net had the chance to chat with Joe and Anthony Russo about their weekly series Russo Bros. Pizza Film School, including Episode 6, available to watch below, their newest installment featuring Oscar-winning filmmaker Taika Waititi (Jojo Rabbit) as the group takes a look back at 1980’s Flash Gordon, which you can order here!

ComingSoon.net: They told me that the next episode of Pizza Film School is Taika and you guys talking about Flash Gordon.

Joe: That’s right. I think that is the movie that I have seen the most in my life, is Flash Gordon.

CS: It’s such an interesting case study of a comic strip adaptation because visually it’s very true to Alex Raymond. But tonally, it owes more to the sort of the camp of the Batman TV show, which Lorenzo Semple also wrote. And I know it was a big influence on Taika for Ragnarok. But what lessons do you think young filmmakers or screenwriters can take from it as an adaptation?

Joe: Flash Gordon, part of the reason we’re doing Pizza Film School, we’re trying to bring awareness and attention to older films that the newer generation may not have seen and give some context to those movies as well, because it’s always better to watch a film with some context around it. So we talk, really, the whole ethos of them was that I was talking to my kids. I was with my kids during quarantine watching movies with me, old movies, and then discussing them with them and then talking about how I was influenced by the movies. A little bit of like, family film school. And my daughter said, “You guys should probably do this for everyone on Instagram.” And I thought, oh, that’s a good idea because it’ll bring awareness.

So Flash Gordon, you know, is of a time and a place. It was a 10-year-old me going into a theater in Cleveland, Ohio a year after the city had gone bankrupt. We were in an industrial city, you know, this hard-nosed industrial working-class city. Her grandpa worked in the steel mills. Here we are in Cleveland, Ohio looking for escapism. And this flashy, comic booky, you know, tongue and cheek Queen soundtrack movie shows up and it was a few months after I saw Empire Strikes Back, which punched me in the gut.

And then, this big smiley sci-fi opera showed up with a lot of, you know, because Cleveland’s also a big classic rock town, so rock and roll was an important thing, so Queen was one of our favorite bands. We kind of got everything we wanted out of that movie. And you know, I felt so good after walking out of the theater. I loved that movie so much, that when it came out on Betamax a year later, it was literally on a loop in our house because we would just play it to listen to the soundtrack in the background. And I think Flash’s theme song might be, you know, if I could document the song most listened to in my life, that might be it.

CS: Oh wow.

Joe: Between the ages of 11 and 15, I probably listened to that song 30,000 times. So it was a really influential movie in that regard, what you could do with sci-fi and fantasy. And if you watch the film, it’s a really weird combination of elements. It’s completely tongue in cheek and over the top and ridiculous. But it’s also got sort of that Mike Hodges Get Carter energy involved. There’s some really scary, weird moments. So the tone is very complicated. And I loved that as a kid, you know, that it could feel popcorny and fun in moments, and in other moments feel very real and spooky, you know? And Max von Sydow, yeah.

CS: Absolutely. Well, and it’s interesting because I know that for Ragnarok, Taika was inspired a lot by this movie, and also Big Trouble in Little China, which are two, at the time, bombs. So how important is it to not necessarily chase after trends and to be inspired by movies that weren’t necessarily huge hits?

Anthony: I think that’s what’s inspiring about it. Exactly. I mean, that was one thing that Joe and I, as we were coming up, it’s interesting because you develop a passion for a lot of films that don’t end up becoming cultural touchstones, where there’s the films that everybody talks about, put a dialogue around the film, and to circulate around those films that everybody has seen and everybody loves. But there’s the certain canon that like, is kind of generally accepted by everybody that you can basically get in a conversation with almost any person about and reference it or sort of talk about your experience of what the movie is.

But there’s other movies that become very important to us for whatever reason. They speak to us on a personal level. But again, you can’t talk to anybody about because very few people appreciate them. I think Joe and I were always very lucky coming up because we had each other and all of those weird, quirky movies that nobody else had seen, because Joe and I lived together, because of our relationship, we’ve seen everything. There’s almost nothing that one of us has seen that the other one hasn’t. So we always had each other to talk about even the most obscure stuff with. And I think that’s one thing we’ve loved about our relationship and one thing that we’ve tried to carry forward now with Pizza Film School.

CS: Right. And one thing I’ve been curious about is how much of sci-fi and fantasy is in your blood? Because the first two MCU movies that you did were more grounded. And then suddenly with the Avengers movies, you were in the stratosphere with these planets and spaceships and monsters and wizards. Was that something that you always had in you?

Anthony: Yeah, our taste has mostly been eclectic. The fact that we’re led to those different places with those movies had mostly to do with the stories that we were sort of waiting on and telling at the time. But we have really eclectic tastes. We love everything from very grounded realism to pure fantasy to absurdism, sci-fi, fantasy, everything. So I would say we’ve been fed by all of it.

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Radioactive U.S. Trailer Debuts Ahead of Amazon Prime Premiere

Radioactive U.S. trailer debuts ahead of Amazon Prime premiere

Amazon Prime Video has released the full Radioactive trailer for director Marjane Satrapi’s biographical drama film, featuring Oscar nominee Rosamund Pike as she portrays renowned scientist Marie Curie. The film had its world premiere at the 2019 Toronto International Film Festival and will be available for streaming on Friday, July 24. Check out the video in the player!

From the 1870s to the modern era, Radioactive is a journey through Marie Curie’s enduring legacies – her passionate relationships, scientific breakthroughs, and the consequences that followed for her and for the world. After meeting fellow scientist Pierre Curie, the pair go on to marry and change the face of science forever by their discovery of radioactivity. The genius of the Curies’ world-changing discoveries and the ensuing Nobel Prize propels the devoted couple into the international limelight.

The film stars Oscar nominee Rosamund Pike (Gone Girl) as Marie Curie, Sam Riley (Maleficent, Control) as Pierre Curie, and Anya Taylor-Joy (Emma, New Mutants) as Irene Curie. It will also feature Cara Bossom, Aneurin Barnard, Simon Russell Beale, Tim Woodward, Jonathan Aris, Mirjam Novak, and Michael Gould.

Based on Lauren Redniss’ graphic novel of the same name, Radioactive is directed by Marjane Satrapi from a screenplay written by Jack Thorne. It is produced by Tim Bevan, Eric Fellner, and Paul Webster. The film is a co-production by Working Title Films and StudioCanal in partnership with Shoebox Films.

Marie Curie is a Polish-French physicist and chemist who was the first one to develop the theory of radioactivity, which is a term she coined. She is also best known for discovering two elements: the polonium and radium. Because of her incredible work, Curie was awarded two Nobel Prize Awards in 1903 and 1911, making her the first woman to win the award. At the age of 66, she died in 1934 due to aplastic anemia which was caused by her too much exposure from the radiation during the course of her extensive scientific research.

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Review: Despite Obvious Faults, Money Plane Is Still A Wacky, Entertaining Heist Flick

Review: Despite Obvious Faults, ‘Money Plane’ Is Still A Wacky, Entertaining Heist Flick

Review: Despite Obvious Faults, Money Plane Is Still A Wacky, Entertaining Heist Flick

WrestleZone’s Bill Pritchard shares his review for Quiver Distribution’s action film Money Plane, featuring WWE Superstar Adam “Edge” Copeland. Available to order now, you can check out Pritchard’s review for the movie below (via WZ)!

Money Plane sees a far-fetched story about a group of thieves pulling off the ultimate heist by robbing a futuristic airborne casino to pay back a $40 million debt and saving their leader’s family in the process.

Out now on video-on-demand services like Amazon, Adam Copeland (aka WWE’s Edge) plays Jack Reese, a high-level thief attempting to leave the business after one last score. It sounds easy enough for a master criminal, but as we find out a few minutes into the film (a prologue, if you will), the ‘one last job’ doesn’t go as planned and it leaves Reese in debt to Darius Emmanuel Grouch (Kelsey Grammer), a notorious crime boss nicknamed ‘The Rumble.’

With a movie and premise like Money Plane, you should go into it expecting an over-the-top and (as Copeland’s Reese puts it) “bat-shit crazy” plot, similar to Snakes On A Plane but not as crazy as the Sharknado films. It’s still a heist film and the idea that there’s a top-secret flying casino filled with gangsters is absurd, but not as much as some of the names and character stereotypes.

Darius “The Rumble” Grouch just seems like a mafia trope at times, as does Matthew Lawrence’s Texan character, The Cowboy. The latter does provide a great ‘punchline’ to a gag in the film, but the rootin’-tootin’ Cowboy is just one of a few typecasted roles that seem out of place in a ‘serious’ movie. Andrew Lawrence, the youngest of the acting brothers, directs the film and also appears on-screen as part of Copeland’s crew and Joey Lawrence (Whoa!) also sees some screen time as a game host or concierge, drawing some comparisons to Lance Reddick’s Charon in the John Wick series. The cast is rounded out with some big names like Denise Richards, who plays Reese’s wife, and Thomas Jane, who ends coming into play later in the film (and really should have been used much more than he was).

Money Plane’s biggest problem is that it struggles to find its identity and switches things up too much to maintain that balance. It starts as a serious heist film and flip-flops between campy action flick and high-tech thriller as it progresses. It’s well cast, but every character outside of Reese and his team vary from threatening villain to outright goofy as the film moves on. It doesn’t help that the score is also very cheesy at times, some tracks sounding like it’s stock and others that are very obviously a rip-off of some other popular song. There’s one scene, in particular, that was very awkward as it tried to add a “cool” vibe in the form of a very obvious rip-off of New Order’s “Blue Monday” during a poker game. There are a few other instances where this happens and it really takes away from some otherwise great action scenes and fights.

Despite the issues with the score and theme, Money Plane is still a fun watch if you don’t take it too seriously. The titular “futuristic airborne casino” isn’t very futuristic as much as it is an exclusive club for the criminal underworld, but there are some good one-liners, fight scenes and Copeland is well-cast as the straight man to all of the wackiness going on around him, with Jane also providing some strong scenes.

One of the first things Money Plane lays out is the rules of a job well done and its three critical parts.

Have a great team
Have a proper diversion
Have a backup plan

All three come into play towards the end of the film and based on those points, Money Plane is successful. Reese and his team are likable and competent, and the diversion and back-up provide a couple of good twists at the end of the film.

It has a solid resolution—but it also leaves a little room for a sequel if the studio was planning that. With that in mind, Money Plane could work if it was more balanced. Whether it’s zany or serious, it should lean more towards one than the other and not bounce back and forth throughout the film. Money Plane has its faults, but it’s still an entertaining movie with a solid cast and some good gags and fight scenes.

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Monster Hunter Director Teases Action Film’s 50-60 Feet Tall Monsters

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Monster Hunter: Paul W.S. Anderson teases action film’s 50-60 feet tall Monsters

In a recent interview with Empire Magazine (via Syfy Wire), director Paul W.S. Anderson revealed new details about Sony Pictures’ forthcoming film adaptation of Monster Hunter, teasing the 50-60 ft. tall monsters that action star Milla Jovovich will have to face in the film.

“All our monsters are 50-60 feet tall. They’re really amazing. We’re building them in even more detail than the dinosaurs of Jurassic World,” Anderson said. “And they look even better, because we shot on real locations in South Africa and Namibia, which gives the animators something to really match into: real wind, real dust, real sun-flare. The monsters are the only CG thing in there.”

Pick up your copy of Monster Hunter World: Iceborne Master Edition here!

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Luke Evans Gives Update on Beauty and the Beast Prequel Series

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Luke Evans gives update on Beauty and the Beast prequel series

Last March, it was announced that Disney+ was developing an untitled Beauty and the Beast prequel series which will center around Gaston and LeFou with Luke Evans (The Hobbit trilogy) and Josh Gad (Frozen) attached to reprise their villain roles from the 2017 live-action film. In a recent interview with Collider, Evans has finally opened up about the project by revealing the status of the series’ current development, while also confirming that scripts for some episodes have already been completed as well as some new music from award-winning composer Alan Menken.

“Now, we’re in fully fledged development. The second and third episodes have been written and we’ve heard some of the music by Alan Menken,” Evans said. “We’re just so honored to have him on board, writing the music, which is extraordinary, in itself. We feel so lucky to have this talented group of people creating a story about two much loved and much hated characters, but that’s the excitement. There are a lot of questions about, where we will start? What we will tell? Who are these people? When you visit them, where will they be? So, it’s going to be a really fun experience. Me and Josh are literally vibrating with excitement to shoot it.”

In addition, he also shared that the idea for a Gaston and Lefou series came from his and Gad’s desire to be able to work together again. Following their stint on Beauty and the Beast, the duo tried for a long time to search for other projects they could work on. “In the back of our minds, we definitely had thoughts about revisiting Gaston and LeFou in a different story, obviously. So, when the idea really came to fruition and we got on board some incredible writers, and Josh, especially, had an incredible idea that, once it was born, it just flew itself. And when we pitched the idea to Disney+, they were very excited about it.”

The series, which is being penned by Once Upon a Time creators Eddy Kitsis and Adam Horowitz, will be a six-episode limited series musical event with composer Alan Menken also in talks to return to craft music for the series. The project is currently in early development, with no other stars currently attached, but sources are reporting that there is a possibility they could appear in guest spots.

Horowitz and Kitsis are going to partner with Gad to serve as showrunners on the series, with the trio writing all six scripts and executive producing alongside Evans, while ABC Signature Studios is funding the project.

This prequel series will mark the second extension from a live-action Disney remake for the streaming service as a spin-off film focusing on Billy Magnussen’s Prince Anders from last year’s Aladdin is currently in development, while reboots of The Mighty Ducks and Tucker and Hooch are also in development.

Beauty and the Beast starred Emma Watson as Belle; Dan Stevens as the Beast; Luke Evans as Gaston, the handsome, but shallow villager who woos Belle; Oscar winner Kevin Kline as Maurice, Belle’s eccentric, but lovable father; and Josh Gad as Lefou, Gaston’s long-suffering aide-de-camp. The film also featured Ewan McGregor as Lumière, Gugu Mbatha-Raw as Plumette, Ian McKellen as Cogsworth, Stanley Tucci as Cadenza, Audra McDonald as Garderobe and Emma Thompson as Mrs. Potts.

Bill Condon’s Beauty and the Beast hit theaters in March 2017 to generally positive reviews from critics and audiences, who praised the visual effects and faithfulness to the original while also receiving some criticisms for its lack of doing anything new with the material. It went on to be a major box office success, grossing over $1.25 billion worldwide on a production budget estimated between $160-255 million.

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Luke Evans gives update on Beauty and the Beast prequel series