Cinephiles have film festivals, and audiophiles have music festivals, and never the twain shall meet. At least that was the case until Hans Zimmer took the Coachella Music Festival by storm twice in the last month. Just about a week ago, we shared the first video released by Coachella, a live performance of Zimmer’s soundtrack from Interstellar. And now the festival has followed up with a second performance, this time of Zimmer’s score for The Dark Knight (via Heroic Hollywood). If you’ve ever wanted to watch one of your favorite film composers shred like a rock star, well, here’s your chance (at least until John Williams decides to shock us all with his Mad Max: Fury Road-esque guitar gimp suit).
When Martin Scorsese and Robert De Niro aren’t busy trying to figure out ways to digitally de-age the latter in Netflix movies about professional hitmen, they do field offers from other studios. That seems to be the case now with Imperative Entertainment, the production house that recently snapped up the rights for David Grann’s non-fiction novel Killers Of The Flower Moon: The Osage Murders And The Birth Of The FBI. After spending a whopping $5 million dollars for the rights, Imperative immediately pivoted into convincing the two Hollywood stars — and their frequent collaborator Leonard DiCaprio — to accept the project on their behalf.
While fans have mostly been enthusiastic about the expanded role of Jason Statham in The Fate of the Furious, there is one thing that has stuck in their collective craw. While Statham’s character has the movie’s best moments, he never stops to address the elephant in the room: Shaw did kill Sung Kang’s Han, perhaps the most beloved character in the franchise and (we assumed) an unforgivable offense for a movie built on family. Will the filmmakers address this in a future installment of the Fast and the Furious films? Or, perhaps more intriguing, could Sung Kang find his way back into the franchise?
It’s been a few months since the world lost Carrie Fisher, and while many would prefer to expand the conversation to her accomplishments outside of the Star Wars universe, plenty of people are anxiously wondering how her death might affect her character in the upcoming Star Wars sequels. For some, this can be viewed as a tacky approach to celebrity, but there’s a sweeter side to things as well. Leia Organa remains an icon for people around the world; finding an appropriate way to say goodbye to her character will be, in essence, the way many Star Wars fans say goodbye to Fisher herself.
About a decade ago, one of the hot new trends in the film industry was states writing tax credits into their statutes and regulations for the film industry. The idea was that rather than making California and Vancouver double for every city in North America, Hollywood would be able to shoot on location at roughly the same cost and local business would benefit from access to studio productions. Of course, there is an obvious flaw with this plan: while studios might gain access to locations through tax credits, the local infrastructure they need — stages, technicians, union members — is often nowhere to be found. As recently as August 2016, Variety had declared this a dead experiment.
With Hugh Jackman’s Logan opening in theaters this weekend, the top spot of this list was never in doubt. The questions were always whether audiences would respond well to the first major R-rated superhero movie. Was the big opening of Deadpool an abberation or a sign of things to come? If today’s numbers are any indication, the answer is, maybe a little bit of both.
One of the side effects of CGI is our inability to appreciate the effort that goes into a good movie scene. A few decades ago, you could look at a shot from a movie and instinctively know how much time and energy went into it. You could see the production design, the costumes, the makeup, the lighting, all of which required people to make real things with their hands and put them in front of the camera. These days, we just chalk everything up to computers without thinking much about what that means.
While losing Anton Yelchin was a sad day for any number of reasons, here’s one more: several years after Yelchin worked with filmmaker David Karlak to produce the independent science-fiction short Rise, the film has finally been picked up by a studio to turn into a feature. According to The Hollywood Reporter (via iO9), Warner Bros. has recently signed on to adapt the popular science-fiction short Rise into a feature film. What should have been a celebrated accomplishment for both director and star is now somewhat tempered by the sadness of his passing.
In a piece of news bound to make you say, “Wait, is this still a thing?”, it looks like we’ll still be getting that Terminator 2 3D conversion after all. Scroll back through our archives and you’ll find our very first mention of the Terminator 2 re-release in December of 2015. Back then, word was that James Cameron and company would time the theatrical re-release of the film to its 25th anniversary on July 3. For one reason or another, though, the studio missed that window, and thousands of people around the world were only able to relive their love of the Terminator franchise in the same boring two dimensions they’d always had. Sad.
The Razzies are a tough award show to love. Oh, I’m sure plenty of people probably read the headline to this article and — depending on their opinion of both Dinesh D’Souza and the DC Cinematic Universe — found great comfort in the public mockery of Hillary’s America and Batman v Superman: Dawn of Justice. But while awards shows in general might serve the noble purpose of raising awareness about powerful films, the annual Razzies Awards often feel like you’re kicking someone when they’re already down. They’ve already flopped with audiences and critics; throwing a Razzie award at them is the Hollywood equivalent of kicking them when they’re down.
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