Ahh, post-production, that magical time when a director can use computers and good old-fashioned ingenuity to fix the hundred little things that went wrong while shooting. Flubbed lines can be re-recorded and spliced in, flawed shots can be surgically removed, and inconsistencies in continuity can be digitally erased from the frame. That last one has become something of a major concern for the Justice League production as it winds down, because the process of reshooting has dealt director Joss Whedon one hairy, noticeable continuity error.
Just yesterday, we noted the release of a new trailer for the upcoming re-adaptation of Stephen King’s seminal killer-clown novel It. Things seemed pretty normal, at first brush: terrified kids, children’s entertainer straight out of your worst nightmares, eerie red balloon, the whole nine yards. But sharp-eyed viewers have now noted a little Easter egg squirreled away for a split-second in one shot near the end of the trailer. Don’t blink or you’ll miss it, “it” referring in this instance to “IT.”
I know that this very web site has declared a personal fatwa against slowed-down pop songs in movie trailers, but I can’t help but feel like the spots advertising the upcoming remake of Joel Schumacher’s 1990 cult object Flatliners won’t be complete until they’ve tapped a creepy children’s choir to cover the Doors’ “Break On Through (To The Other Side).” It’s perfect! The song is about permeating the boundaries between life and death, the film deals with the same topic (only with what appear to be unsettling CGI zombies in the mix), it’s bananas that some enterprising ad executive hasn’t made the connection.
With the arrival of San Diego Comic-Con last week, the major announcements started flying fast and furious. After the avalanche of release date announcements, trailer releases, and other first-look headline-generators, the news broke that the gears of progress had begun turning for James Bond’s next cinematic outing. The official Twitter account posted that the still-untitled James Bond 25 would hit American theaters on November 8, 2019 after an earlier release in the United Kingdom and elsewhere, and also presumably after shiploads of online pirates have gotten their mitts on it. Americans do not tend to take delayed release dates lying down.
Our children won’t believe us when we tell them that there used to be doubt over whether a female-fronted superhero movie would work at the box office. Even at present, the days of studio executive hand-wringing over whether audiences would deign to shell out their precious $11.75 to see a film in which a woman — who was not a man — did superhero things feel favorably remote. For director Patty Jenkins and her marble-carved star Gal Gadot have proven beyond all debate and rage-choked internet commenting that women are perfectly capable of making a whole mess of money during blockbuster season. And now it’s official.
Adam Wingard’s adaptation of popular anime series Death Note drew a lot of heat before the public even saw a single frame, as fans of the original were displeased to learn he’d set the film in the U.S. instead of the original Japan and make the Asian lead into a white guy, a move we shall henceforth refer to as “Ghost in the Shelling.” And while the question of whitewashing will most likely persist on through the film’s August 25 release, we still have yet to see whether it will be a competent horror film on non-politicized terms. Today, the public can start to get an impression of whether the film is garden-variety bad in addition to being #problematic.
Those of us who have dutifully followed Dwayne Johnson’s social-media updates from the set of the Jumanji reboot (fully titled Jumanji: Welcome to the Jungle, a series of words I will never say out loud) have been hotly anticipating the first official trailer for months now. And after all the online teasing from the Rock about how much excitement audiences can expect from his new revival of the ’90s kids’ classic, he’s finally putting his money where his bulging, oiled-up biceps are. Welcome to the jungle, director Jake Kasdan has fun and games, if by “fun” we mean “a massive FX budget” and if by “games” we mean “body-switching humor.“
The universe of The Conjuring just keeps expanding outward. James Wan’s ’70s-set creepfest made swimming pools of money for New Line Cinema, which made a greenlighting a sequel pretty much a no-brainer. When that film sold like hotcakes too, New Line moved onto an Annabelle spinoff and a scheduled sequel, a solo project for the demon nun that torments Vera Farmiga and Patrick Wilson, and yet another spinoff for the bowler-sporting Conjuring 2 villain known as The Crooked Man. And now the seventh film in the connected Conjuring world has been announced, promising more highly lucrative scares for New Line.
The people cannot get enough Batman. He’s everywhere: he fought Superman, now he’s in the Justice League, soon he’ll return to another solo movie, and he ended up back in the news due to Adam West’s passing — we’re living in the Batman-est of all possible worlds. And those Batmaniacs clamoring for more time with the Caped Crusader before he returns in Justice League on November 17 are in luck, because Bruce Wayne and a couple familiar friends will storm nationwide theaters for a special one-night engagement this summer.
Today marks the one-year mark until we get the sequel to the 2015 box-office-crusher Jurassic World, and Universal wanted to do something special to commemorate the occasion. Now look down at that glass of water you've got close at hand. Tiny ripples in the center, a distant thunderous thudding in the distance. New information is close at hand.
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