I don’t have any tattoos. I have trouble committing to a pair of shoes in the morning; committing to something that would stay on my body for the rest of my life would be impossible. Maybe that’s why I’m in awe of movie tattoos, and the lengths some folks go to to show their love of film. Forever! You’ve got to be a pretty big fan of a movie to plaster it across your chest for eternity. What if your tastes change? When I was 14, I was really into Police Academy. Can you imagine if 20 years later my wife woke up every morning to this etched into my back?
Netflix has come a long way from those little red envelopes full of DVDs. Today the movies-by-mail rental company is a full-fledged movie and television studio with an impressive slate of original films, documentaries, mini-series, and cartoons. And they keep adding new content constantly; a week after Season 3 of the acclaimed series House of Cards, they unveiled Unbreakable Kimmy Schmidt from Tina Fey; two weeks later they debuted Bloodline starring Friday Night Lights’s Kyle Chandler.
Robert Downey Jr., presenting a bionic Iron Man arm to an exceedingly well-dressed 7-year-old fan named Alex, who was born with a partially developed right arm. The arm wasn’t built by Tony Stark, but rather by a college student named Albert Manero who makes low-cost 3D-printed bionic limbs for children. But Downey received the honor and pleasure of presenting him with his new arm, and comparing it to one of his own Iron Man suits.
The news out of Disney’s shareholder meeting keeps on coming. This one isn’t much of a surprise: Disney is making Frozen 2. In a related story, the sky is blue and water is wet (until a princess with freezing powers comes along and turns it into ice).
For months it’s been rumored, now it’s confirmed: Rian Johnson, the writer and director of Brick and Looper is officially the writer and director of Star Wars: Episode VIII. Disney CEO Robert Iger also revealed to company shareholders today that Episode VIII has its official release date: May 26, 2017 — 40 years and a single day after the release of the very first Star Wars back in 1977.
The name “Disney” brings to mind images of fair princesses, charming princes, magical fairy tales, and simple happily ever afters. In recent years, though, Disney has begun rethinking their classic properties, and releasing more thematically complex versions of their famous films. Sleeping Beauty became Maleficent, which turned a wicked witch into a sympathetic anti-hero; a whole mess of fairy tales turned into Into the Woods, where happily ever after preceded a whole bunch of death and tragedy. The ranks of Disney Princesses grew to include women like Merida, the bow-slinging heroine of Brave, and Anna and Else from Frozen, who rescued each other from an prince, rather than the other way around. Every value and concept that Disney had established and reinforced through decades of repetition was seemingly up for reconsideration and revision.
With their new Cinderella just days away, Disney is continuing its streak of turning its animated classics into live-action features with the news, via the Wall Street Journal, that Dumbo is ready to make the transition from animated elephant to ... well, still-animated elephant surrounded by live-action actors. If that idea doesn’t get your ears flapping, maybe this will: the Journal says Tim Burton will be the man who’ll direct the new Dumbo.
After years of complaining from people who didn’t have or couldn’t afford cable (or whose parents refused to give them their HBO Go password), HBO is finally delivering a standalone streaming service, HBO Now. Today, the company announced some of its availability details, including pricing and when and where it will be available.
Here’s something strange in the neighborhood: Deadline reports that Sony isn’t waiting for Paul Feig’s all-female Ghostbusters reboot (with its cast of comedy all-stars Melissa McCarthy, Kristen Wiig, Leslie Jones, and Kate McKinnon) to debut before planning additional Ghostbuster sequels or spinoffs. They’re already getting to work on what the trade describes as a “guy-themed” offshoot with an all-male cast.
The technology in Neil Blomkamp’s movies is so fully realized and intricately detailed that it feels like another one of his characters. Now Blomkamp’s made Chappie, a film where that’s literally true in the form of a police robot given the gift of human consciousness. The result is one giant metaphor for itself; a story of the world’s first true artificial intelligence and how it is almost corrupted by violence, presented in a movie where any semblance of serious consideration of what it means to be alive is drowned out by gunfire, explosions, and macho posing.
Last year, back when it still seemed possible that Sony may try to continue their Amazing Spider-Man reboot and before they teamed with Marvel to relaunch Spidey in a new film series that will connect with the Marvel Cinematic Universe, ScreenCrush Editor-in-Chief Mike Sampson and I put together a list of ten directors we thought could save the Spider-Man franchise. One name we both immediately thought belonged on the list was Drew Goddard, the man who directed The Cabin in the Woods and was then slated to direct the Amazing 2 spinoff The Sinister Six.
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