Moonfall sounds like it could be the title of a new James Bond movie, like a combo between Moonraker and Skyfall, which — to be honest — sounds kind of great. Instead, it’s the title of Roland Emmerich’s next disaster epic, in which the director / sworn enemy of famous landmarks will once again try to destroy Earth, this time by hitting it with the moon.
Movie News - Page 2
James Wan has firmly established himself as a modern master of horror with films like Saw, Insidious and The Conjuring, and though the filmmaker’s latest project isn’t one he directed himself, he is responsible for bringing it to the big screen. Wan produced Lights Out, and if the newest trailer for the upcoming horror flick is to be believed, you’re in for some serious scares.
You just don’t see that many music videos tied into movies very much these days, but it looks like Suicide Squad is shaking things up a bit. The full soundtrack list dropped last week along with a video for a song by twenty one pilots, and today brings yet another video for an original track from David Ayer’s devious DC anti-superhero flick — this one from Wiz Khalifa, Lil Wayne and Imagine Dragons.
There’s a moment early on in The Neon Demon, in which a fantastically icy Abbey Lee tells Elle Fanning’s doe-eyed aspiring model the first thing women notice about other women. Basically it’s: “Who is she f—ing? Could I f— them? How high can she climb? And is it higher than me?" It’s the closest thing to a thesis statement you’ll find in Nicolas Winding Refn’s latest film, a stylishly surreal effort that’s equal parts deranged fairy tale and devious satire, where all that glitters is ultimately cold.
Adam McKay and Jennifer Lawrence both made movies about big business last year. Lawrence starred in Joy for David O. Russell, a biopic about entrepreneur and Miracle Mop innovator Joy Mangano, who rose from humble beginnings to the top of a home improvement empire. McKay’s movie, his first break from surrealistic comedy, was The Big Short, adapted from the Michael Lewis book, about the men who accurately predicted (and wildly profited from) the 2008 economic collapse. In the heated atmosphere of awards season, McKay and Lawrence found themselves as competitors for prizes and box office. Now they’ll team up to make something together about what is seemingly a common interest in the American economy.
Just a few months ago, a Star Trek fan film made headlines in a way no one wants their fan film to make headlines: As the target of a lawsuit. Paramount sued the producers of Prelude to Axanar, a Trek fan movie that had raised over $500,000 on Indiegogo, claiming it was infringing on their many of their copyrights. They were almost certainly correct, but the story got a lot of attention, as stories about big conglomerates suing the pants off poor individuals often do.
Like so many Hollywood blockbusters these days, Independence Day: Resurgence ends with a beginning. Before the dust has settled on the final conflict, the next conflict is already set in motion. Rather than tying a bow around the previous two hours of planet-leveling carnage, Resurgence immediately begins teasing another sequel.
Rogue One: A Star Wars Story is holding reshoots this summer. No one disputes this. What is disputed is just what those reshoots mean for the movie, how much the film is changing in the middle of production, who is in charge of those reshoots, and whether it means the production is in any kind of trouble.
It’s time for our daily update on the cast of Spider-Man: Homecoming, which is, once again, adding more awesome names to its growing roster. At the very least, Marvel and Sony’s new reboot will have a fantastic and very diverse cast — one that now includes Fargo Season 2 favorite Bokeem Woodbine (as yet another villain) and Better Call Saul star Michael Mando.
Particularly avid film fans are likely well-aware that the industry is a male-dominated one in which women — both behind of and in front of the scenes — are outnumbered and thus outranked by men. But as Meryl Streep pointed out last year, the problem extends beyond Hollywood proper and into film journalism, where a new study supports the idea that the industry as a whole is unfairly skewed — the implication being that if the majority of film critics are male and promoting predominantly male-driven narratives, then Hollywood has no reason to make a change.