Here’s how thoroughly Batman’s influence has permeated the mainstream: he’s claimed tacit ownership of the very notion of shining a light into the sky. The Bat-Signal, introduced in the comics as Gotham City’s method of summoning the Dark Knight, has been endlessly parodied in the annals of pop-culture — just earlier this month, the poster for Captain Underpants paid homage to the iconic (a word I mean here literally, and not in the ‘a photo of the Kardashians’ sense) design of the skyward spotlight. And all too appropriately, the Bat-Signal will now be used to give one former Batman, the dearly departed Adam West, a proper send-off.
It’s a tableau with which anyone who watches the news is all too familiar: police station, pair of white interrogators, terrified-looking black man. But it’s not from last night’s 10 o’clock broadcast — the year is 1967, and that’s Star Wars star John Boyega in the chair, fielding aggressive and leading questions from the stern officers. It’s a tense scene bordering on the sickening, and the trailer for Kathryn Bigelow’s supercharged period piece Detroit only get more brutal from there.
Do you wanna build a snowman... again? Disney sure hopes so, as they announced in a new press release today that their mega-successful Frozen would gain a sort of mini-sequel in an upcoming short to be bundled with Coco. But Olaf’s Frozen Adventure is no ordinary lead-in to the main event; it sounds like quite a bit has gone into the short that Disney repeatedly refers to as a “featurette,” running at 21 minutes and including four new songs, as well as returning cast members Josh Gad, Kristen Bell, Idina Menzel, and Jonathan Groff. Parents, batten down the hatches, for a new ‘Let It Go’ is close at hand.
Netflix has been notoriously secretive about their data, whether that’s subscription demographics or the all-important individual streaming figures for specific titles. Though they’ve grown into a major player in the world of entertainment, we really have no earthly idea whether Netflix is successful or not. (They almost definitely are, unless this is the single most brazen bluff in showbiz history.) The only knowledge we have of Netflix’s inner workings comes from the occasional missive issued by content head Ted Sarandos, who made one such announcement in a recent letter to shareholders. Among the financial jargon and quarterly earnings reports, Sarandos dropped the chilling detail that Netflix’s 100 million-strong user base has collectively streamed over 500 million hours of Adam Sandler movies since The Ridiculous Six opened. Today, ScreenCrush invites you to consider the brain-collapsing enormity of that number.
As the guy behind An American Werewolf in London, one of the most widely adored monster movies in the genre’s gloriously ignoble history, people care what John Landis has to say about the state of the American studio creature feature. The current talking point du jour is Universal’s connected franchise of Dark Universe monster movies, a planned network of seven interlocking films featuring their most famed ghouls. This past weekend, their flagship entry The Mummy gave a mixed performance at the box office, mustering up a paltry $32 million domestically, but giving star Tom Cruise his biggest global opening of all time. It’s an embarrassment at home but a smash abroad, and Landis has some thoughts on the matter.
Spider-Man’s a true New Yorker: he understands when to take the 6 train versus rolling the dice on the 2nd Avenue subway, he knows where to get the Bronx’s best chopped cheese, and when he needs a snack in a pinch, he hits up his friendly neighborhood bodega. In the latest promotional spot for the umpteenth reboot Spider-Man: Homecoming, the web-head is late to a big NBA Finals watching party at Tony Stark’s place. (The commercial was written to air specifically during the basketball playoffs this year.) But when he ducks into a nearby bodega — for those uninitiated, it’s really just a corner convenience store, but immeasurably better in every way — he has a chance encounter.
In a few short weeks, the general public will get to lay eyes on Edgar Wright’s latest film Baby Driver, which, as has been made clear multiple times elsewhere on this very web site, is absurdly good. Like, unaccountably good. How is the movie so good? Explain yourself, Wright! While he has not yet owned up to whatever dark sorcery made his new film such a blast, Wright has been discussing plenty of other matters as he’s made the rounds on the interview circuit in support of Baby Driver. And the folks at Movie Web wanted the answer to one question in specific: where’s the man stand on sequels?
There‘s a new gay icon in Hollywood currently enjoying a moment of enhanced visibility. If you find Ellen too squeaky-clean, Neil Patrick Harris too eager-to-please, or Lance Bass too Lance Bass, then you’re in luck, because a new LGBT champion has emerged from the shadows to capture the hearts of millions. He’s here, he’s queer, and he wants to eat the child that cracked open his cursed pop-up book: good citizens of the Internet, the Babadook has burst out of the closet, and he’s hungry.
As we gradually approach a Fahrenheit 451-type juncture in the real world, HBO Films has kindly taken the edge off by announcing their plans to mount a new adaptation of Ray Bradbury’s dystopian novel. It was surprising but enticing news when it broke a couple of months ago, boasting a flashy pair of headliners in Michael B. Jordan (portraying Guy Montag, an professional book-burner who comes to question the ethics of his work) and Michael Shannon (as Beatty, Guy’s boss and mentor who doesn’t take too kindly to his protege’s radical new thoughts). And today, in an all-too-timely casting notice, a third star has upped the profile of this big-ticket TV movie even further.
The Academy Awards may have run back in February, but the Golden Trailer Awards — nothing if not the Academy Awards for people without the patience to sit for a feature-length film — took place just last night...
Here’s how bubble economics works: when a specific commodity appears to be growing in value, investors funnel more money into it and that artificially inflates the value even further, which cycles back and attracts even more investor money. Eventually, however, the chickens must come home to roost and the actual value of that commodity must be recognized. If the return-on-investment potential fails to live up to the hype created around it, then a lot of people stand to lose a lot of money very quickly. Remember Kazaa, from way back when it looked like it was literally impossible to lose money by investing in online companies? Me neither!
Between its premiere at the Cannes Film Festival in 2016 and its theatrical release last month, Laura Poitras’ WikiLeaks documentary Risk transformed into a different film. In that interim year, her subject Julian Assange nabbed quite a few headlines as he stuck his thumb in the 2016 Presidential election, and Poitras rightly believed she’d have to recut the film to account for all the new developments. And now, in a similar situation, another festival-feted nonfiction film has been made to rewrite its own story as real-world news breaks.
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