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Movie News & Trailers: Coming Attractions
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The “sexier, bloodier” versions of his Netflix
Oh happy days
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The latest franchise that won’t die: Shrek 5 is coming.
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Godzilla Minus One Blu-ray Now Available for Pre-Order – Godzilla.com
The time has come. US fans can now pre-order Godzilla Minus One and Godzilla Minus One/Minus Color in one beautiful Blu-ray box set.
With an estimated ship date of September, the Godzilla Minus One Blu-ray Deluxe Japan Collector’s Edition is the first home video release US fans will be able to get their hands on and the only to bundle both the original and black and white versions of the film.
Exclusively available on the Godzilla Store, the box set mirrors the 4-disc deluxe release in Japan. The Deluxe Japan Collector’s Edition not only preserves the same gorgeous packaging as the Japan release, but also all the same content with the addition of English menus and the option to select English subtitles for Godzilla Minus One and Godzilla Minus One/Minus Color.
The four discs included are:
Disc 1: Godzilla Minus One 4K Ultra HD Blu-ray
Disc 2: Godzilla Minus One Blu-ray
Disc 3: Godzilla Minus One/Minus Color Blu-ray
Disc 4: Bonus Blu-ray (Japanese language only)Secure your copy at the Godzilla Store today and sign up to our email newsletter to be alerted to future releases.
______________________________________________________________________‘Godzilla Minus One’ Arrives On 4K Blu-Ray In Every Glorious Version – Forbes
‘Godzilla Minus One’ to Release Deluxe Home Video Edition | Exclusive Video – The Wrap
TOHO TO RELEASE THE 4-DISC GODZILLA MINUS ONE: 4K ULTRA HD + BLU-RAY DELUXE JAPAN COLLECTOR’S EDITION FOR US CUSTOMERS! – The Digital Bits
______________________________________________________________________So I guess I need a Region-Free Blu-Ray player to play this? Ah well, at least I’ll have options.
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I really want Beetlejuice Beetlejuice to be good, but it just has that whiff of latter-day Tim Burton to it. I was getting a lot of Dark Shadows vibes from it, which I thought was a bit of a mess.
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David Lynch Can No Longer Direct in Person Due to Emphysema
Twin Peaks maestro David Lynch says he is no longer able to direct projects in person due to his suffering from emphysema.
In a recent interview with Sight & Sound, the auteur said that he got the disease from “smoking for so long, and so I’m homebound whether I like it or not. I can’t go out. And I can only walk a short distance before I’m out of oxygen.”
He continued: “Smoking was something that I absolutely loved, but in the end, it bit me. It was part of the art life for me: the tobacco and the smell of it, and lighting things and smoking and going back and sitting back and having a smoke and looking at your work, or thinking about things. Nothing like it in this world is so beautiful. Meanwhile, it’s killing me. So I had to quit.”
Due to his illness, future directorial projects are understandably up in the air, though could possibly be done remotely from home. “I like to be amongst the things and get ideas there. But I would try to do it remotely, if it comes to it,” he said.
The director also said that he recently pitched an animated project to Netflix called Snootworld, but the streamer wound up passing. He still hopes to make his unproduced 2010 screenplay Antelope Don’t Run No More.
Lynch’s last major project was the 2017 Showtime revival Twin Peaks: The Return. The cast featured the return of several actors from the original series (including Kyle MacLachlan, Sherilyn Fenn, Madchen Amick, Sheryl Lee and David Duchovny) as well as a staggering amount of new faces (including Enlightened‘s Laura Dern, Arrested Development‘s Michael Cera, The Thorn Birds‘ Richard Chamberlain, Nine Inch Nails frontman Trent Reznor and Gossip Girl‘s Jessica Szohr).
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Oh man, I suppose that means even fewer movies from Lynch in the years to come… And it’s not like it isn’t hard enough for him to get projects financed. It’s fucking criminal, thinking of the amount of Lynch content we could have if people were worshipping him and just throwing money at him the way they bloody well should.
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Oh man, I suppose that means even fewer movies from Lynch in the years to come… And it’s not like it isn’t hard enough for him to get projects financed. It’s fucking criminal, thinking of the amount of Lynch content we could have if people were worshipping him and just throwing money at him the way they bloody well should.
Lynch is 78, and now that he’s homebound with emphysema, I truly doubt we will see any movies from him anymore. While he seems game to try shooting remotely, I can imagine even that taking a physical toll. Pre- and post-production may be too demanding him as well.
I can see him maybe trying some shorts, possible for his YouTube channel as a proof of concept to see the viability of remote directing for him.
There is part of me that does see him tooling around on a set in a motorized wheelchair with oxygen tanks and umbrella or some type of protective covering with odd markings and symbols on it, closely followed by a strangely dressed “assistant” to take care of his basic needs. That is the dream.
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Nothing like it in this world is so beautiful.
I should mention that it was to some extent David Lynch who got me into smoking. That beauty that he mentions, that was so wonderfully shown in Wild at Heart – probably my favourite movie at eighteen – that this idea of smoking as something beautiful has always stuck with me.
Even these days, when I’ve managed to mostly remove smoking from my life, I still have this aesthetic idea of it in my head.
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Just wondering, should this have it’s own thread?
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I unashamedly enjoy the Sonic movies, and getting Keanu in for the voice of Shadow is great. I’ll look forward to taking my kid to see this.
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The allegory is a bit confused, but the message still has bite in Marielle Heller’s surrealistic statement about all that mothers are asked to sacrifice.
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Is Amy Adams an Oscar Frontrunner for Nightbitch After TIFF Premiere? Here’s What Critics Are Saying – People
Critics are reacting to Amy Adams’ daring new role. Could it lead to the beloved actress’ first Oscar win?
Adams, 50, stars as the simply named Mother in Nightbitch, which had its world premiere on Saturday, Sept. 7, at the Toronto International Film Festival. The movie follows a new parent who pauses her career to be a stay-at-home mom — sparking an identity crisis in which she fears she’s turning into a dog.
Entertainment Weekly’s Maureen Lee Lenker wrote that Nightbitch (adapted from the 2021 novel of the same name) is Adams’ “most fearless work yet,” adding that she “leans into the absurd wildness of it with gusto.”
Among the first reviews, critics praised Adams’ performance, with IndieWire’s Emily Rife saying she shines best when her character is shown interacting with her 2-year-old son: “This adds welcome emotional complexity to the film, and tees it up for a closing monologue about the animalistic violence of childbirth that transcends the sometimes-trite mom humor of the first half and lands on something profound,” Rife wrote.
Adams “just simply envelopes this role, completely believable and compelling as a mom on the edge,” Deadline’s Pete Hammond wrote in a review, also praising director Marielle Heller’s work.
“There is simply no way this movie could have been written or made by a man, at least to get the kind of stellar effect this amusing and moving valentine to moms achieves.”
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You know, I somehow never saw that Rob Lowe adaptation of Salem’s Lot. But maybe I’ll see this one, I’ve always liked the novel.
(Liked as in, it kept me awake in terror for a whole night of reading it straight through when I was sixteenish.)
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Wait, what?
…ah, it’s an animated thing based on a Charles Dickens children’s novel. Okay.
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This is one of the best trailers I’ve seen in a while. The concepts are a bit familiar (I was reminded of Moon in particular) but it looks like an interesting movie.
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Yeah, that looks really great. It also feels like a bit of a departure for Bong Joon Ho, insofar as in his other movies (as far as I’ve seen them) the satire was more between the lines and the humour very subdued, whereas this feels properly comedic at times. There was also an interesting Gilliam vibe visually at times, I thought.
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How surprising!!!
In all seriousness, it’d be cool if this movie was historically accurate in the details, but who the hell would have expected it to be?
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Back in June 2019, J.J. Abrams struck a massive overall deal that would keep him in the fold of Warner Bros., his home studio since 2006.
The five-year pact, pegged at $500 million at the time, had a unique structure that allowed Abrams to draw from a significant pool of money to sign other writers to overall deals. That positioned the multi-hyphenate behind “Felicity” and “Lost” as not just a content creator but a mogul whose Bad Robot production company would incubate the next generation of storytellers, with Abrams and his wife, Katie McGrath, overseeing the stable. Five and a half years later, Warner Bros. doesn’t have much to show for all the coin that it showered on Abrams, even as the value of the deal dropped by half because Bad Robot failed to reach the financial and output benchmarks that would have triggered the full $500 million. With less leverage than it had in 2019, Abrams’ team has quietly closed a more modest production pact with the studio that sources say will cover film and TV. It’s a signal to agents and managers around town that the era of the nine-figure writer-producer megadeal has peaked. (Bad Robot and Warner Bros. declined comment.)
If the plan was to fashion Abrams into a cross between Bob Iger and Rembrandt, it didn’t quite work out. Bad Robot spent about $50 million of Warners’ money setting satellite deals with writer-producers like Angela Robinson, Dustin Thomason, Jessie Nelson and LaToya Morgan that yielded little. The goal was to turn Bad Robot into a mini studio with autonomy within Warners.
“The CEO thing whiffed,” says one top dealmaker. “But this was overall-deal heyday time.”
In 2022, HBO Max put the brakes on Robinson’s “Madame X” series, which was based on the immortal DC character. Last year, the streamer opted not to move forward with Thomason’s “Overlook,” a spinoff of Stephen King’s “The Shining.” Nelson’s “Little Voice,” a music-heavy ode to 20-something ennui that was produced by Warner Bros. TV and released by Apple TV+, lasted one season before being canceled in 2021. And Morgan’s “Duster” has endured a long journey to the screen. The FBI drama was given a straight-to-series green light at HBO Max in 2020 and is finally set to debut on Max in 2025. Sources say Morgan was paid $10 million-plus for eight episodes.
“The squeeze is on, and the economy is really putting a new spotlight on extravagance,” says Stephen Galloway, dean of Chapman University’s Dodge College of Film and Media Arts. “This is now a meat-and-potatoes economy. It was always a luxury business, and now everybody is feeling the pinch. You’re looking at the layoffs, the fracturing of some of these big companies, the debt load they’ve taken on. We’re not in a recession, but we are in a recession economy.”
With his new deal, Abrams is no longer at the top of the shrinking ranks of writer-producers with nine-figure deals. Agents familiar with Hollywood’s pecking order say Dick Wolf is king, thanks to the sheer tonnage of his “Law & Order,” “FBI” and “Chicago” franchises across NBC and CBS. He’s followed by Ryan Murphy (Disney, “American Horror Story”), Shonda Rhimes (Netflix, “Bridgerton”), Dan Fogelman (Disney, “Only Murders in the Building”), Taylor Sheridan (Paramount, “Yellowstone”) and Greg Berlanti (Warner Bros., “The Flash”). Berlanti has two years left on his $120 million pact and likely will face a still-inhospitable climate when the time comes to negotiate. Some, like comedy kingpin Chuck Lorre, have more complicated deals that may eclipse those of the mega-earners due to back-end compensation terms for shows that perform well.
If volume is key for the writer-producer, the once-prolific Abrams hit a block at just the wrong time. On the TV front, HBO Max scrapped Bad Robot’s “Constantine” series based on the DC property. On the big screen, plenty of hype surrounded an Abrams-produced Black Superman film with a script by Ta-Nehisi Coates. That project is technically still alive but has seen no forward movement since early 2023. Instead, Warner Bros.-DC has the James Gunn-directed “Superman” reboot hitting theaters on July 11. Abrams did produce the upcoming 1980s-set “Flowervale Street” starring Anne Hathaway. Though the $85 million thriller, which bows on March 13, may include dinosaurs, it isn’t the kind of tentpole WarnerMedia brass had in mind back in 2019.
Even if Abrams’ output had fared better, he would still be at the mercy of the marketplace. COVID and the twin labor strikes of 2023 wreaked havoc on the industry, shuttering or stalling productions and decimating the bottom line for legacy studios. More than a year after SAG-AFTRA reached an agreement with the studios, production has yet to return to normal. That has sent CEOs including Warner Bros. Discovery’s David Zaslav looking for gristle to trim.
“The focus on downsizing at studios means having another look at these generous talent deals,” says Jason Squire, professor emeritus at USC School of Cinematic Arts and host of “The Movie Business Podcast.” “Warner Bros. Discovery — and other studios too — have a lot of pressure from stockholders and the board to reduce their debt, and talent [costs] is one way to do it.”
But if there was one unmistakable sign that a new day was dawning, it was that HBO pulled the plug on Abrams’ $200 million-plus series “Demimonde” in 2022 due to budgetary concerns. The Warner Bros. Television-produced sci-fi drama was then shopped to the deep-pocketed streamers. There were no takers.
Says one veteran producer: “The Bad Robot deal was a massive coronation of J.J. He basically was a working screenwriter who Hollywood helped [turn] into the next Steven Spielberg. But the question is, what did Warner Bros. get out of that deal?”
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Abrams has created for the most part very mediocre fare. That goes for all of his movies, really, and for everything he’s written or directed himself on TV, as well. Lost is a big exception, but that’s presumably because Lindeloff is a really good writer. Why anybody would think of Abrams as the next Spielberg is beyond me.
Bad Robot did produce some very good shows, especially the Jonathan Nolan ones.
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Abrams has created for the most part very mediocre fare. That goes for all of his movies, really, and for everything he’s written or directed himself on TV, as well. Lost is a big exception, but that’s presumably because Lindeloff is a really good writer. Why anybody would think of Abrams as the next Spielberg is beyond me.
Bad Robot did produce some very good shows, especially the Jonathan Nolan ones.
Abrams had basically no involvement in Lost after the pilot, he left straight away to make Mission: Impossible 3.
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