Director Roland Emmerich's return to the world he created with 1996's Independence Day was never going to make for a brilliant, life-altering film. Nor is that what Independence Day: Resurgence is meant to be. No, this is a quintessential get-out-of-the-heat, mindless summer popcorn-chomper. As such, the film's greatest sin isn't that it's stupid — it's that it's entirely inert and uninspired.
Star Wars fans were treated to a lot of new info this week about our next big-screen journey to a galaxy far, far away.
Between Entertainment Weekly scoring a lot of Star Wars scoops and Mads Mikkelsen not giving a bantha’s ass what the overlords at Lucasfilm will do if he spills all the spoilers, we’ve been getting a clearer picture of who’s who in Rogue One: A Star Wars Story.
Check out the video below for everything there is to know now about the key players in Rogue One, including a certain Sith Lord and one character plucked from animated series Star Wars: The Clone Wars:
In a time not too long ago (2014), in a galaxy not too far away (Chicago), Star Wars creator George Lucas looked to bring the Lucas Museum of Narrative Art to reality on the Windy City’s lakefront. But today, months of negotiation have collapsed under pressure from local interest groups and the museum will now need to find a new home.
Star Wars prequel actor Hayden Christensen recently spoke about his willingness to return to the film series, and while Ewan McGregor has also said he'd be happy to reprise his role as Obi-Wan, he wants to make one thing clear - he's not begging for work. Also, he's not sure why folks get so excited about the franchise.
When the trailer for David F. Sandberg’s Lights Out played in front of a recent general-audience screening for The Conjuring 2 that I attended, I started to feel for the first time that Sandberg might really be onto something with the film, a low-budget horror flick with an ingeniously simple premise: a vicious spirit that can only be seen (and, presumably, hurt you) in the dark. To borrow a phrase from Hitchcock: the trailer played the crowd like a piano.
Can you believe it’s been almost a year since the Adam Sandler movie Pixels came out and garnered just 17 percent on Rotten Tomatoes’ “splat-o-meter?” More importantly, can you believe that it actually did ok at the box office despite not breaking even in the U.S. (thank you China, Mexico, and Germany)? Well, anyway, the long overdue “Honest Trailer” of the video games-based flick is out. And it’s a significant upgrade over the film itself.
It seems that any time the word “reshoots” is uttered, especially when it comes to anything related to Star Wars, Marvel or DC (see: Suicide Squad), speculation from fans goes into overdrive. They often assume the worst, like the first cut is terrible, the story didn’t work, the acting is bad or certain comic moments didn’t land. But Rogue One director Gareth Edwards just wants everyone to calm down about the additional filming going on with his movie.
Day after day since opening a week ago, Finding Dory has been absolutely dominating the box office and setting record after record.
One of Disney’s greatest treasures has been with us for 22 years. It was on June 24, 1994 that The Lion King opened in theaters across the country.
There are, in every generation of filmmakers, certain archetypes that repeat themselves over and over. For example, every generation has its playful prankster, the talented visual artists who are delighted by their own ability to take beautiful pictures of horrible things.
I’ll be the first to admit that I am drawn to filmmakers who use cinema as a way of pushing buttons, and I am a fan of the outrageous and the extreme. When I saw De Palma, the new documentary about Brian De Palma and his filmography, it sent me scrambling to watch a number of his older films again. They are so familiar at this point, so well-worn, that it surprised me to see how new they still feel when I took a step back. The next day, I went to a screening of the latest film from Nicolas Winding Refn, and the back-to-back timing of the two films made me laugh. More than anything, this feels like Refn working in the genre that De Palma had largely to himself in the late ’70s and early ’80s before getting relegated to mere late-night Cinemax fodder.