Monday, July 16, 2018
Movie News
Movie News

A throwback poster for ‘Skyscraper’ (left) and ‘Die Hard’
July 15 marks the 30th anniversary of a truly great modern action film, Die Hard. Unlike even some more recent action classics, Die Hard can comfortably be considered one of the most influential films of the genre. How many other movies in the last three decades have we seen that are basically Die Hard in a different location? Instead of one man trapped in a building with bad guys, we’ve gotten movies with self-contained action on a bus (Speed), on the President’s airplane (Air Force One), on a regular airplane (Passenger 57), on a submarine (Under Siege), and more. This weekend heralds the release of Skyscraper, the latest movie heavily inspired by Die Hard, in which one man is trapped…in a building with bad guys. Not a plane, not a submarine, not a bus, but…a building.

What Skyscraper has that no other Die Hard homage/rip-off has is Dwayne Johnson as its star. His presence elevates the movie a bit, but not enough, because writer/director Rawson Marshall Thurber steers away from the things that make Die Hard so memorable 30 years later. The bad guys are largely forgettable, and humor is mostly absent, unlike in the 1988 classic. Elements of the set-up are singular enough. Johnson plays Will Sawyer, an ex-FBI agent who now works as a security consultant. Will and his family have been called to Hong Kong so he can provide a third-party assessment of what is purported to be the tallest skyscraper in the world, known as the Pearl. Soon after he arrives, though, Will is framed for murder, while his wife and kids are trapped in the Pearl as a group of terrorists set a fire in the hopes of destroying the entire structure.

So, yes, there’s a bit of the ’70s-era disaster film The Towering Inferno in the mix here, but Will’s basic one-man mission to save his family is equally reminiscent of the exploits of Bruce Willis’ John McClane in the original Die Hard. Here, granted, Will is a devoted family man with no possible chance of acrimony with his wife. And this movie’s hero, in spite of having a prosthetic leg, is still Dwayne Johnson, so he’s a bit more physically capable than ’80s-era Bruce Willis. But you don’t have to look hard to see connections between this film and Die Hard, which is part of the problem.

The terrorists are, essentially, puffed-up thieves trying to ruin the rich Asian businessman behind the new building. Will, once he’s back in the skyscraper to save his family, resorts to duct tape to patch up a wound. On the ground, the cops initially presume Will is one of the bad guys, though one cop is willing to see him as more heroic. There’s a character who admits he hasn’t picked up a gun in years because of a long-ago incident involving a child. (And you can bet that character does pick up a gun by the end of the film.)

The few moments when Skyscraper doesn’t seem to directly quote Die Hard are when it appears to be quoting other action movies. The most notable example of this movie’s inability to stop copying other films is during a late sequence where Will has to scale the outside of the Pearl to access the security controls for a panic-room-style penthouse. He uses duct tape to wrap his hands and feet so they can adhere to the glass on the outside. Though the methods are different, seeing Johnson dangle on the side of this impossibly tall building calls to mind the jaw-dropping and vertiginous centerpiece of Mission: Impossible — Ghost Protocol, in which Tom Cruise climbed up the side of the Burj Khalifa in Dubai.

To suggest that Skyscraper is the first movie of any genre to crib from earlier entries would be utterly ridiculous. Die Hard was not the first action film to pit one man against many, but its specific rendition of familiar tropes felt fresh and original. (This, in spite of the fact that it was inspired by a novel as well.) And The Towering Inferno was the latest in a long line of preposterous disaster films. The problem isn’t specifically that Skyscraper isn’t a very original film; it’s technically not based on something, but that doesn’t make it truly unique. The real problem is that Skyscraper is unable to remove itself from the shadows of older, better action films. It’s always enjoyable to watch Dwayne Johnson in a big-budget blockbuster, sure. But Skyscraper is best at reminding us that Die Hard already did this plot, and did it better.

[This story contains spoilers for Ant-Man and the Wasp]

Barely two months have passed between the releases of Marvel’s two summer films this year: at the end of April, we got Avengers: Infinity War, and we’re now diving into their latest entry, Ant-Man and the Wasp. Infinity War, as anyone who saw the film remembers, ends on an exceptionally grim note. Half of the universe, including half of our beloved Marvel Cinematic Universe superheroes, die at the hands (well, at the bejeweled glove) of the murderous Thanos (Josh Brolin), leaving the survivors in tragic disarray. Ant-Man and the Wasp, as the trailers hinted, is vastly more lighthearted and humorous, and is largely successful at ignoring the dark events of Infinity War.

In fact, it’s only when Ant-Man and the Wasp directly acknowledges the end of the previous entry that this new movie falters. But first, let’s focus on the positive. Ant-Man and the Wasp is, unsurprisingly, very low-stakes, even more so than its predecessor. Scott Lang (Paul Rudd) is struggling to survive the end of his two-year house arrest at the hands of the U.S. government, a punishment for the part he played in the airport-tarmac sequence of Captain America: Civil War. When we rejoin Scott in his exploits, he’s only got three days left before he’s a free man again. But because of his past journey into the Quantum Realm, Scott has an unexpected connection to the long-thought-dead Janet Van Dyne (Michelle Pfeiffer), so her husband Hank Pym (Michael Douglas) and daughter Hope Van Dyne (Evangeline Lilly) recruit Scott once more to help rescue Janet.

This adventure isn’t without its suspense, in the form of the antagonistic Ghost (Hannah John-Kamen) and the greedy entrepreneur Sonny Burch (Walton Goggins). Both Ghost and Sonny want to stand in the way of Hank, Scott, and Hope saving Janet for different reasons; Ghost wants to transfer the quantum energy Janet has harnessed in the Quantum Realm to save herself, while Sonny wants to make money off said energy. But even with those threats, things never seem too scary; Hank’s special lab is hidden from view by being shrunken to miniscule size often, Hope tries to evade capture by making a Hello Kitty Pez dispenser giant-size, and so on. Ant-Man and the Wasp isn’t childish or overly immature, but its cheerful sense of humor is a bracing and welcome break from the darkness of Infinity War.

That is, until the very end of the film. After the story proper concludes and the goofily animated end credits begin rolling, we get the first of two post-credits scenes. Here, Scott heads back to the Quantum Realm for a brief trip, wherein he will procure some quantum energy for the now-not-that-evil Ghost. Hope, Hank and Janet all send him back, but right as Scott is ready to return to the real world, he only hears static on his communicator. Why? Well, Hope, Hank and Janet have all been snapped out of existence by Thanos.

The second post-credits scene doubles down on this twist, as we see Scott’s house, deserted by all but a life-size ant used as a house-arrest decoy throughout the majority of the film. Then, the final kicker: Marvel’s typical message stating that the heroes of this specific film will return, but with a period that turns…into a question mark! Because maybe Ant-Man and the Wasp won’t actually return next year!

Courtesy of Marvel Studios
If anything, these post-credit scenes make it even clearer that the heroes of the MCU, with a couple of exceptions (specifically, anyone who died before the final moments of Infinity War), are going to be brought back shortly. Is it possible that a presumed third Ant-Man would just involve Scott Lang and his ex-con pals glooming their way through a halfway-empty San Francisco? Of course there’s a chance. There’s also a chance you’ll get struck by lightning tomorrow. But it’s not exactly likely. The downside to Ant-Man existing in the world of the Avengers, specifically these Avengers, is that dark twists — like half of humanity being snapped out of existence — feel even more at odds with the bouncy tone of what came before those post-credits scenes.

Ant-Man and the Wasp feels more consistent and coherent than the 2015 original. It doubles down on what worked about the first film, expands Evangeline Lilly’s Wasp to the point where she more than earns her place in the title, and is generally very enjoyable. It’s not nearly so jarring to watch a more upbeat superhero film only a couple months after Avengers: Infinity War; in fact, that makes this even more fun. But those post-credits scenes are an unnecessary tease of a film that we’re all going to see next summer, out of obligation if not out of excitement. Sure, it’s intriguing to wonder how Scott Lang will exit the Quantum Realm, but…of course he’s going to. Because of course his friends are coming back. The suspense at the end of the film is just unnecessary and obnoxious.

If the Oscars were held tomorrow, which films would be nominated? 

Though we’re still three months out from the fall festivals positioning the major pieces of the upcoming awards puzzle, 2018 has already placed a fine assortment of goodies into the Oscar oven. From tremendous performances in prestige pictures — like Toni Collette (Hereditary) and Joaquin Phoenix (You Were Never Really Here) — to Ryan Coogler’s monolithic achievement in the blockbuster arena (Black Panther), here are early contenders on the Oscars radar that have already hit theaters and/or screened at international film festivals in recent months.

A24

With four Oscar nods already under his belt — two for acting and a pair for co-writing two films in Richard Linklater’s Before series — Ethan Hawke is already an Academy-verified staple of prestige cinema. He’s looking to continue that stretch with First Reformed, Paul Schrader’s searing drama about a priest whose personal convictions are tested after a harrowing encounter with an environmental activist. Though he had a dry spell with the Academy between 2005 and 2014, Hawke has built up considerable good will with his peers in recent years, namely for his performances in Boyhood and as jazz legend Chet Baker in Born to Be Blue. Schrader’s latest has unconventional, buzzy appeal, sturdy critical reviews, and an offbeat narrative hook to catch the Academy’s eye, as well as the perfect distributor, A24, to pull off a successful campaign as the film continues to expand to theaters around the country. — Joey Nolfi

David Lee/Focus Features

If the story of a black police officer infiltrating the Ku Klux Klan isn’t surreal enough, the fact that Spike Lee’s BlacKkKlansman is based on a true story is what enables it to pack a punch as a timely reminder of fractured race relations in America back in the 1970s and now. Grounded by strong performances from an ensemble cast led by John David Washington (son of Oscar-winning Denzel Washington) as police officer Ron Stallworth, BlacKkKlansman earned rave reviews at its Cannes debut this year, winning the coveted Grand Prix and cementing it as an early awards contender. — Piya Sinha-Roy

Behind a great man is a greater woman with a baffling Oscar losing streak to her name. At least that’s the case with director Björn Runge’s The Wife starring Glenn Close, the queen of unfinished Academy Awards business. Having amassed an astonishing six nominations over the last 35 years, Close has yet to win a single trophy, but that could change as she starts into the crowded race ahead. She plays a woman whose repressed talents manifest in mysterious ways as her husband collects the Nobel Prize for literature in Stockholm. This literary adaptation enjoyed an enthusiastic reception at the 2017 Toronto International Film Festival last September, and Sony Pictures Classics — which launched Call Me by Your Name and A Fantastic Woman into the awards fray last year — picked up the distribution rights. Given that the Academy’s typically all aboard an “overdue” narrative (Julianne Moore and Kate Winslet reaped similar benefits in recent years) and the fact that Close is enjoying some of the best reviews of her career, there may be a lot at play here. — Joey Nolfi

©Marvel Studios 2018

Filmmaker Ryan Coogler not only delivered Marvel’s first black superhero standalone film to critical praise and stellar box office success, but demonstrated how to ground a fantastical world with timely social messages. Amid the lavish world of Wakanda and a spotlight on black excellence, Ryan Coogler explores what it means to be black today through Chadwick Boseman’s King T’Challa and Michael B. Jordan’s powerful performance as empathetic villain Erik Killmonger. Given Black Panther‘s groundbreaking role in cinematic history, it’s likely to earn a place in the best picture race. — Piya Sinha-Roy

A24

If the Oscars handed out accolades for scaring the living hell out of people, the cast and crew behind one of the best films of the year would easily triumph in one fell, bone-chilling swoop. As terrifying as Hereditary is, thanks to first-time director Ari Aster’s assured direction, Toni Collette gives the film its heart and soul thanks to a brilliantly committed performance as a grieving mother battling a supernatural force threatening her family. The film kicked off 2018 with overwhelmingly positive critical reaction from Sundance, and Collette has since steamrolled a mountain of praise through the project’s summer release. Digital buzz among the film set has swarmed in her favor, too, meaning Collette could be the critical darling who winds up garnering Oscar gold at the end of the season. — Joey Nolfi

Ariel Nava/Lionsgate

Hamilton alum Daveed Diggs takes center stage alongside co-star and co-writer Rafael Casal in a tale of two friends navigating their friendship against the backdrop of a fast-gentrifying Oakland. While Blindspotting is a poetic ode to their native Bay Area hometown, it is Diggs’ portrayal as Collin — a man concluding probation who happens to witness a white police officer shoot an unarmed black man — that could garner him recognition. — Piya Sinha-Roy

Disney/Pixar

Yes, the film box office hasn’t been exactly lacking in superheroes, but it has been missing Pixar’s first superhero family for the past 14 years. The return of the super-powered Parr family — Mr. Incredible, Elastigirl, and their three children Violet, Dash and scene-stealing Jack-Jack — has been welcomed warmly by critics and audiences, with Incredibles 2 smashing opening weekend box office records and serving up a reminder of the importance of inclusion in society. Given the love usually bestowed on Pixar films, this is the title to beat in the animated race. — Piya Sinha-Roy

Paramount Pictures

Natalie Portman’s breathtakingly gorgeous voyage into the otherworldy horrors of the Shimmer didn’t strike a chord with audiences at the box office, pulling in a so-so $32.7 million earlier this year. Critics, on the other hand, lapped up Alex Garland’s directorial follow-up to the 2015 sci-fi hit Ex Machina, which  scored a surprise Oscar for Best Visual Effects the following year. Expect critical bodies to throw Portman’s lead performance some well-deserved love at their year-end awards, but it’s the filmmaker’s returning visual effects team members Andrew Whitehurst and Sara Bennett who will likely reap the most Academy affection at the top of 2019. — Joey Nolfi

FOX Searchlight

The whimsical world of Wes Anderson often strikes a chord with awards voters — for instance, The Grand Budapest Hotel won four of its eight Oscar nominations in 2014. Isle of Dogs sees the idiosyncratic filmmaker return to the world of stop-motion animation to tell a tale of an alternate reality near-future Japan where dogs are banished to an island. The film faces challenges after some critics panned the film for not hiring a more diverse voice cast and kicking off a larger conversation around cultural appropriation. Billed as an homage to his Japanese cinematic heroes, Anderson and his scrappy pups may be the underdogs in the animated feature race. — Piya Sinha-Roy

Magnolia Pictures

The $10 million domestic box office success of documentary RBG, about Supreme Court Justice Ruth Bader Ginsburg, may reflect audiences’ desire to see real-life superheroes. Or it may just reflect the power that Ginsburg holds as a beacon of justice in a fractured political sphere. Directors Julie Cohen and Betsy West trace the life and legacy of Ginsburg in their documentary, and offer a snapshot into the fiercely sharp mind of a trailblazing legal warrior. In the Time’s Up era in Hollywood, RBG has garnered praise from critics for spotlighting how one woman broke the rules and helped pave the way for a new generation of female empowerment. — Piya Sinha-Roy

Richard Foreman, Jr. SMPSP/Sony Pictures

The second chapter of writer Taylor Sheridan’s Sicario world features Benicio Del Toro reprising his role as the deadly hitman Alejandro in a film that takes him on a violent journey when he’s contracted to kidnap a drug kingpin’s daughter. While Sicario: Day of the Soldado plays into timely themes of immigration and drug cartels, it is Alejandro’s unexpected arc and tragic backstory that could also earn Del Toro — who won a Best Supporting Actor Oscar in 2001 for Traffic — some long-overdue awards love. — Piya Sinha-Roy

Kimberly French/Focus Features

Charlize Theron, Jason Reitman, and Diablo Cody re-teamed for another round of dramedy magic on the 2018 Sundance breakout Tully, a powerful examination of the woes of motherhood, another winning entry in the trio’s powerful working relationship. With a pair of Oscars and another five nominations between the actress, director, and screenwriter, Tully‘s got the pedigree (and universal critical praise) behind it to make it one to watch out for in the acting and screenwriting categories. — Joey Nolfi

 

The Fred Rogers Company

Amid the recent wave of unsettling news from politics to Hollywood, Morgan Neville’s earnest, refreshing biographical documentary about the good-natured TV legend Fred Rogers is a meaningful reminder of the simple ties of kindness that bind humanity. Sweet but never twee, Neville’s essential meditation on the Pittsburgh-based host of Mister Rogers’ Neighborhood (and the generations he influenced) taps into a nostalgic emotional vein. At the same time, he finds new context for Rogers’ enduring message of compassion and understanding to flourish in the age of contemporary chaos.  — Joey Nolfi

Paramount Pictures

The long-anticipated on-screen pairing of Hollywood darlings Emily Blunt and John Krasinski did not fail to deliver at the box office and otherwise in this tense thriller about a family living in silence as they hide from monsters that are summoned by noise. Blunt’s powerful performance as a pregnant matriarch and co-lead Krasinski’s skillful directing and innovative take on the horror genre may put the couple together into the awards race. — Piya Sinha-Roy

Alison Cohen Rosa/Amazon Studios

Though it’s been more than a year since Lynne Ramsay debuted her brutal psychological drama at the 2017 Cannes Film Festival (to much acclaim plus awards for best screenplay and best actor), critical enthusiasm for Joaquin Phoenix’s performance as a PTSD-ravaged mercenary tasked with rescuing sex-trafficked girls hasn’t subsided. The esteemed actor has yet to notch an Oscar nomination since leading 2012’s The Master, which upped his overall count of nods to three. In other words, he may be due for more Academy recognition, and he just might get it for playing a role in which he’s more present than ever. Since 2008, four of 10 of Cannes’ best actor winners have gone on to win or be nominated for the corresponding Oscar, so there’s a slight precedent bolstering his bid, too. — Joey Nolfi

Peter Mountain/Paramount Pictures

In hindsight, writer-director Alex Garland’s previous outing, 2015’s brilliant, chilly Ex Machina, feels like a grayscale precursor to the Technicolor wonder of his latest sci-fi epic — a story so sneakily clever and visually surreal that it’s still haunting our dreams (and our Halloween costume ideas) months later. 

 

Matt Kennedy/Marvel Studios

Superhero movies have always given us supersize experiences: the scope, the scale, the CG shock and awe. Ryan Coogler’s inaugural entry into the Marvel Universe offered all that, but also so much more — an electric, action-saturated joyride, a marvelous sense of place, and a deeply personal celebration of black excellence. Wakanda forever. 

 

Cohen Media Group

French provocateur François Ozon (Swimming Pool) dips his toes into the deep end of Hitchcockian perversity with this twisty, kinky erotic thriller about a woman (Marine Vacth) drawn to a pair of identical-twin doctors (Jérémie Renier). Jacqueline Bisset swings by to lend this utterly preposterous mindscrambler some class. Not that it needs any. 

 

A24

We’re only six months into the year, but right now, Ari Aster’s Hereditary is the horror movie to beat. Toni Collette gives a gutwrenching performance as a mother grappling with a family tragedy and the terrifying outer limits of the supernatural. Nineteen years after The Sixth Sense, Collette gets a more-than-worthy companion piece. 

 

Scott Patrick Green/A24

A boy. A horse. A wide-open Western landscape. If the outlines of Andrew Haigh’s lyrical drama — anchored by the quiet, luminous presence of his young lead, Charlie Plummer — sound familiar, the reality is both infinitely harsher and more original: a film that captures with searing immediacy what it is to be young, broke, and lost in America. 

Warner Bros. Pictures

Think of this magical, whimsical sequel as the best Wes Anderson movie that Wes Anderson never made. Our marmalade-loving hero, who brightens the lives of everyone he meets, has to retrieve a pop-up book stolen by Hugh Grant’s thief of a thousand disguises. Absolute perfection, regardless of your age. 

 

CNN Films/Sundance

Arguably the year’s most impressive onscreen superhero, the small-but-mighty Supreme Court Justice Ruth Bader Ginsburg gets an intimate, moving, and unexpectedly funny documentary about her one-of-a-kind career. While her fiery dissents behind the D.C. bench are inspiring, the film’s biggest revelation is her years as a trailblazing feminist lawyer on an unwavering crusade for equal rights, arguing in front of the very court she would later join. 

 

Oscilloscope Laboratories

A little girl (the remarkable Laia Artigas) loses her mother to AIDS and is sent to live with her uncle in the Spanish countryside in Carla Simón’s lush autobiographical drama, a story that captures the truth of childhood with such luminous dreamlike intensity, it feels like a small death just to let it go. 

Kimberly French/Focus Features

She’s the harried, overworked mother of two, with a third on the way. But when Charlize Theron’s Marlo is gifted a fantastically capable night nurse (Mackenzie Davis), the fogbank lifts. Is it all too good to be true? The answer is a revelation in this whip-smart missive on marriage, identity, and modern parenthood.

Jim Judkis/Focus Features

If you want to see the world through the eyes of a child again — and, frankly, who doesn’t with all that’s going on in Washington? — Morgan Neville’s delightful, heartfelt documentary about PBS’ cardigan-clad Mr. Rogers is just the balm of kindness we could all use more of. Our answer: Yes, we’d love to be your neighbor.

Everett Collection

Before Grease exploded into a worldwide phenomenon grossing nearly $400 million worldwide, it played in a former trolley barn in Chicago. Advertising copywriter Jim Jacobs and high school art teacher Warren Casey wrote the script, music, and lyrics to the production as a way to commemorate the great doo-wop songs on the 1950s. In 1972, Grease played off-Broadway in New York City, landing on the radar of producer Allan Carr, who nabbed the movie rights and brought it to Paramount.

The film received a $6 million budget and shot over the course of two months at Venice High School and other Los Angeles locations. In its latest issue (and ahead of Grease‘s transformation to a live staged event airing Sunday on Fox), Vanity Fair explored what went into the making of the 1978 box office hit. Tell us more, tell us more:

Paramount wanted Henry Winkler for the role of Danny Zuko.

And Carr pictured the leading man as a busboy and gas station attendant who sang “Gas Pump Jockey.” “Greased Lightnin’” was originally imagined for the Beach Boys.

John Travolta eventually claimed “Greased Lightnin’” for himself, but not from the Beach Boys.

In the Broadway production, Kenickie heads the ode to hot rods, but Travolta wanted the hip gyrating for himself. “I have to be completely honest with you,” Travolta told Vanity Fair. “I wanted the number. And because I had clout, I could get the number.”

Carrie Fisher was considered to play Sandy.

Susan Dey, Deborah Raffin, and Marie Osmond were also in the running, but Osmond protested to Sandy’s transition from good girl to sexy biker chick.

Marie’s brother Donny was imagined as the Teen Angel. And so was Elvis.

Carr had Donny Osmond in mind for the appearance, and Elvis — who died during the summer the film was shot — was also rumored for the part, which eventually went to Frankie Avalon.

Sandy wasn’t always Australian.

After Olivia Newton-John expressed concern with being able to do an American accent, Carr rewrote the role.

Lorenzo Lamas dyed his hair blond to play Tom Chisum.

After replacing President Gerald Ford’s son Steven for the part, Lamas scheduled a hair appointment. “They told me they had to dye my hair a lighter color, because I was 6’2? and bulky and they did not want me to look like a T-Bird,” Lamas told the monthly. “So they sent me to Rodeo Drive to dye my hair blond. I would have dyed it purple to be in that movie.”

Coach Calhoun was almost played by a porn star.

Harry Reems got his name in Hollywood after appearing in Linda Lovelace’s Deep Throat, but Paramount eventually replaced him with Sid Caesar.

Rizzo’s “There Are Worse Things I Could Do” almost didn’t make the movie.

“Allan was very wishy-washy on the song,” Stockard Channing, the actress behind the movie’s toughest Pink Lady, said. “He thought it was a downer.” Ten of the play’s 20 original songs were axed entirely or reduce to background music.

Travolta brought Scientology to the set.

When director Randal Kleiser fell ill after getting a foot infection, Travolta visited his trailer to offer a “touch assist.” “I was lying there with this fever and he’s poking me and poking me and poking me and I’m like, ‘Yes, I feel it.’ ‘Thank you.’ Then he left,” Kleiser remembered to Vanity Fair. “The next day I was better, and of course he claimed it was because of the touch assist.”

There were plans for a sequel called Summer School.

The film would have focused on the wedding of Rizzo and Kenickie, Vanity Fair reports, but it was never made. Grease 2 arrived in its place in 1982.

Head here for more from Vanity Fair‘s deep dive into the making of Grease.

Courtesy of Netflix; Walt Disney Pictures/Photofest; Warner Bros./Photofest; Walt Disney Studios Motion Pictures/Photofest

As the month of June begins, a number of new movies and fresh seasons of TV series will be added to Netflix.

Movies including Star Wars: The Last Jedi, Thor: Ragnarok, The Departed, Blue Jasmine, The King’s Speech, Just Friends, Nick and Norah’s Infinite Playlist, Rumor Has It and Tarzan will all be added to the streaming service throughout the month of June. Season 14 of Grey’s Anatomy and season eight of Portlandia will also become available during the month.

A number of Netflix originals will join the streaming service, including the films Set It Up, Sunday’s Illness and Alex Strangelove. New seasons of The Ranch, GLOW, Marcella and Marvel’s Luke Cage will also premiere, as well as the series finale film of Sense 8.

Take a look below at the complete list of June TV show and movie additions.

June 1

Courtesy of Fox Searchlight

101 Dalmatians
Assassination Games
Blue Jasmine

The Boy
Busted!
The Covenant
The Departed
George Balanchine’s The Nutcracker
He Named Me Malala
Joseph Campbell and the Power of Myth
Just Friends
Miracle
National Treasure
Nick and Norah’s Infinite Playlist
November 13: Attack on Paris
Outside In
The Prince & Me 4: The Elephant Adventure
Righteous Kill
Rumor Has It
Singularity
Taking Lives
Terms and Conditions May Apply

June 2

Photofest

The King’s Speech

June 6

Thor: Ragnarok

June 7

Hyori’s Bed & Breakfast: Season 2
The Night Shift: Season 4

June 8

Alex Strangelove
Ali’s Wedding
Marcella: Season 2
Sense8: The Series Finale
The Hollow
The Staircase
Treehouse Detectives

June 9

Wynonna Earp: Season 2

June 10

Portlandia: Season 8

June 14

Cutie and the Boxer
Marlon: Season 1

June 15

The Imaginarium of Doctor Parnassus
La Hora Final
Lust Stories
Maktub
The Ranch: Part 5
Set It Up
Step Up 2: The Streets
Sunday’s Illness
True: Magical Friends
True: Wonderful Wishes
Voltron: Legendary Defender: Season 6

June 16

Grey’s Anatomy: Season 14
In Bruges

June 17

Club de Cuervos presenta: La balada de Hugo Sánchez
Marvel’s Agents of S.H.I.E.L.D.: Season 5

June 18

Encerrados

June 19

Hannah Gadsby: Nanette

June 22

 

Brain on Fire
Cooking on High
Derren Brown: Miracle
Heavy Rescue: 401: Season 2
Marvel’s Luke Cage: Season 2
Us and Them

June 23

Tarzan

June 24

To Each, Her Own (Les Goûts et les couleurs)

June 25

Hotel Transylvania: Season 1

June 26

Secret City
Star Wars: The Last Jedi
W. Kamau Bell: Private School Negro

June 29

Churchill’s Secret Agents: The New Recruits
GLOW: Season 2
Harvey Street Kids
Kiss Me First
La Forêt
La Pena Maxima
Nailed It!: Season 2
Paquita Salas: Season 2
Recovery Boys
TAU

June 30

Fate/EXTRA Last Encore: Oblitus Copernican Theory
Mohawk

 

 

 

Black Panther was the big winner at the 19th annual Golden Trailer Awards on Thursday evening, claiming the top prize and four trophies in all, the most of the night. The Disney superhero movie won Best of Show and Best Action for the trailer “Crown,” as well as Best Action TV Spot for a Feature Film (“Entourage”) and Best Music TV Spot for a Feature Film (“Women of Wakanda”).

On the television front, Netflix’s Stranger Things 2 and HBO’s Westworld season 2 took home three awards each.

Held at the Theatre at the Ace Hotel in downtown Los Angeles, the GTAs honor the best in trailers, TV spots, and other media marketing. Actress and comedian Michelle Buteau (Enlisted, The Tick) hosted the ceremony.

“It was another amazing year for marketers and for moviegoers who love trailers,” GTA founder Evelyn Watters said in a statement. “This competition recognizes a field of artists and editors who toil behind the scenes but are most responsible for filling theaters and getting people invested in what is coming soon to theaters around the world.”

Among studios, Warner Bros. (including HBO and New Line Cinema), Fox (including Fox Searchlight and FX), and Netflix collected 13 awards each. Trailer creators Trailer Park, Mark Woollen & Associates, and Buddha Jones took home nine, seven, and seven trophies, respectively.

The Golden Trailer Awards dole out 108 different awards in all, but only 17 of the categories were presented before a live crowd at the Ace. See a list of winners for the awards presented live below, and visit the GTA website to watch some of the winning entries.

2018 GOLDEN TRAILER AWARD WINNERS

Best of Show
Black Panther, “Crown”
Marvel Studios/Walt Disney Studios
Create

Best Action
Black Panther, “Crown”
Walt Disney Studios
Create
 
Best Animation / Family
Isle of Dogs
Fox Searchlight
Giaronomo Productions

Best Comedy
Lady Bird
A24 Films
Giaronomo Productions

Best Documentary
Won’t You Be My Neighbor
Focus Features
Mark Woollen & Associates

Best Drama
The Shape of Water, “Escape”
Fox Searchlight Pictures
MOCEAN

Best Fantasy Adventure
Fantastic Beasts: The Crimes of Grindelwald, “Expelliarmus”
Warner Bros.
Jax

Best Horror
A Quiet Place, “Hunt”
Paramount
AV Squad

Best Independent Trailer
I, Tonya, “Haters”
Neon
Zealot

Best Music
Baby Driver, “Tekillyah”
Sony Pictures Entertainment
Trailer Park

Best Summer Blockbuster Trailer
The Incredibles 2, “Illegal”
Disney
Trailer Park
 
Best Teaser
Deadpool 2, “Cable Red”
20th Century Fox
MOCEAN
 
Best Thriller
Unsane, “Believe”
Bleecker Street
Buddha Jones
 
Best Video Game Trailer
Call of Duty: WWII, “Reveal Trailer”
Activision
Gnet
 
Golden Fleece
The Meg, “Carnage”
Warner Bros. Pictures
Trailer Park
 
Most Original Trailer
Deadpool 2, “Paintings — Bob Ross Trailer”
20th Century Fox
MOCEAN/Big Picture

 

Barry Wetcher/Warner Bros.

It’s been 12 years since Anne Hathaway asked how to spell Gabbana, nabbed a Harry Potter advance copy, and learned the true importance of cerulean as the “fetching” Andy Sachs at the fictional Vogue-esque Runway magazine in The Devil Wears Prada. Now, the actress is back in New York’s high fashion world, this time portraying a spoiled actress attending the famed Met Gala and donning the heistworthy $150 million diamond necklace at the center of Ocean’s 8, out in theaters June 8.

Hathaway, 35, talked to EW about how good it felt to play bad, working with Sandra Bullock, Cate Blanchett, Rihanna, Mindy Kaling, Sarah Paulson, Helena Bonham Carter, and Awkwafina, and whether we’ll ever see her return as Princess Mia.

What did you enjoy about playing the narcissistic actress Daphne in Ocean’s 8?
ANNE HATHAWAY: I just enjoyed cursing so much. I enjoyed the selfishness of her, but what I really enjoyed was getting to figure out where her blind spots were…. She’s working so hard to be refined and sophisticated, but she just so clearly isn’t that. I feel like Daphne is my shadow self, and I feel like you can either use fame to do good for other people and use it to get nice restaurant reservations for yourself, or it can really take over and become your entire identity. I think there are people who want to be actresses because they want to be artists and then there’s people who want to be actresses because they want to be famous, and I think Daphne’s savvy enough to understand that you can’t say that out loud, but she definitely wants to be famous. [Laughs] She’s enjoying it and it brings her a great sense of self-worth and identity and she believes that’s who she always truly was.

How was it working with the powerhouse cast?
The only person I spent any real time with was Helena [Bonham Carter]. By the end of it, we were all really chummy, and it’s just continued after the movie. We’re all really friends and there for each other. If someone — myself included — is going through something, everyone has everyone’s back and everyone’s always encouraging each other. I don’t think any of us knew that was going to happen, but it’s really genuine and — gosh, I don’t want to gush too much, but it is reshaping the way I think about movies and how to be in a cast.

Daphne has a meltdown during a dress fitting, and Helena’s fashion-designer character Rose soothes her by saying she has the “best neck in the business.” Was there some reality to those scenes?
It was a combination of the way I sometimes felt in fittings and also some of the ridiculous things I’ve either had said to me or have overheard said to other people to build up your confidence. The most ridiculous one I ever heard was somebody going — not to me — “Oh my God, you have such a fierce armpit.” The level of ego-stroking and ego-inflating that can occur is so ridiculous. It was so much fun to poke fun at that.

Daphne’s the opposite of your Devil Wears Prada character, the tormented, naïve fashion assistant Andy, but they’re two characters that inhabit the same Vogue-esque world. How did it feel to return to that environment?
Well, I hadn’t thought about it like that but some of my favorite films that I’ve gotten to do have had a fashion element to them, and I really enjoy fashion and I enjoy the creativity of it. And I enjoy movies in which everyone looks great and put together. I love movies from the 1960s that celebrated the same thing, especially in comedies. It adds a wonderful dizziness to everything. I think maybe one of the nice parallels that’s between the two of them is in The Devil Wears Prada, she realizes that dizziness comes from a ton of hard work and intelligence and creativity from a lot of people, and I think with Helena’s character, you see her put all of that heart and soul and talent into it as well. Can you imagine Andy interviewing Daphne? That would be so fun and trainwreck-y.

There’s a pressure that if Ocean’s 8 doesn’t perform at the box office, people might not support female-driven movies. Did you feel that?
I feel that with every film that I’m in because whether I’m one of eight or the only woman in the cast, I feel I’m always repping something bigger than myself. I imagine most actresses feel that way. One of the things that gives me heart is there are a lot of female-driven comedies coming out this summer. You have Mila Kunis and Kate McKinnon [in The Spy Who Dumped Me], you have the cast of Crazy Rich Asians, you have us, Amy Schumer was just in a comedy [I Feel Pretty], so I’m seeing a lot of action in that arena. Wonder Woman has been such a game changer for so many of us. Also with Time’s Up, there’s a real impetus within the industry to make these movies and prioritize these, which is really exciting. I don’t know if it’s going to continue. I’m going to work as hard as I can to make sure that it does, and it does require the audience showing up. This aspect of moviemaking does have a political component in that if you believe in gender equality, you have to support female-driven movies because they’re not supported equally in Hollywood yet, and the only thing that’s going to get them equally supported is if they do really well at the box office.

You took some time away from acting after you had your son. Now that you’re back, you seem like you’re having fun with your projects.
First of all, have you seen the casts that I’m in? How can you not be having fun with them?! It’s a joy, but something about motherhood has allowed me to find and prioritize my chill, and going onto set with seven astonishing women really made me want to not leave that chill. I so didn’t want to be the one that messed it up by getting nervous, so I feel like my son brought about this new approach and working with these women reinforced it, and it’s feeling good, and I am having fun, and it turns out you can still do good work while having a whole lot of fun.

What projects are drawing your interest and what have you been able to do that you hadn’t been able to do before?
Right now, I feel like there’s great opportunity in pursuing the things that interest you as an individual and as an artist, because there [are] no guarantees out there about what’s going to connect with audiences. There’s no more sure bets and certain risks are paying off that people don’t expect, so people are actually willing to take risks. I’d like to think that right now, the projects that I’m doing have elements of that because I like to tell good stories. I like to make stories that make people feel good but I also like to make movies that make people think. For me, it’s not that I’m striving to make any one type of movie, I’m trying to make movies that people want to watch again and again, either because it’s a puzzle they have to figure out or they’ve had a hard day and this movie just wraps around them. I do think that a lot of projects I’m doing right now share that quality, and that they’re movies to live with, at least that’s my intention.

That’s why there’s so much love for The Devil Wears Prada or even The Princess Diaries. These are the movies that people go back to.
And that’s amazing, and that makes me feel so, so happy because I’ve always hoped I [could] manage to have a career as a lifer actress, and the idea that you can develop a relationship with audiences over time and movies that stick…. The Princess Diaries came out over 20 years ago, and I’m just so happy that it occupies a space in people’s lives that makes them happy.

Could we ever see you return to Princess Mia? 
Yeah, I’m game if Disney’s game. I think there’s more life in that story. We were talking about it and then we lost [director] Garry Marshall, and I think we all just needed to walk away for a while because the grief was too fresh. We haven’t restarted the conversation yet but I still have hope in my heart that it could happen.

Is there a possibility we will see you ladies reunite for Ocean’s 9 and 10? If so, what would you like to see from that?
That rests in the wallets of the audience. I hope so! I think that there are so many incredible actresses and women out there who have so much to show. Perhaps they’ve never had the opportunity. I know I got the chance to show a lot more than I ever had with this part so I hope that we get to make a lot more of these and we give a lot of other women time to shine.

Courtesy Twentieth Century Fox
[This story contains spoilers for Deadpool 2]

Leaving the theater after Deadpool 2 probably left you feeling a lot of emotions, and at least one of them might have been confusion. For months, the promotional campaign for the movie impressed upon the importance of the X-Force, an all-new team of never-before-seen-in-live-action mutant heroes ready to take the X-Men film universe by storm with everyone’s favorite Merc With the Mouth at the helm.

Except that’s not exactly what happened — at least, not in the way we expected, and it may have some serious repercussions for the future of the Deadpool franchise.

The first thing that needs to be understood about the X-Force is that, as a team, it was a product of the times. Over in the comics, it was the brainchild of Deadpool co-creator Rob Liefeld, and the result of the same over-the-top “extreme” ’90s aesthetics that gave rise to characters like utility pouch-strapped and gun toting Cable. They were what you’d expect from the era: a group of X-Men offshoots who were designed to be edgier, tougher, meaner, and more violent than their sanitized, family friendly cousins. Officially their goal was more along the lines of a black ops unit, going on secret missions, dealing with threats before they became problems, treading morally dubious waters and generally proclaiming that comics weren’t for kids anymore.

The team’s overall newness and the fact that many of the big name X-Men still had to be safe for Saturday morning cartoons meant the rosters were comprised of traditionally C and D-list characters. Short-lived as they were, almost every one of the members Deadpool 2 promoted were, in fact, actual members from the comics at one point or another. From Terry Crews’ Bedlam to Lewis Tan’s Shatterstar, the lineup was populated with Easter Eggs and winks to fans — even Shatterstar’s strange, half-explained origin from “Mojoworld” was a real thing — though the button-down wearing non-mutant Peter (Rob Delaney), sadly, was not.

Ironically, though they shared the same basic DNA, the same creator, and practically the same birthday (Deadpool popped up in February of 1991 and X-Force in April of that year), Deadpool himself was not a member right off the bat. He would periodically pop in to help or hinder, but didn’t become an official team player until 2009.

Now, in typical Deadpool fashion, it turned out that the roster of heroes we’d been led to believe would make up the team were actually a whole bunch of cannon fodder. Not five minutes after they were each introduced, they met their grisly and totally avoidable ends in a series of Final Destination style accidents — all except Wade himself and the “lucky” Domino (Zazie Beetz) who skated through the bloodbath unscathed. The X-Force, apparently, was over before it even began.

That is, until, the real X-Force came together. Made up of survivors Deadpool and Domino, as well as Cable (Josh Brolin), Negasonic Teenage Warhead (Brianna Hildebrand), Colossus (Stefan Kapicic), Yukio (Shiori Kutsuna), and the unlikely recurring cab driver Dopinder (Karan Soni), a new team rose from the ashes of the first just in time to save the day. Sure, they may have never called themselves the X-Force officially, but the signs couldn’t have been more clear. Even Wade’s costume, singed to look black and white for the entire final scene, echoed the outfit his comics counterpart wore during his first official X-Force title.

Jerome Opena/Marvel Entertainment
Uncanny X-Force No. 1

So what does this mean for Drew Goddard’s follow-up X-Force film? Well, a good guess would be that it’s going to be an X-Force the likes of which we’ve never seen in the comics. The trappings of the ’90s have been very literally stripped away in a full-on character massacre, and what we’re left with is a postmodern take on the same basic principles: a team of characters set out to subvert the superheroic norm. In 1991, that meant self-serious ultraviolence and really embarrassing hairstyles. In 2018, in the age of the Marvel Cinematic Universe, it means something else entirely.

In adopting the Deadpool franchise’s overall tone of self-award parody and irreverence, the cinematic X-Force could very well adapt to fit the genre niches that aren’t currently being served by Marvel Studios’ superhero movie juggernaut.Though the team’s place in the X-Men movie continuity will likely remain at least somewhat ambiguous — Deadpool isn’t really a character that cares much for the sanctity of shared cinematic timelines, that much is clear in Deadpool 2’s post-credits stinger — an action-comedy X-Force moviecould reinvigorate the Fox line the same way Marvel’s experimentation with genre benders like Thor: Ragnarok and Spider-Man: Homecoming provided booster shots to the MCU.

Sure, Deadpool’s new X-Force — and whatever percentage of the cast ends up returning for Goddard’s X-Force outing — may not be the most faithful representation of the source material at least not in the way the immediately expandable line up was, but they are a pretty genuine stab at updating it.

Jake Gyllenhaal is finally ready to join the superhero world.

The Oscar-nominated actor is in talks to star as the Marvel villain Mysterio in the sequel to Spider-Man: Homecoming, EW has confirmed. Sony declined to comment.

If a deal is made, Gyllenhaal will play Mysterio, one of Peter Parker’s most memorable foes. The original Mysterio was Quentin Beck, a special effects expert and stuntman who leaves his career in Hollywood to better use his talents by creating criminal illusions.

Joining Tom Holland in Homecoming 2 marks Gyllenhaal’s first foray into superhero films (sorry Entourage, we don’t count him replacing Vincent Chase in Aquaman 2). The actor does have a history with the Spider-Man franchise; at one point, rumors had him in the mix to possibly replace Tobey Maguire in the first trilogy.

Spider-Man: Homecoming’s sequel swings into theaters on July 5, 2019.

Ben Rothstein/Twentieth Century Fox

[This story contains spoilers for Deadpool 2]

Deadpool 2, with its sophomoric humor, plethora of pop culture references, and soundtrack that covers everything from a-ha to Dolly Parton, is a kick in the shins to superhero conventionalism. That much was expected. But what may not have been quite as anticipated is that Deadpool 2 forms the perfect companion piece to James Mangold’s Logan, while furthering the importance of 20th Century Fox’s entire X-Men centric franchise. When Logan was released last year, it provided a swansong for Hugh Jackman’s seventeen-year run as Wolverine, a role he originated in 2000’s X-Men. Mangold delivered the film many fans of the character had always wanted, a gritty, blood-soaked meditation on violence. Packaged in the form of a post-modern Western, and stripped of costumes and some of the flashier aspects associated with superhero films, Logan deconstructed Wolverine’s legacy in an ode to pain. The bleakness of Logan seems like a far-cry from Deadpool 2, given the latter’s lack of baggage from either a character standpoint or its position in a now 18-year old franchise. But David Leitch’s film, despite its hilarity, is surprisingly emotionally grounded, and has more to add to Logan’s message than its overt references to the film.

Deadpool 2 opens with a music box, featuring the character Logan impaled on the husk of a dead tree in the same position as he died in Mangold’s film. Deadpool (Ryan Reynolds) makes a few quips about Logan stealing his R-rating and beating him to the punch in dying in his own film, before promising that he’s going to die in this film too. This all seems like an extended gag, meant to highlight Deadpool’s fourth-wall breaking, referential nature. But as the plot pushes forward and Deadpool suffers the tragic death of his girlfriend Vanessa (Morena Baccarin), the thematic arc of the film takes shape. Logan isn’t simply an impermanent object that can be tossed away like any other gag, it is the thematic music of the film and perhaps this entire cinematic universe going forward. Deadpool 2 manages to retain all of the elements that made the first film so successful, but it does so creating deeper emotional layers. No, Deadpool doesn’t sacrifice his amusing personality to become like Logan, and the film isn’t a harrowing experience where death is permanent. But Deadpool 2’s enveloping bear-hug around Logan enables Leitch’s film to exist in the space around Mangold’s film and harken back to the original driving ideas behind Stan Lee and Jack Kirby’s X-Men.

Like Jackman’s Logan, Reynolds’ Deadpool is forced to come to terms with his existence when everything he cares about in the world, the very thing that drives him, is snatched away. While Logan had built up a family of mutants through the X-Men, Deadpool only had Vanessa. The sequel’s narrative heightens the love story of the first film by reemphasizing that everything that made Wade Wilson into Deadpool was due to his love for Vanessa. Logan and Deadpool 2 find two men with healing factors, stripped of the people that gave them purpose and identity — and they are unable to cope. Both films find the characters on a suicidal drive. Logan handles this more subtly, with the lead character’s alcoholism and scarred body showing an inclination towards self-destruction as his healing factor continues to fade. Deadpool 2 takes the more direct approach, as the character demands it. But it is arguably a bit more shocking to see this character, our raunchy jester, contend with suicide. While there’s plenty to laugh at, including the Looney Tunes levels of violence that tests Deadpool’s ability to heal, Reynolds delivers staggering moments of sincerity in his hopelessness. While it’s tough to say any performance in Fox’s X-Films have matched Hugh Jackman’s in Logan, Reynolds in Deadpool 2 delivers one that is appropriately adjacent to it.

Courtesy Twentieth Century Fox

Logan is reluctantly pulled out of his death dive by the arrival of Laura (Dafne Keen), a young mutant with powers very similar to his own. In his mission to deliver her to a fabled mutant safe haven, Logan finds purpose again, but also hope that a new generation of mutants can accomplish what he and his generation of X-Men failed to do. In the aftermath of a botched training mission with the X-Men, Deadpool is also driven by a young mutant, Rusty (Julian Dennison). Rusty, tortured and abused at a mutant orphanage that facilitates conversion therapy, lashes out against the world by reveling in his powers. Both of these angry young mutants represent the hopes and fears of the future. Laura has the capacity to be everything Logan hates about his own violent tendencies, or to be something better. “Don’t be what they made you,” Logan tells her in his dying moments. While Deadpool has no genetic connection to Rusty like Logan does to Laura, there is the recognition that their shared experiences in abuse by a world that hates and fears them can ultimately have tragic costs. “Kids give us a chance to be better than we used to be” Vanessa tells Deadpool hours before her death. Thus, in his efforts to die so that he may be reunited with Vanessa, Deadpool takes on the challenge of protecting the boy from the time traveling soldier Cable (Josh Brolin). Cable’s mission to kill Rusty in order to prevent the future in which Rusty becomes a tyrant and kills his family is also driven by his need to protect the next generation. Cable’s daughter Hope, an allusion to the character’s adopted daughter in the comics, forms the purpose of his mission, and hope very literally forms the stakes of the entire film. Thus, Cable’s arc not only runs parallel to Deadpool’s, but Logan’s as well.

Twentieth Century Fox Film Corporation/Photofest

It is this recognition in the potential of a next generation that form the very foundation of the X-Men as they first appeared in the pages of Marvel Comics in 1963. Together, Logan and Deadpool 2 paint a picture of mutantkind that none of the prior films have tapped into as successfully. The social stakes aren’t always as grand as choosing whether to side with Magneto and rule over humanity, nor the bigotry as docile as protest signs and parents asking their children if they’ve tried not being a mutant. The X-Men comics rose to popularity during a time when Americans believed things were getting better, and the films have existed in that mindspace as well. But now that the U.S. stands fully revealed, and we’ve come to realize that hatred and bigotry never left, perhaps a harder edged take on mutants is required both in comics and on film.  Deadpool 2 makes a crack about the X-Men’s dated social and civil rights messages, but then does something to update that message. In Logan and Deadpool 2, the most recent X-films, systematic abuse supported by the government is taken into account. It’s an inability to see mutants as human beings, or to recognize the emotional complexity of children where the biggest stakes lie. It’s these themes that made Lee’s work, and more significantly Chris Claremont’s work on the X-Men, stand out. It is in teaching the next generation, exemplified by Laura and Rusty, not only to fight but to form a community – a family, as Deadpool puts it, that gives rise to hope. Logan and Deadpool 2, while both solo films that seemingly buck the trend of the X-Men comics they have their roots in, best exemplify why these stories of mutants still matter.