The Playlist

Independence Day Comes Early: The Playlist Moves To THEPLAYLIST.NET On May 2nd

Rodrigo Perez — Mon, 09 May 2016 21:44:00 GMT

“A new life awaits you in the Off-world colonies. A chance to begin again in a golden land of opportunity and adventure.” - Blade Runner (1982)

It's exciting, and maybe even a little nerve wracking, but on MONDAY, MAY 2ND, we'll be launching our shiny, new and fully independent site at THEPLAYLIST.NET. It will be the start of a new chapter for The Playlist, and will mark the close of our five year run as part of the Indiewire blog network. Please update your bookmarks, and sign up to our newsletter to stay in the loop and for a chance to win an iPad mini (a platform on which our new site looks great, by the way).

As you might know, Indiewire was recently acquired by the Penske Media Corporation. Indiewire is shutting down the blog network, and so we’re doing something we've talked about doing for a while now: striking out on our own. We love this thing we've built over the years far too much to let it go, and so we're wishing our Indiewire colleagues the best as we unveil THEPLAYLIST.NET, where we get to be us — only moreso.

Editorially, things will be familiar, but we'll be growing too. We're proud of our omnivorous and eclectic taste, which encompasses covering everything from micro-budget features, classic cinema, prestige TV, blockbuster tentpoles and arthouse titles. We're proud of covering festivals like Sundance, Cannes, Telluride, Venice, Toronto, Berlin, New York, AFI, Tribeca, SXSW, Karlovy Vary and Marrakech, and of The Playlist Podcast Network, which now comprises three separate podcasts with more to come. None of those priorities are going to change. If anything, we're going to take this opportunity to try out new things and to bring you different approaches to news and features, in addition to everything we've always done.

The Playlist started in 2007 as just my hobby, centering around movie soundtracks (hence the name). But it expanded and evolved and now we — Managing Editor Kevin Jagernauth, Features Editor Jessica Kiang, Features Senior Writer Oliver Lyttelton and myself — can't wait to show you what this next phase will bring.

As I like to say, onwards and upwards. And as Jess likes to say, "remember, we're the pirates, not the navy." So thanks for reading all these years, thanks for sharing, and thanks for commenting; we really hope you'll put out to sea with us again at THEPLAYLIST.NET.

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Rodrigo Perez
Editor-In-Chief

James Wan’s ‘Aquaman’ Movie May Be In Trouble As Cracks Begin To Show In Warner’s DC Universe

Rodrigo Perez — Sat, 30 Apr 2016 21:52:36 GMT

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A new report from Birth.Movies.Death says that director James Wan (“Furious 7”) may be leaving the Warner Bros’ DC Comics’ super hero film “Aquaman,” right on the heels of the announcement that Seth Grahame-Smith has left “The Flash” movie over creative differences (news that was tellingly dumped late on a Friday night). Suffice it to say, we’ve been hearing the same, much of it last night when BMD’s report was first published. Is Wan leaving? Well, there is certainly some larger cracks starting to show in the WB/DCU facade.

We’ve said it for a long time now, even complained and moaned about it, but copies of someone else’s successful template often fail because they are creatively bankrupt. Warner Bros. didn’t fast track their DC Universe and vast super heroes intellectual properties after “Man Of Steel” because it seemed finally time to make “Aquaman” and “Wonder Woman” movies. Their motives were two-fold: thirst for the $9 billion-plus empire Marvel created with their Marvel Cinematic Universe and feeling the pressures coming at them from all sides, including media, shareholders and CEOs who couldn’t understand why the owners of one of the biggest comic book companies couldn’t do for DC what Marvel had done for its movies.

READ MORE: Batman v Superman: Dawn Of Justice' And The Battle Between Critics And Fans

Desperately behind, “Batman v Superman: Dawn Of Justice” was essentially the first (or second film if you count “Man Of Steel”) film in the DCU and comparatively, Marvel by that point had already made twelve movies and grossed $9.1 billion dollars (which is now the highest grossing worldwide franchise ever). Now of course, Warner Bros. tried earlier, falling flat on their face with “Green Lantern,” but 'Batman v Superman' was only marginally less embarrassing in terms of how it was perceived by most.

Now, Warner Bros. tried to save some face in the public before the release of their flagship film and the bold announcement of their 10-film-deep franchise — announced before one picture was even made — dismissively implying Marvel’s films were too light and silly, while touting their seriousness and suggesting their films were filmmaker-driven while Marvel’s were simply cookie-cutter assembly line jobs.

READ MORE: Podcast: The Playlist Talks 'Batman v Superman: Dawn Of Justice' & The Screening Room's Premium VOD Plan

Be that as it may, all of the passive aggressive assertions backfired. The serious, somber tone of 'Batman v Superman' was broodingly unentertaining and so grim and silly that Zack Snyder failed to prove he was an auteur all of a sudden, especially with the film’s incoherent narrative sense that felt like a series of mini-episodes and commercials for other films rather than an orderly or meaningful storyline.

There’s never just one way to skin a cat, but Marvel earned their way to “Avengers,” setting up that landscape with a solo film for each character before the big team-up movie. Are they masterpieces? No. Did they mostly work creatively and financially for what they were? Yes. But lagging behind in the race, 'Batman v Superman' felt like a cheap shortcut to getting to a “Justice League” film as soon as humanly possible (‘JL Part 1’ is already shooting now).

READ MORE: Too Big To Fail: What 'Batman v Superman' Tells Us About Blockbuster Culture

And while 'Batman v Superman' has made $856 million worldwide so far, it’s looking like it may fall short of $900 million. It’s underreported budget actually hovered close to the $400 million mark, and its marketing spend was one of the highest in Hollywood history. It’s a film that could one day become profitable with DVD and various ancillaries, but that day isn’t imminent.

Regardless, if 'Batman v Superman' would have cracked the $1 billion mark (which it won’t) and its fans and the studio championed this benchmark, nothing could take away from the negative narrative and critical drubbing that marred the movie’s release.

Now word is spreading that Warner Bros. is getting worried about what comes next and that confident poise they showed in early interviews has all but evaporated. The impact of it all? BMD says James Wan is starting to feel the pressure of performing with “The Conjuring” and is starting to feel trepidation about the entire project. In fact, the rumor is that Wan feels like he doesn’t need “Aquaman,” but Warner Bros. needs him, and if this turns out to be a huge hassle, he could easily walk away from the project unscathed (he already has two WB films coming out that should be prominent 2016 summer films: “The Conjuring 2” which he directed, and “Lights Out,” which he produced).

We’ve been hearing much of the same: Warners has been battling with Zack Snyder over “Justice League,” and they’re now reassessing and second-guessing their entire plan (one that Snyder helped put into place). Additionally, we’ve heard the euphemism of Seth Graham-Smith departing over “creative differences,” is bunk and that the writer/director (who has never helmed a feature, let alone a super hero blockbuster) was let go from the project.

Essentially, Warner Bros. are panicking because they’re already locked into a deal with Zack Snyder for two “Justice League” films that could cost nearly a billion dollars. With no real way to course correct from Snyder, the company cannot afford another failure as loud and expensive as 'Batman v Superman' and so they are taking all precautions necessary, including making sure their films are air-tight, often at the expense of the filmmakers’ patience. Will James Wan walk from “Aquaman”? Considering WB going into alarm and consternation mode, we would not be at all surprised to hear the official news.

Review: Jason Bateman's Endearing & Satisfying 'The Family Fang' With Nicole Kidman

Nikola Grozdanovic — Sat, 30 Apr 2016 00:14:38 GMT

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Jason Bateman is getting better and better at directing. Working with an adaption of Kevin Wilson's novel, by screenwriter David Lindsay-Abaire ("Rabbit Hole”), this is his second movie behind the camera. He rounds up a great ensemble of actors (himself included) to deliver a funny, sensitive, and layered piece of work. It's an original story about the thin, squiggly line between art and life, comfortably swaying between comedy and drama. To call "The Family Fang" an improvement on Bateman’s debut "Bad Words", would be an understatement. A dysfunctional structure and some bizarre plotting stop the film from reaching greatness, but never from being endearingly satisfying.

READ MORE: Exclusive: Soundtrack Preview Of Carter Burwell's Score For 'The Family Fang'

The Fang family unit is really, really strange. As seen in the opening sequence, they're pranksters who practice experimental public performance art. The first one we see, to give you an idea, is a young boy walking into a bank with a gun and adorably holding up the place for all the lollipops. A cop, upon seeing the gun, runs to stop him. The gun goes off, the bullet misses the cop, but hits an innocent female bystander, who just happened to be there with her daughter. The emotional scene between these four principal actors is interrupted when the boy breaks character to taste the woman's blood. An older lady puts it perfectly; "what the fuck is this?"

Now all grown up, Annie (Nicole Kidman) is an actress who has trouble connecting with her recent roles, and Baxter (Bateman) is a struggling writer who's stuck in the middle of his latest novel. Annie has a tendency to get a little "loopy," drink a bit too much, and get forced into stuff her better senses tell her to stay away from, like going topless for a scene for no artistic reason. She follows her family maxim of controlling the chaos so that it may happen around her, not to her, and does the topless scene anyway. Baxter's no different. He's sent to write an article about potato guns, and controls the chaos by playing William Tell's feat of the apple-shot. They both take it too far: photos of Annie are all over the tabloids the next day, and Baxter gets shot in the head by a potato. These two are so messed up because their parents, Caleb (Christopher Walken) and Camille (Maryann Plunkett), always treated them as props to their performance art pieces, and not children.

READ MORE: Watch First Trailer For Jason Bateman's 'Family Fang' With Nicole Kidman, Christopher Walken, Kathryn Hahn, And More

Baxter's accident brings the family back together, except that things get real awkward real fast. Annie's insecurities grow by the minute, Baxter's complacent attitude seems to drive him into further depression, while Caleb and Camille's latest piece backfires which Caleb blames on his children. It's not long before the parents decide to take a spontaneous trip, leading to an unexpected phone call from the police — their car is found in a ditch, with traces of blood in it, and they're nowhere to be found. Whether this is just another performance piece or the real deal is the mystery Annie and Baxter must solve. Both are quick to jump to different conclusions, and the film does a solid job of keeping the audience invested and on edge. Though once it gets solved, it's more than a bit dispiriting.

What makes "The Family Fang" such an intriguing, original story is its layered approach to dissecting the definition of art and the creative process. It keeps its heart firmly beating between the bond of two siblings. The Fangs become famous for their performance art, inspiring thesis papers, and — in an early highlight — a discussion between two critics (The Village Voice vs. Artforum) on what value their art holds. Snippets of an incomplete documentary show Caleb discussing his thoughts about art as something that must be alive, that life itself must be treated as art, while something like photography is dead. Annie's acting and Baxter's creative writing process segue into the film's themes in revelatory ways, and a few key moments from their past have some hard-hitting stuff to say about the dangers of sacrificing one's family for the sake of art. When it's all said and done, there's plenty of food for thought left for discussion, and wherever your opinion lies, that's never a bad thing.

If only the execution wasn't so messy in parts, "The Family Fang" would've been even greater. The film's back-and-forth time jumps become disorienting by the midway-point, a major plot-point is revealed in the silliest of ways, and Bateman adds too much emphasis to more than one unnecessary montage. Basically, the film could do with one final visit to the editing room, as long as the performances don't get tampered with. Kidman, Walken, and Bateman are particularly terrific. Kidman disappears into the role, proving once again that she's at her best when not playing larger-than-life characters. Bateman has given himself the familiar role of the downbeat cynic but charges it with an emotional gravitas you won't see coming. And Walken's mostly on cruise control, having a blast, until he effortlessly adds delicate depth in a few crucial exchanges.

Like most families in this world, "The Family Fang" is dysfunctional and slightly disappointing, but it proves without a shadow of a doubt that Bateman is improving nicely as a director. Anyone who saw "Bad Words" had perfectly good reason to question his skills, seeing as how toothless and unfortunately unfunny that movie is. Thanks to "The Family Fang," however, we can all forget about shabby beginnings and get excited again about his future as a director. [B]

This is a reprint of our review from the 2015 Toronto International Film Festival.

John Krasinski Is 'Jack Ryan' In New Amazon Series

Kevin Jagernauth — Sat, 30 Apr 2016 00:08:35 GMT

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Last fall it was announced that Jack Ryan, the Tom Clancy created hero that has seen a steady decline from the heydey of "The Hunt For Red October," "Patriot Games," "Clear And Present Danger," to the the nadir of "Jack Ryan: Shadow Recruit," was going to be revived. We all just told our Dads, moved on, and forgot about it, but indeed, it's still happening.

READ MORE: Review: 'Jack Ryan: Shadow Recruit' With Chris Pine, Keira Knightley & Kevin Costner

Jim from "The Office" aka John Krasinski has been tapped to play the CIA analyst in "Jack Ryan." It might seem like an odd choice, but Michael Bay is among the series producers, and he cast the actor in his recent "13 Hours: The Secret Soldiers Of Benghazi," so there you go. Also shepherding the show is "Lost" pair Carlton Cuse and Graham Roland.

Rather than focus on Jack Ryan as a newbie, like 'Shadow Recruit' did, "Jack Ryan" will roll with the character in his prime, and will use the novels as source material.

Amazon has snapped up the project, which is expected to go straight-to-series. Krasinski is certainly different from the previous actors who have inhabited the role — Alec Baldwin, Harrison Ford, Ben Affleck and Chris Pine — but perhaps could be exactly what this creaking franchise needs. [Deadline]

‘The Flash’ Loses Director Seth Grahame-Smith Over “Creative Differences”

Rodrigo Perez — Fri, 29 Apr 2016 23:50:44 GMT

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The narrative for Warner Bros. and their DC Universe hasn’t been a good one. Lagging far behind Marvel and their massively successful Cinematic Universe — but hardly at war with one another as some have suggested — Warner Bros. knew they had to leverage their vast DC intellectual properties in a similar manner. But racing to get to a ‘Civil War’ like face off movie as quickly as possible, rather than letting their characters breathe and define themselves, Warner Bros. stumbled hard with the largely incoherent “Batman v Superman: Dawn Of Justice.”

Tonight, WB hits another snag: director Seth Grahame-Smith is departing from “The Flash” film over “creative differences” with WB. No further reasons were given, but it’s another snafu for Warner Bros.

READ MORE: Zack Snyder Explains Why Grant Gustin's The Flash Wasn't Right For The DC Films Universe

The screenwriter behind “Pride & Prejudice & Zombies” and “Abraham Lincoln: Vampire Hunter,” Grahame-Smith was always a weird fit for “The Flash” especially given he had never directed a feature-length film before, let alone a big super hero tentpole. His career thus far has been writing historical movies mixed with genre films: “Unholy Night” is another one that reimagines the three wise men in the Nativity story as infamous thieves, led by a dark, murderous leader.

Secondly, Warner Bros. really just wanted Phil Lord and Chris Miller (“The Lego Movie”) to direct “The Flash” and give it a fun, humorous edge, but the filmmakers were only able to write the treatment, and they quickly left the project when they were given the keys to the “Young Han Solo” film.

READ MORE: Bob Iger Confirms Chewbacca For Young Han Solo 'Star Wars' Spinoff Movie

So Grahame-Smith was forced to write the film based on treatment from Lord and Miller and somehow, eventually fell out with WB. It’s gotta be tough to make a film based on a third party that’s no longer involved and a studio that’s probably using that treatment as its bible.

Actor Ezra Miller is playing “The Flash” and the character will appear next in “Justice League Part 1,” which will be released on November 17, 2017. “The Flash” already has a release date, March 3, 2018, but with its director off the project, they’re likely going to have scramble somewhat quickly in order to get a filmmaker on the page that can execute what could be an already pre-ordained vision. That’s not really a director’s ideal climate and it explains why a project like “Gambit” has seen a revolving door of filmmakers come and go. [THR]

Elisabeth Moss Will Tell 'The Handmaid's Tale' On Hulu

Kevin Jagernauth — Fri, 29 Apr 2016 20:19:07 GMT

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l'm not sure how things are elsewhere, but at least in her native Canada, author Margaret Atwood's "The Handmaid's Tale" is required high school reading for many. The acclaimed novel won the Booker Prize in 1986 along with countless other honors, and was adapted into a 1990 feature film written by Harold Pinter and directed by Volker Schlondorff. But that's not the only adaptation — there have been radio and opera productions too, and now another medium is going to unspool the dystopian story.

READ MORE: Elisabeth Moss Confirms Her Return For 'Top Of The Lake' Season 2; Filming Begins This Year

"Mad Men" and "Top Of The Lake" star Elisabeth Moss has signed up to lead "The Handmaid's Tale" series for Hulu. Talent from "The 100" and "Fargo" will be among the executive producers and writers for the show, with Atwood herself as a consulting producer. The story unfolds in a grim future where women are property of the state, and given the political climate in the United States at the moment and the battle around Planned Parenthood (among other things), the project couldn't be more timely. Here's the book synopsis:

In the world of the near future, who will control women's bodies?

Offred is a Handmaid in the Republic of Gilead. She may leave the home of the Commander and his wife once a day to walk to food markets whose signs are now pictures instead of words because women are no longer allowed to read. She must lie on her back once a month and pray that the Commander makes her pregnant, because in an age of declining births, Offred and the other Handmaids are only valued if their ovaries are viable.

Offred can remember the days before, when she lived and made love with her husband Luke; when she played with and protected her daughter; when she had a job, money of her own, and access to knowledge. But all of that is gone now....

This has the potential to be some serious must-watch viewing, and with streaming competition getting fiercer than ever, Hulu has certainly indicated they're very much in the game. The first season of "The Handmaid's Tale" will arrive in 2017. [Deadline]

Jamie Foxx To Lead Long Developing R-Rated Puppet Noir 'The Happytime Murders'

Kevin Jagernauth — Fri, 29 Apr 2016 19:58:26 GMT

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Since 2008, fans of the Jim Henson Company have been salivating about "The Happytime Murders," a decidedly R-rated puppet noir, which, as you might expect, isn't the easiest thing to get made. But we're in the post-"Deadpool" era where anything irreverent and filthy seems to have a better chance at going into production, and 'Murders' looks like it's on its way.

READ MORE: Review: 'Deadpool' Starring Ryan Reynolds, T.J. Miller, Morena Baccarin, Ed Skrein, And Gina Carano

Jamie Foxx is in early talks to star in the live-action/puppet movie that will be directed by Brian Henson. Believe it or not, Katherine Heigl of all people was once attached many years ago (but no longer) to this story, set in a world where humans and puppets co-exist, following a disgraced LAPD detective-turned-P.I. puppet who teams with a former human partner to take on the case of a murderer who is killing off the cast of an '80s children's television show called "The Happytime Gang" one by one.

It's a bold concept, and one that could definitely be a winner if given the chance to truly let loose. So let's hope this long-brewing project finally makes it to the big screen. [Deadline]

Video Game 'Shinobi' Is Headed To The Big Screen Because There Aren't Enough Ninja Movies

Kevin Jagernauth — Fri, 29 Apr 2016 19:22:53 GMT

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Believe it or not, I once played video games, and back in the day a game that took up a lot of time on my Sega Master System was "Shinobi." In the game, you played Joe Musashi, a master ninja who had to rescue students from some terrorist bad guys. No, it wasn't sophisticated, but it was fun, and spawned a series of games. And now it's spawned a movie — because that's just the way things work.

Marc Platt Productions and SEGA's Stories International Inc. are gearing up the big-screen adaptation, but there's no studio or writer or star or director at this point, so it's a long way off. But there's a very simple reason why this happening: There aren't enough ninja movies.

READ MORE: Discuss: Can A Good Movie Ever Be Made From A Video Game?

“We love the Shinobi games and believe that the world of ninjas has never been properly explored onscreen. We now have the opportunity to do just that. With 'Shinobi,' we hope to make a film that honors the essence of the games and brings this fascinating world to life for moviegoing audiences," producer Marc Platt said (via THR).

Certainly, at least in the blockbuster realm, ninjas have been scarce lately unless you count "Ninja Assassin" or "G.I. Joe: Retaliation," which I don't think anyone really would. So, we'll see what happens with this; I'm guessing it'll be slow going. You might remember that two years ago, Sega shook hands with Sony to make a "Sonic The Hedgehog" movie and nothing has been really heard about that since.

Penélope Cruz To Star In Road Movie 'Layover'

Kevin Jagernauth — Fri, 29 Apr 2016 18:58:35 GMT

From Monday, May 2nd we won't be here anymore; we'll be at our shiny new site, THEPLAYLIST.NET. Update your bookmarks, and be sure to sign up for our newsletter for a shot at winning an iPad.

Lately, Penélope Cruz has been flexing her comedy muscles, taking unlikely roles in "Zoolander 2" and "The Brothers Grimsby." But it seems she's got big Hollywood laughers out of her system, and she's pivoting toward a project that's more her usual cup of tea.

READ MORE: Review: 'The Brothers Grimsby' Starring Sacha Baron Cohen, Mark Strong, Penelope Cruz, Rebel Wilson, Ian McShane, More

The actress has signed up to star in "Layover," an adaptation of the book by Lisa Zeidner. Toni Kalem, who directed her debut feature "A Slipping-Down Life" way back in 1999, makes her second movie here, telling the story of Claire Newbold, a successful traveling saleswoman who decides to go on the lam from her life. A master of reinvention, Claire's fierce, funny and falling apart. She develops elaborate scams for sneaking into hotel rooms, alone or with a guest, and a passion for swimming in their pools. A road movie of sorts, "Layover" follows this inventive and atypical heroine who goes off the deep end and has to find her way back to shore.

Like many projects you'll hear about in the next couple of weeks, this one will be hawked at the Cannes market. No word yet on when cameras will roll.

Marion Cotillard And Guillaume Canet Play 'Rock 'n' Roll'

Kevin Jagernauth — Fri, 29 Apr 2016 18:29:13 GMT

From Monday, May 2nd we won't be here anymore; we'll be at our shiny new site, THEPLAYLIST.NET. Update your bookmarks, and be sure to sign up for our newsletter for a shot at winning an iPad.

Partners in life, Marion Cotillard and Guillaume Canet have also carried over their relationship into their careers. Canet, who once starred opposite Cotillard in "Love Me If You Dare" before they were together, has directed the actress in the ensemble drama "Little White Lies" and the gritty '70s-set "Blood Ties." Now he's going to do it again, in a picture that offers another creative pivot for the duo.

READ MORE: Review: The 'Little White Lies' That Bind Are Explored In This Leisurely Gallic Dramedy

"Rock 'n' Roll" will star both Cotillard and Canet, with the latter playing a version of himself in a story that revolves around an actor who decides to change his life when a younger actress tells him he's falling down the list of "bangable" actors. Gilles Lellouche, Fanny Ardant, Philippe Lefebvre and Yvan Attal round out the cast for what sounds like a breezy comedy, and one that will hopefully poke a bit of fun at the vanity in the moviemaking industry.

The project will be shopped in the Cannes marketplace next month, and I can't imagine it won't attract attention from the usual arthouse players. So let's hope "Rock 'n' Roll" tunes up and goes in front of cameras soon. [Screen Daily]

Watch: Trailer For Sci-Fi 'Andròn' Starring Alec Baldwin

Kevin Jagernauth — Fri, 29 Apr 2016 17:58:23 GMT

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"Andròn" apparently was on the festival circuit last year, but this is the first I'm hearing of its existence. But at any rate, the sci-fi movie now has a trailer and the compelling point of interest is Alec Baldwin, who takes a starring role in the kind of genre movie he doesn't generally do.

READ MORE: The 25 Best Sci-Fi Films Of The 21st Century So Far

Michelle Ryan, Gale Morgan Harold III, Skin, Leo Howard, Antonia Campbell Hughes, Jon Kortajarena, Mauro Conte, Korlan Madi, Alex Martin, Gaia Scodellaro, Elettra Mallaby, Clara Pasieka and Danny Glover are the other players in this ensemble, with the movie essentially playing out like a full-length version of being in a Hunger Games battle. Here's the official synopsis:

They don’t remember how they got there. They don’t even remember their names. A group of unknown prisoners trapped in a mysterious and deadly maze. They will have to find answers, to decipher the signs, understand the codes and they have to face a dangerous journey to discover the secret of ANDRÒN.

No release date on this one yet, but you can check out the trailer and see what you think.

Watch: Baz Luhrmann On Prince's Unreleased Song For 'The Great Gatsby,' 'The Get Down,' More In 56-Minute Talk

Kevin Jagernauth — Fri, 29 Apr 2016 17:35:27 GMT

From Monday, May 2nd we won't be here anymore, we'll be at our shiny new site, THEPLAYLIST.NET. Update your bookmarks, and be sure to sign up for our newsletter for a shot at winning an iPad.

It's been over a week since Prince passed away, and the stories about his work, creativity, generosity, and impact are still being shared. And another fascinating nugget comes from director Baz Luhrmann, who was on hand last week at the Tribeca Film Festival to participate in a career-spanning conversation. The talk kicked off with a story about the musician, who he first worked with on "Romeo + Juliet," when Luhrmann sought permission to use "When Doves Cry," and it led to a collaboration on "The Great Gatsby" that unfortunately never saw the light of day.

READ MORE: Read Script Pages From Prince's Rejected Cameo On 'The Simpsons'

"I was working with Prince on a song for 'Gatsby.' It was a re-imagined version of a song with did with Martika called 'Love...Thy Will Be Done.' It was going to be a major piece in it. We did work on it; when he was in Australia, we did some work there. In fact, we worked on it a lot," Luhrmann shared. But thanks to legal wrangling, it didn't make the movie. "It's a co-owned piece, and he couldn't quite get it released." Perhaps eventually it will see the light of day.

At the moment for Luhrmann, his focus is on his upcoming Netflix series, "The Get Down," which will take audiences back to the '70s music scene in New York City. And one surprising contributor is Nas, who the director credits for being heavily involved and writing the rhymes for the central narrator.

READ MORE: Watch: First Trailer For Baz Luhrmann's Netflix Series 'The Get Down' With Shameik Moore, Jaden Smith, And More

"One of the things which I don’t think anyone knows, because it's not in the trailers — and we've been doing this for about a year now — is that one of the characters goes on and we discover that he’s actually a successful rap star in the '90s, and he narrates it through rhyme, through rap, on stage, in a sort of Madison Square Garden… It's somewhere between pure rap narration and a sort of Greek chorus comment, and we use it a lot throughout," he said. "Nas has been this other huge creative force in the production and it's been playing really, really successfully."

We can't wait to see how that series turns out. Find out more about what's coming in the lively conversation below.

Screenwriter Talks George Miller's More Intellectually Ambitious Version Of 'Contact'

Kevin Jagernauth — Fri, 29 Apr 2016 16:59:14 GMT

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George Miller's career has a couple of what-could-have-beens, most notably his aborted "Justice League" movie. But also among the movies he nearly made is "Contact," the pretty good 1997 Robert Zemeckis sci-fi film starring Jodie Foster and Matthew McConaughey. Based on the novel by Carl Sagan, who only wrote book after his initial movie treatment was wasting away in development hell, Miller was initially attached to direct, and had lined up Foster to star, along with Ralph Fiennes in McConaughey's role. But alas, it didn't happen.

READ MORE: Ranked: The Films Of Robert Zemeckis

There were many reasons the project didn't get greenlit, but essentially the budget got too big, and Warner Bros. ultimately decided they didn't like Miller's vision. Last year, the "Mad Max: Fury Road" director said his version of "Contact" was probably too heady for the studio, and put it in the same thematic ballpark as Christopher Nolan's "Interstellar." And indeed, screenwriter Mark Lamprell, who worked on Miller's "Contact," reveals that version had some bigger ideas behind it.

Having studied at Sydney's St. Ignatius College, the screenwriter and author says that the unmade version of "Contact" would've grappled with faith and science, but he also notes he was a "junior writer" on the movie, with Menno Meyjes ("Empire Of The Sun," "The Color Purple") taking the lead.

READ MORE: George Miller Says 'Interstellar' Came Close To What His Version Of 'Contact' Would've Been Like

"It was a much more interesting screenplay, and I think George would say this too," Lamprell told IF magazine. "Because of my Jesuit connections I was able to get all those amazing Jesuit scientists in, to talk to us about how you operate as a man of faith in the world of science. We were having really interesting conversations, and Carl [Sagan] was thrilled to be having those. It wasn't about being populist or talking down to an audience. Not that 'Contact' necessarily did that, but ours was much more ambitious intellectually."

Well, we'll just have to imagine what a Miller-directed "Contact" might have been like, but being left with Zemeckis' film is not such a bad compromise.

New Trailer For The Provocative 'Bang Gang: A Modern Love Story' Gets Naked

Kevin Jagernauth — Fri, 29 Apr 2016 16:16:32 GMT

From Monday, May 2nd we won't be here anymore, we'll be at our shiny new site, THEPLAYLIST.NET. Update your bookmarks, and be sure to sign up for our newsletter for a shot at winning an iPad.

Last year, the festival circuit offered two French films that pushed the sexual envelope. Of course, there was Gaspar Noé's "Love," which earned the most attention thanks to its unsimulated sex scenes presented in 3D, and then there was Eva Husson's debut feature "Bang Gang: A Modern Love Story" which pretty much says everything you need to know in the title. And now it's getting ready to heat up stateside cinemas.

READ MORE: BFI London Film Fest Review: Eva Husson's Racy Coming-Of-Age Tale 'Bang Gang: A Modern Love Story'

Starring Finnegan Oldfield, Marilyn Lima, Daisy Broom, Lorenzo Lefebvre, and Fred Hotier, the story follows a group of teenage friends who test and expand their sexual boundaries, going to some shocking places. Here's the official synopsis:

George, a pretty teen girl, falls in love with Alex. To get his attention, she initiates a game with their friends, discovering, testing and pushing the limits of their sexuality. When the nature of their activities is revealed, each of them deals with the scandal in radically different ways. Faced with the implosion of their value systems, they move on by reassessing their priorities, finding love and their real desires.

"Bang Gang: A Modern Love Story" opens on June 17th.

20th Century Fox Exits San Diego Comic Con Over Piracy Fears

Kevin Jagernauth — Fri, 29 Apr 2016 15:43:55 GMT

Every year there's a conversation about which studios will or won't show up at San Diego Comic Con. However, in 2016, that chatter now has a twist, with one major studio skipping the weekend for reasons that speak to the social media age.

20th Century Fox has decided not to showcase their upcoming slate at SDCC, reportedly over fears that the trailers and footage cut for the event would be leaked or pirated. And it's a legitimate concern. The past few years have seen trailers leak out of the halls of Comic Con, either in shaky mobile phone footage or in legitimately good copies, hitting the web, spoiling the exclusivity for those in attendance, and the carefully managed marketing by the studios. Just last summer, Fox had to scramble after their "Deadpool" trailer cut for Comic-Con hit the web not long after it screened in Hall H.

Some might argue that grousing about marketing material that is meant to be seen by the public being pirated is small potatoes, but that's a perspective that doesn't take into consideration how much is at stake for studios. Marketing is as much about promotion as it is about messaging and positioning, and studios make careful considerations about how they want to rollout the first look at their expensive tentpoles, and craft it specifically for the San Diego Comic Con audience in mind. There's an argument to be made that out of that context, marketing material will have a different resonance to the public at large.

Either way, Fox's exit is a loss for Comic Con, as it means fans won't be seeing anything from studio which could've shown footage from "Assassin's Creed," "War Of The Planet Of The Apes," "Miss Peregrine's Home For Peculiar Children," or even "Alien: Covenant" which has started filming. However, the studio will be in San Diego to promote their co-productions like the animated "Trolls," or smaller size fare.

Thoughts? Is this a reactionary move, or does San Diego Comic Con need to step up their efforts to keep studios happy, and protect that element of exclusivity that makes their event so special to many? Let us know below. [The Wrap]

Review: 'Mother's Day' Starring Julia Roberts, Jennifer Aniston, Kate Hudson, Jason Sudeikis and More

Kimber Myers — Fri, 29 Apr 2016 15:04:00 GMT

From Monday, May 2nd we won't be here anymore, we'll be at our shiny new site, THEPLAYLIST.NET. Update your bookmarks, and be sure to sign up for our newsletter for a shot at winning an iPad.

For a passive-aggressive Mother’s Day gift, I recommend taking your mom to the film of the same name. If you haven’t quite found the present that says, “Mom, I hate you for bringing me into the world,” this is the (movie) ticket. Somehow inferior to both its celebratory predecessors “New Year’s Eve” and “Valentine’s Day,” Garry Marshall’s “Mother’s Day” is the cinematic equivalent of spilling boiling hot coffee on your mother when you bring her burnt toast for breakfast in bed.

The film begins with Meghan Trainor singing, “You might have a mom. She might be the bomb,” and it still manages to get worse from there. Focusing on four mothers, Jennifer Aniston plays Sandy, a divorced mom of two boys who is surprised to learn that her ex (Timothy Olyphant) has eloped with a much younger model (Shay Mitchell). Meanwhile, Kate Hudson is Jesse, a married mom who hasn’t spoken to her mother (Margo Martindale) since she made a racist comment about her then-boyfriend, and current husband Russell (Aasif Mandvi). Julia Roberts is Miranda, a Home Shopping Network star and author who forwent motherhood in favor of her career. Or did she? (Spoiler alert: No.) Finally, Jason Sudeikis is a widower trying to raise two girls after the death of their mother (Jennifer Garner in a brief cameo). All their stories connect, but you won't care how.

“Mother’s Day” features some of the most artless product placement in recent memory, and I hesitate to name the brands for fear of giving them more attention. When Sudeikis’ character throws a party, an attendee says, “I think your daddy used his veteran’s discount at ProFlowers.” I Googled it, and this is an actual thing. A hospital vending machine has row after row of M&Ms, and the candy gets more screen time than Emmy winner Martindale. The sign for the Atlanta Four Seasons is shown multiple times. If they could have figured out a way to include a link to book a luxury king suite while you're watching the movie, I'm sure they would have.

The ensemble comedy screams its Atlanta setting at each moment it can, but I counted only one black actor with a small speaking role (Loni Love). No one talks with a Southern accent, other than Jesse’s Texas parents who live in a trailer park. With the exception of a minor character, everyone has huge, fancy homes, making “Mother’s Day” function better as affluency porn than as a movie.

"Mother's Day" is more awkward and less funny than a elementary school skit if you're not a parent of a child involved and about as enjoyable to sit through. There’s little humor and no heart in the script from Anya Kochoff Romano, Matt Walker and Tom Hines. This is the first produced screenplay for Walker and Hines, and it’s only the second from Romano after “Monster-in-Law.” This is a step down for all three, because not writing a movie is better than having produced this, and even “Monster-in-Law” made for more entertaining viewing. “Monster-in-Law.” I am actually recommending that you watch “Monster-in-Law” rather than see this. "Mother's Day" is a laughable film, often for its unintentionally bad and unsubtle dialogue, but it’s never funny. Not even when it tries to go for physical comedy gags, which are equally unartful and poorly constructed as the rest the film, and sometimes involve characters that are never seen again (see the first clip below).

Marshall previously worked with Roberts on “Pretty Woman,” and there’s an excruciating scene where the actress and Marshall favorite Hector Elizondo reference that rom-com hit with a line of dialogue about a salad fork. Those who don’t have “Pretty Woman” memorized will probably just overlook it as one more bit of nonsense among many, and those who do can only think about how much worse this movie is in every way possible. To all involved, I just wanted to say, “Big mistake. Big. Huge.” [D-]

Watch: New Extended Trailer For 'Me Before You' Starring Emilia Clarke And Sam Claflin

Kevin Jagernauth — Fri, 29 Apr 2016 14:27:20 GMT

From Monday, May 2nd we won't be here anymore, we'll be at our shiny new site, THEPLAYLIST.NET. Update your bookmarks, and be sure to sign up for our newsletter for a shot at winning an iPad.

While I've more than once pointed out that standard template used by comic book movies, it's not the only genre that has a winning formula. The weepie romance also has a blueprint familiar to audiences, and while you'll probably see every moment of the upcoming "Me Before You" coming from three miles away, for certain viewers, that doesn't matter one one bit.

Starring Emilia Clarke and Sam Claflin, and based on the book by Jojo Moyes, the story about a quirky young woman who falls for the disabled man she cares for is pure hokum, but again, for a certain audience, this might be pure hokum that really works. Here's the official synopsis:

Oftentimes you find love where you least expect it. Sometimes it takes you where you never expected to go…

Louisa “Lou” Clark (Clarke) lives in a quaint town in the English countryside. With no clear direction in her life, the quirky and creative 26-year-old goes from one job to the next in order to help her tight-knit family make ends meet. Her normally cheery outlook is put to the test, however, when she faces her newest career challenge. Taking a job at the local “castle,” she becomes caregiver and companion to Will Traynor (Claflin), a wealthy young banker who became wheelchair bound in an accident two years prior, and whose whole world changed dramatically in the blink of an eye. No longer the adventurous soul he once was, the now cynical Will has all but given up. That is until Lou determines to show him that life is worth living. Embarking together on a series of adventures, both Lou and Will get more than they bargained for, and find their lives—and hearts—changing in ways neither one could have imagined.

"Me Before You" opens on June 3rd.

Mads Mikkelsen Reveals His 'Rogue One' Role, Rian Johnson Contribues To 'Star Wars: Bloodline' Book

Kevin Jagernauth — Fri, 29 Apr 2016 14:01:00 GMT

From Monday, May 2nd we won't be here anymore, we'll be at our shiny new site, THEPLAYLIST.NET. Update your bookmarks, and be sure to sign up for our newsletter for a shot at winning an iPad.

Earlier this week, Mads Mikkelsen headed to France where he was given the Knight of the Order of Arts and Letters for his acting talents, with his "The Hunt" director Thomas Vinterberg, also receiving the same honor. So Mikkelsen was in a pretty good mood when he sat down with Kay Burley of Sky News, where he spilled a bit of news about his role in "Rogue One: A Star Wars Story." Obviously, **spoilers ahead**.

The actor casually dished during the interview that he would be playing the father of Jyn Erso, portrayed by Felicity Jones. As you'll recall, the theory that Jyn Erso is Rey mother's has been shot down, so it'll be interesting to see what her connection is the greater "Star Wars" universe, and I'd wager it'll have to do with Mikkelsen's role. So, get your speculation machines going.

Meanwhile, it has been announced that "Star Wars: Episode VIII" director Rian Johnson contributed some story ideas to the upcoming book, "Star Wars: Bloodline." Penned by Claudia Gray, it's set before the events in "Star Wars: The Force Awakens," and follows Leia Organa during the early days of the Resistance, as political intrigue unfolds. Here's the book synopsis:

When the Rebellion defeated the Empire in the skies above Endor, Leia Organa believed it was the beginning to a lasting peace. But after decades of vicious infighting and partisan gridlock in the New Republic Senate, that hope seems like a distant memory.

Now a respected senator, Leia must grapple with the dangers that threaten to cripple the fledgling democracy—from both within and without. Underworld kingpins, treacherous politicians, and Imperial loyalists are sowing chaos in the galaxy. Desperate to take action, senators are calling for the election of a First Senator. It is their hope that this influential post will bring strong leadership to a divided galaxy.

As the daughter of Darth Vader, Leia faces with distrust the prospect of any one person holding such a powerful position—even when supporters suggest Leia herself for the job. But a new enemy may make this path Leia’s only option. For at the edges of the galaxy, a mysterious threat is growing....

I would presume that Johnson's involvement has some kind of minor bearing on 'Episode VIII' in terms of particular character or narrative elements that wind up playing out, but you'll have to read the book (and then see the movie) to find out.

'Bloodline' streets on May 3rd, 'Rogue One' arrives on December 16th, and you can watch Mikkelsen's interview below.

'The Punisher' Series Officially Ordered By Marvel And Netflix

Kevin Jagernauth — Fri, 29 Apr 2016 13:31:31 GMT

From Monday, May 2nd we won't be here anymore, we'll be at our shiny new site, THEPLAYLIST.NET. Update your bookmarks, and be sure to sign up for our newsletter for a shot at winning an iPad.

The rumblings of a spinoff series focused on Marvel vigilante Punisher first started at the beginning of the year, but it's gone from rumor to real. Fans who dug Jon Bernthal as the no-holds-barred anti-hero in "Daredevil" season two are going to be getting a lot more.

READ MORE: Review: Jon Bernthal's Punisher Can't Elevate Netflix's Middling 'Daredevil' Season 2

EW reports that Marvel and Netflix has ordered "The Punisher" to series, with Bernthal set to reprise his role. Both companies are expected to make a formal announcement later today, but what we do know so far is that Steve Lightfoot ("Hannibal," "Casualty") has been tapped as the showrunner. As for the when in the timeline the series will take place, that hasn't yet been revealed, but "Daredevil" season two left off with an opening for Punisher to step into his own show.

So, I would keep your eyes out in 2017 for "Punisher." Let us know below what you want to see happen in the series.

New Images From Woody Allen's 'Café Society' With Jesse Eisenberg & Kristen Stewart, Summer Release Date Set

Kevin Jagernauth — Fri, 29 Apr 2016 13:05:00 GMT

From Monday, May 2nd we won't be here anymore, we'll be at our shiny new site, THEPLAYLIST.NET. Update your bookmarks, and be sure to sign up for our newsletter for a shot at winning an iPad.

Just like it's been for the last few years, you'll be getting your annual summer dose of Woody Allen. The prolific director has "Café Society" ready to roll at the Cannes Film Festival next month, and for those of us who won't be in the south of France, we won't have to wait long to soak up his fizzy Hollywood comedy.

READ MORE: First Look: Jesse Eisenberg And Kristen Stewart In Woody Allen's 'Cafe Society' Film Will Open Cannes

Lionsgate has set the movie to hit theaters on July 15th in limited release, expanding on July 22nd, before going wide on July 29th. Starring Kristen Stewart, Jesse Eisenberg, Blake Lively, Parker Posey, Jeannie Berlin, Corey Stoll, Anna Camp, Paul Schneider, and Steve Carell, and shot by acclaimed Academy Award winning cinematographer Vittorio Storaro ("Apocalypse Now," "Reds," "The Last Emperor"), the story follows a young man from New York City, who heads to Hollywood to try and make it.

We'll get the verdict on the movie in a few weeks, but until then, check out these new images from the flick.

Watch: Ryan Gosling And Russell Crowe Get Vintage With '70s Style Retro Trailer For 'The Nice Guys'

Kevin Jagernauth — Fri, 29 Apr 2016 01:30:45 GMT

This summer, at least for a brief moment, Ryan Gosling and Russell Crowe are going to make disco, polyester clothes, and outrageous facial hair cool again in "The Nice Guys." And to go with the '70s set action comedy, Warner Bros. has put together a pretty nifty retro style trailer for the flick.

READ MORE: 'The Nice Guys' Soundtrack Features Al Green, Bee Gees, The Temptations, And More

Looking like it was pulled out of a box in some archive hidden away in a studio warehouse, the cleverly-aged promo features old school voice-over, vintage title treatment, and video that looks like it's been warped with time. It's pretty neat stuff. Here's the synopsis for the film:

“The Nice Guys” takes place in 1970s Los Angeles, when down-on-his-luck private eye Holland March (Gosling) and hired enforcer Jackson Healy (Crowe) must work together to solve the case of a missing girl and the seemingly unrelated death of a porn star. During their investigation, they uncover a shocking conspiracy that reaches up to the highest circles of power.

"The Nice Guys" opens on May 20th. Check out the trailer and a bunch of new featurettes below.

Watch: Mark Strong Goes To Mars In Trailer For 'Approaching The Unknown'

Jordan Ruimy — Thu, 28 Apr 2016 21:30:29 GMT

Mars has fascinated astronomers and filmmakers in equal measure. Ever since 1918's "A Trip to Mars," filmmakers have been eager to journey to the red planet. Some of the more memorable movies to land on Mars include "Total Recall" and last year's Oscar-nominated Matt Damon vehicle, "The Martian." With President Obama's recent declaration that a manned mission to Mars could be viable for orbit by the 2030s, our overall renewed fascination with the fourth planet from the sun, and "The Martian" racking in more than $630 million dollars in box office receipts, it was inevitable that Hollywood's focus on the planet would continue.

"Approaching the Unknown" is the next one in line. Directed by first-timer Mark Elijah Rosenberg and starring Mark Strong, it follows William D. Stanaforth, an astronaut who heads on a one-way mission to explore the red planet. Of course, since we're dealing with science fiction and the unknown, something goes wrong. Stanaforth's life support system fails him and he is left to fend on his own in the most unknown of territories. And the trailer gives off a vibe that reminds us of Duncan Jones' "Moon" and Danny Boyle's "Sunshine," but we'll see if it's as visionary as either film.

"Approaching The Station" will be a rare chance for Strong to show his leading man chops, and he'll be supported by Luke Wilson, Sanaa Lathan, Charles Baker and Anders Danielson Lie.

Director Rosenberg has good buzz backing his directorial debut as he won 2014's Sundance Institute-NHK award, an annual honor that is designed to help and support new, up and coming voices in international cinema. Past winners include filmmakers Benh Zeitlin ("Beast of the Southern Wild"), Miranda July ("Me And You and Everyone We Know"), and Rodrigo Garcia ("Nine Lives"). "Approaching The Unknown" opens on June 3rd.

Review: Tender But Uneven Drag Queen Tale 'Viva'

Rodrigo Perez — Thu, 28 Apr 2016 21:03:16 GMT

There are two identities at war with themselves in director Paddy Breathnach’s tender but uneven “Viva,” a queer-positive movie about drag queens, queer communities, and self-expression in the slums of Havana, and a father and son story about estrangement and reconciliation. In truth, these interwoven ideas should be complementary; a homophobic and domineering father, a gay and timid son and the young man’s discovery of a passionate creative outlet in the midst of bleak poverty and few opportunities: the cathartic escapism of drag expressiveness. The foundational elements have all the necessary ingredients for compelling conflict. But despite an expressive visual eye, a strong capacity to communicate empathy and good craft, the promising “Viva” is hampered by a predictable narrative overburdened with one too many cliches that divide the movie’s strengths. Its normcore story meets its unique queer-core sensibilities and both cancel each other out — or at least don't add up as much as they should.

“Viva” takes place on the decaying streets of Havana, vibrantly captured in all their dilapidated beauty by cinematographer Cathal Watters; the faded colors, the chipped paint, the cracked cobblestones, and all the rest. And wandering the streets in search of himself is the young and lithe 18-year-old Jesus (Héctor Medina). Trying to avoid the gay sex trade most of his friends are forced to endure, Jesus cuts hair, mostly for an elderly clientele with little cash, to get by. He also fixes the lavish wigs for Mama (Luis Alberto Garcia), the she-boss of a local drag establishment and bar. Without a mother, father, or guidance, Jesus is directionless and perhaps a little spiritually lost; a dreamer who doesn’t know what he’s looking for.

Just as Jesus begins to discover what makes him feel alive has been right under his nose the whole time — getting on stage to perform in drag — much to the resent and risible scorn of the veteran queens on the circuit, his long-lost father, ex-boxer and convicted murderer Angel (Jorge Perugorría) appears out of nowhere to rain on his parade and give him a bruising smack to add insult to narrative injury.

Angel’s timing is not only super convenient, it slashes across and interrupts the more interesting and vivid drag queen, gay, and transgendered flavor of the movie in favor of a much more ordinary father and son story, and one that really doesn’t make much sense in practice.

The narrative tells us that Jesus lost his mother years ago and barely knew his father. “I never knew any different,” the streetwise teen remarks when asked what it was like growing up without a father figure. And yet, when the drunken, intolerant, asshole Angel appears — and commandeers his son’s house, booze and food to boot — the effeminate Jesus seems not only ridiculously accommodating to this abusive parent, he suddenly seems to long for the father figure the movie has told us the independent man never needed. Frustratingly, on top of all that, Angel gives Jesus absolutely zero reason to love him and yet he still does.

The brutish Angel has his problems, but they are of his own machismo making and he is largely unredeemable. An inveterate bastard who forbids his son to perform — which largely makes the drag scene disappear from the movie — father and son try and come to terms with each other. And as if right on cue, before Angel can even begin to understand his gay son, the former pugilist’s drinking and smoking reveals an terminal illness that takes the movie into a maudlin, “Terms Of Endearment”-esque direction.

There are further crucial problems along the way too. Apart from an impassioned closing performance that brings down the house with Jesus’ writhing in emotional pain with mascara tears running down his face, most of the drag performances in the movie are shot unremarkably. Jesus is supposed to be mediocre in his stage skills and slowly improving throughout the movie and impressing the clientele, but the otherwise convincing Héctor Medina can’t really lip-synch for shit at any point in the movie, nor are any of the performance scenes, save the last, his strong suit. There’s an awkward stiltedness to Medina’s stage presence even though drag is supposed to be the character’s spiritual sense of liberation. It’s not always overly pronounced, but its perceptible enough to mar many of the movie’s performance scenes. Breathnach seems to be aware of this as well, over-compensating and even hiding the inadequacies of the performance at times. The world and cast of characters of the drag scene is rich throughout the movie and yet their ultimate release on stage often underwhelms.

Apart from this odd, particular problem “Viva” just often feels far too familiar, predictable, and too eager to embrace the melodramatic. The disapproving dad who gets sick and then forgives his son (or relents to letting him perform, because fuck it, I’m dying) is a fairly cheap conceit and Angel doesn’t really come to terms with his son as much as he just has no choice (perhaps the point, but it still doesn’t feel right).

“Viva” becomes extremely maddening in the sense that it has so many promising elements going for it, but they never coalesce in a real way we haven’t seen in a dozen movies before. Medina and Garcia in particular, are strong performers, but the movie's feel-good tendencies never quite connect in the emotionally honest manner it hopes to.

Havana makes a nice character in the film. Almost anywhere Breathnach points the camera there is cracked splendor to be found. The filmmaker also scores emotional points with shots of silent contemplation; Jesus staring off into the setting-sun distance, dreaming of a more fulfilling life. Stephen Rennicks’ score (he wrote the quirky music for “Frank”) is also quite beautiful, flecked with balsa-wood acoustic notes of deep longing and wistfulness.

While these beguiling qualities give the movie brief respite from its familiar conventions, they do not rescue it. “Viva,” which means live in Spanish, has some good ideas floating around in its balmy evening air. But it’s akin to going out on what feels like a magical evening that turns out to be rather uneventful and typical night. Jesus finally goes for broke in the film’s final dynamic musical sequence; pounding on his chest with rousing fervor singing a final cri du coeur for all the suffering he’s endured throughout. It’s an emotionally charged and even electrical sequence, but it sums up “Viva” well; a moving film that tries too hard to please and thus never truly satisfies. [C+]

This is a reprint of our review from the 2015 Telluride Film Festival.

Alicia Vikander Is Lara Croft In 'Tomb Raider'

Kevin Jagernauth — Thu, 28 Apr 2016 20:49:42 GMT

There are few actresses who stay as busy as Alicia Vikander. She seems to have a few movies in the can at any given moment, and overall, she tends to lean towards working with respected directors, strong material, or both. But lately, she's been getting a taste for blockbuster fare. Last year she starred in the flop "The Man From U.N.C.L.E.," this summer she'll rumble with "Jason Bourne," and now she's got a franchise to call her own.

READ MORE: Watch: First Trailer For 'Tulip Fever' Starring Alicia Vikander And Christoph Waltz

The Oscar winner, who took home the Best Supporting Actress prize for "The Danish Girl" in February, has taken the title role in the long developing "Tomb Raider" reboot. The last we heard, "Star Wars: The Force Awakens" lead Daisy Ridley was being sought, but she's been lining up other gigs. So here comes Vikander to tackle the action movie, that will tell the story of Lara Croft's first adventure, in what I'm sure is being set up for a series of movies.

Roar Uthaug ("The Wave") will direct the movie, which doesn't have a release date just yet. But my guess is that WB/MGM will want to get this rolling as soon as Vikander is done shooting Wim Wenders' "Submergence" which is now filming. [THR]

Joe Russo Says 'Captain America: Civil War' Got Greenlit After Warner Bros. Announced 'Batman v Superman: Dawn Of Justice'

Kevin Jagernauth — Thu, 28 Apr 2016 20:29:18 GMT

While some superfans might try to deny it, Marvel has a formula, and it's one that has served them very, very well. To date, their superhero movies have more or less followed a broad template, with just enough room to allow filmmakers to add their own creative touches, while adjusting to the needs of each character. However, "Captain America: Civil War" shakes things up, and for the first time, pits the heroes against each other, and forces them to reckon with the far reaching consequences of the actions they've taken. But you might be surprised to learn it was thanks to a rival studio that Kevin Feige decided to pull the trigger.

Speaking with THR, 'Civil War' co-director Joe Russo says it was WB's announcement of Zack Snyder's Man Of Steel/The Dark Knight showdown that spurred Marvel to push ahead with 'Civil War,' and make something different from what they've done before, and explains the process in coming to that decision.

"You have to feel that the market is saturated enough that the audience is ready for something different. It's a calculated risk. But again, that's what gets me out of bed. I'm much more interested in deconstructing the genre than doing the traditional execution of it," he said. "....The quality of tentpole movies has gotten very good and very competitive over the last couple years. Because of social media and the discussion that happens there, the audience has gotten a stronger collective sense of taste and you're dead at 6 p.m. on Friday if you didn't make a good movie. And they're starting to champion more radical storytelling."

" 'Deadpool' [is] a great example of that. I mean, holy shit, $750 million worldwide? For our part, when we finished 'Winter Soldier' two years ago and we were thinking about doing the next one, the only thing that seemed interesting to us was to deconstruct the Marvel Universe — because where else can we go at this point?" Russo continued. "There have been 11 or 12 movies so far, all with a fairly traditional structure. Our pitch to them was: People will tell you they love chocolate ice cream — until you give it to them five days a week. It's time to give them some rainbow sherbet. Kevin [Feige] is a maverick and he's very sensitive to how people are responding to his content. He said he thought we might be right. And after they announced 'Batman v. Superman,' he said, 'you guys are absolutely right.' We needed to do something challenging with the material or we were going to start to lose the audience."

Given the audience buzz on 'Civil War,' Marvel won't be losing a single fan, but Warner Bros. on the other hand.....well, let's just say they have their work cut out for them after 'Dawn Of Justice.'

"Captain America: Civil War" opens on May 6th. Watch below. Check out the latest promos and featurettes below.