You may be thinking, “But there’s already a live-action Pokemon. It’s called Pokemon GO and it makes me take my dog on extra walks!” Yes, yes, but just in case your personal, semi-live-action experience with the latest app craze isn’t enough, those long-developing plans for a new Pokemon movie have gotten a little more developed as Legendary is making a push to secure rights to the hit game franchise.
Clowns are scary enough to most people, but Stephen King took that terror to a new level with It, his coming-of-age horror novel about a group of friends plagued by an evil entity that takes the form of a fearsome clown. It’s impossible to top Tim Curry’s portrayal of Pennywise in the TV miniseries adaptation King’s story, but director Andy Muschietti appears to have done a fair job of delivering something almost as scary in his new film adaptation of It.
Chances are, you or someone you know either shares their Netflix and HBO Go passwords or benefits from using someone else’s account. It’s such a common occurrence that, when asked about it, even the CEO of HBO was like, “No big deal,” then he tipped his shades and sent out a memo with a shrug emoticon — okay, I made that last part up, but if even that guy doesn’t care, then what’s the problem? Oh, just a little something called Federal Law.
Today brings news that San Diego Comic-Con will play host to a special panel to celebrate the 30th anniversary of Aliens, James Cameron’s sequel to Ridley Scott’s sci-fi horror classic. Cameron himself will be in attendance along with Sigourney Weaver, who is still talking up Neill Blomkamp’s new Alien sequel despite reports that the project had been delayed due to Scott’s own Alien prequel plans.
Everyone loves Emma Watson — the former star of the Harry Potter series has not only proven her worth as a talented actor, but she’s incredibly likable and, if nothing else, her film choices have been somewhat interesting post-Hogwarts (if not always great). So it comes as a bit of a surprise that her latest film, the cult thriller The Colony, only brought in 47 pounds in its opening weekend in the UK. That’s about 60 dollars in the US. That’s not a lot.
“The man in black fled across the desert and the gunslinger followed” — every fan of Stephen King’s The Dark Tower series has that opening line from The Gunslinger seared into their brains. We’ve already gotten a look at Idris Elba as the heroic gunslinger Roland Deschain, but today brings our first peek at the other half of that equation thanks to some new set photos of Matthew McConaughey.
In 2013, The Purge introduced an interesting horror concept: In the not-too-distant future, the government allows citizens to commit violent crimes for one night each year. That first film featured a nice white suburban family besieged by yuppie college kids, only fleetingly paying any mind to more fascinating ideas about class warfare. The Purge: Anarchy further established the mythology of the franchise by weaving a “one percent vs. the 99 percent” element into a tale of revenge. In 2016, we have The Purge: Election Year, which turns the sociopolitical commentary up to 11 in the most ridiculous, relevant installment of the series yet. Far from nuanced allegory, the sequel splits the difference between satire and low-brow camp in a film that could just as easily be The Idiot’s Guide to Being Woke in 2016.
It took 20 years for Roland Emmerich to deliver a sequel to Independence Day, a film that’s largely responsible for the modern summer blockbuster season. Unfortunately, it looks like most audiences didn’t think it was worth the wait. As predicted in recent weeks, Resurgence crash-landed in theaters with an underwhelming opening weekend that was no match for Pixar’s Finding Dory.
James Wan has firmly established himself as a modern master of horror with films like Saw, Insidious and The Conjuring, and though the filmmaker’s latest project isn’t one he directed himself, he is responsible for bringing it to the big screen. Wan produced Lights Out, and if the newest trailer for the upcoming horror flick is to be believed, you’re in for some serious scares.
There’s a moment early on in The Neon Demon, in which a fantastically icy Abbey Lee tells Elle Fanning’s doe-eyed aspiring model the first thing women notice about other women. Basically it’s: “Who is she f—ing? Could I f— them? How high can she climb? And is it higher than me?" It’s the closest thing to a thesis statement you’ll find in Nicolas Winding Refn’s latest film, a stylishly surreal effort that’s equal parts deranged fairy tale and devious satire, where all that glitters is ultimately cold.
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