The list of potential disasters is endless. At least, that’s what my anxiety tells me. Like many of you, I’m prone to envisioning myself in any number of dire scenarios. What would I do if I were stranded in the desert, or stuck in a crowd crush, or locked in the trunk of a car? I need answers: Is there a special spy…
Archaeologists in Lambayeque, Peru discovered the 1,000-year-old tomb of a surgeon who was buried with his scalpels, needles, and other implements. According to the director of the Sicán National Museum, the particular assortment of tools suggest that the surgeon was an expert in trepanation, drilling a hole in a patient's head to treat a variety of maladies. — Read the rest
I’d legit play a mod of this If you haven’t checked out the YouTube channel Flurdeh yet, you probably should....
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Director Robert Eggers and acting legend Willem Dafoe play well together. Due to their having worked so perfectly on both 2019's "The Lighthouse" and Focus Features' forthcoming Viking epic "The Northman" (where Dafoe plays a court jester), we would love to see the two talents reconvene for a third time on Eggers' long-planned remake of "Nosferatu." /Film had the opportunity to speak to Eggers for the bloody — and bloody fantastic — new film, and he confirmed that, yes, should the stars align, this re-team will indeed happen.
But hold the phone for a second ... Dafoe may not play the evil vampire Count Orlok, originated by Max Schrek and then later played by Klaus Kinski in Werner Herzog's 1979 remake. That casting choice would be extra amazing considering that Dafoe previously played a highly fictionalized version of Schreck for the 2000 horror satire "Shadow of the Vampire" opposite John Malkovich as "Nosferatu" director F.W. Murnau. Judging by his sly, silent smile when I brought up said connection, Eggers is very aware of the ironic value of such casting ... or recasting, as it might be.
When I asked Robert Eggers about his in-development "Nosferatu" remake and the potential of having Willem Dafoe be a part of it, here is what he had to say:
"'Nosferatu' is such an incredibly important film and story for me, so it's always percolating. If Willem ... if 'Nosferatu' is made, Willem better damn well be in it because I just love working with him ... but, you know, maybe he would play Ellen? Who knows."
So there you go. While it's not a done deal yet, it does sound like if Eggers has his way he'll be working with the star again should it get the green light (and we pray it does). As for whether Dafoe would step into Max Schreck's shoes once again as Count Orlok remains to be seen. As of now, Anya Taylor-Joy is the only confirmed cast member for Eggers' "Nosferatu." It was recently revealed that Harry Styles was at one point going to be in the movie but had to drop out just as prep was happening in Prague.
In the meantime, you can check out the amazing work of both Eggers and Dafoe on April 22, 2022, when "The Northman" violently pillages a theater near you, and keep on the lookout for our full interview with Eggers very soon!
Here is the official synopsis:
From visionary director Robert Eggers comes "The Northman," an action-filled epic that follows a young Viking prince on his quest to avenge his father's murder. With an all-star cast that includes Alexander Skarsgård, Nicole Kidman, Claes Bang, Anya Taylor-Joy, Ethan Hawke, Björk, and Willem Dafoe.
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The post Robert Eggers Wants Willem Dafoe For His Nosferatu Movie [Exclusive] appeared first on /Film.
There's new footage from the upcoming "Interview with the Vampire" series, though Anne Rice fans won't get to see any close-ups of their favorite bloodsucking baes just yet. While we got a tiny peek at Lestat (Sam Reid) and Louis (Jacob Anderson) in an AMC promo back in February, there haven't been any major reveals just yet. The new teaser shows us some of the locations that the series will haunt, including Lestat and Louis' side-by-side caskets in an opulent bedroom, a New Orleans plantation-style home, and more. The series also finally has a release window, officially coming to our screens in Fall 2022.
"Interview with the Vampire" is an adaptation of the Anne Rice novel of the same name. It was made into a movie in 1994, starring Tom Cruise as Lestat and Brad Pitt as Louis, and that adaptation is fairly beloved by fans of the novel, myself included! The AMC series looks like it will be keeping the same gothic aesthetics and will make the most of its New Orleans setting. The opening shot, of a horse-drawn carriage moving past a vintage car, is likely of the house where the wraparound story will take place, if the series follows the novel directly. In the novel, Louis, a vampire burdened with an overabundance of empathy, gives an interview with a human journalist named Daniel (Eric Bogosian), telling the story of his human life, his rebirth as one of the living dead, and the vast horrors he's experienced in the time since. "Interview with the Vampire" is, at its core, a romance between Louis and his vampiric maker, the impetuous Brat Prince Lestat, complicated by the introduction of their "daughter," the child vampire Claudia (Bailey Bass). The story spans several centuries and two continents, as the vampires eventually end up in Paris, where they encounter Armand and the Theatres des Vampires.
The teaser doesn't show too much else, but gives us glimpses of locations and the atmosphere of the series — and that's okay given how far out we are from release. Hopefully we'll get some more teasers soon so we can get a better idea of Lestat, Louis, and the rest of the immortal cast. Some of my favorite characters from the novel have yet to be cast, including the cherubic but impish Armand, Claudia's surrogate "mother" Madeleine, and the clownishly creepy Santiago, who helps Armand run the Theatres. AMC better start giving us some more sips from the series soon, because this teaser left me famished.
"Interview with the Vampire" will premiere on AMC this fall.
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Warner Bros. has a franchise that virtually every other studio in Hollywood would kill for in the form of the Wizarding World of "Harry Potter." The original movies dominated the box office for a decade and have generated plenty more cash in merchandising, licensing and other revenue streams. The "Fantastic Beasts" spin-off films were supposed to be the next great chapter in the Wizarding World. It hasn't exactly panned out that way and now, the future of the series looks to be in jeopardy.
According to a recent report from Variety detailing the troubles that the prequel series has faced ahead of the release of "Fantastic Beasts: The Secrets of Dumbledore," it's mentioned that Warner Bros. has not yet given a green light to a planned fourth entry in the franchise. No script is in place and the studio is taking a wait-and-see approach. The decision will ultimately hinge on how this latest film is received at the box office. "Harry Potter" creator J.K. Rowling, who is heavily involved in the films and co-wrote the screenplay for this latest entry, originally had a five-film arc mapped out.
Quite frankly, the prospect of a fourth movie isn't looking great. "The Secrets of Dumbledore" had a very soft opening internationally and isn't tracking all that well for its domestic box office debut. Plus, there is a lot of stiff competition already in theaters, like "Sonic the Hedgehog 2," and much more competition coming down the pipeline. While some critics (including our own) have noted this new chapter is an improvement over "The Crimes of Grindelwald," it's still a long way from the level of love the core "Harry Potter" movies received. The full scope of the spin-off franchise does not look good.
Aside from the fact that the "Fantastic Beasts" films have not lived up to the magic of the "Harry Potter" franchise, Warner Bros. has been forced to deal with several controversies that are taking their toll. Rowling, for one, has been in the crosshairs for her continued disparaging comments regarding the trans community, which have made her wildly unpopular with many of her once-loyal fans. The studio is caught between a rock and a hard place in terms of how to deal with this. Meanwhile, Ezra Miller, who plays Credence in the current films, has been at the center of several public issues and recently was arrested for disorderly conduct.
Plus, there's the whole Johnny Depp of it all. The actor originally played Grindelwald in the first and second films, but he was asked not to return for "The Secrets of Dumbledore." Much of this was related to his highly public feud with his ex-wife Amber Heard, who has accused Depp of being abusive while they were married. They are now entangled in multiple lawsuits, and the whole thing is even going to be given the docuseries treatment. Mads Mikkelsen was brought in to replace him, and he has proved to be a popular choice. Unfortunately, the damage was already done.
That all leaves the fate of one of the biggest franchises on the planet in the balance. Where does Warner Bros. go from here if they don't move forward with "Fantastic Beasts 4?" This is a franchise that needs to be theatrically viable, and they certainly want to find a way to make that happen. But recovering from all of this is going to take some real-life magic, and that's not as easy to conjure in the current Hollywood landscape.
"Fantastic Beasts: The Secrets of Dumbledore" hits theaters on April 15, 2022.
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After a long wait of three years, the trailer for "Stranger Things" season 4 has dropped, leaving fans scurrying for answers, cause hoo boy, a LOT is happening within those three minutes. Series creators the Duffer brothers previously revealed that the upcoming season will be divided into two parts, and considering the range and scope of the events that are about to unfold, this makes absolute sense. Moving away from the "E.T." meets "A Nightmare on Elm Street" vibes of the first three seasons, season 4 does imbue the "horror movie" vibe promised by the creators, delivering monsters old and new, ominous prophecies, and a mystery that takes over the town of Hawkins and its inhabitants, with the notorious Creel house and the Upside Down taking center stage.
Picking up right after the events of "Stranger Things" season 3, every character in the series seems to be grappling with some kind of loss. Attempting their best to start afresh and move on with their lives, Eleven (Millie Bobby Brown) and the Byers' decide to move to Lenora Hills, California while the rest of the gang stay back at Hawkins. However, things are going to take an ever murkier turn with the events of season 4, and keeping the vibe of the trailer in mind, there's a lot to unpack. So, grab a snack and dig in, as we delve deeper into what could potentially happen in the "Stranger Things" universe from here on.
The trailer opens with an ominous voiceover, with the words, "You've broken ... everything. Your suffering is almost over." Despite being in the shadows about who this voice actually belongs to, the recipient is most likely Eleven, as it is her powers to open and close the portal to the Upside Down that were instrumental in kickstarting the experiments that took place in the Hawkins National Laboratory. The shot above is the aftermath of the demolition of the Russian base beneath Starcourt Mall, a feat accomplished by Joyce Byers (Winona Ryder) and Jim Hopper (David Harbor), who were able to close the portal on time, although Hopper was caught in an energy field and presumably died in the process.
However, as glimpsed at the end of season 3, Hopper is alive, having somehow transported to Kamchatka, Russia, where he sees a captured Demogorgon being kept at the base there. As we see in the trailer, Eleven still has not been able to regain her powers, and as Hopper is physically away from the chaos that is currently reigning in Hawkins, the voiceover could be directed at Hopper himself, who finds himself at a different time-space as a result of a rift in the portal.
Time will play a seminal part in the upcoming season, given the constant highlighting of the grandfather clock at the Creel House, which seems like a mystical artifact in its own right. As the trailer countdown was preceded by a livestream featuring the clock, glitches in time, and two men from the Hawkins lab taking notes while studying the clock, it is safe to say that the object will play an important role in propelling the events of the new season. As the Upside Down is an ever-evolving dimension in its own right, while being a mirror to ours, time will definitely function differently there, especially now that things seem to be broken (just like the clock which cracks in one of the teaser trailers for the show). Shots of the clock are glimpsed multiple times in the trailer, once when its intact, and once when it is not.
In the shot below, it is Max inside the Creel House looking at the cracked and dilapidated clock, which might be a great clue as to what is happening to her in the trailer (more on that later):
Billy Hargrove's (Dacre Montgomery) sacrifice at the end of season 3 was a pivotal moment for his character, given the amount of growth in him as a person, although it came at a terrible cost. Controlled by the Mind Flayer for most of season 2, Billy was used by the entity to kidnap Hawkins residents and create The Spider Monster, which he helps destroy by distracting it enough so Eleven and the gang can end it once and for all. However, as seen in the opening shot of the trailer, the crack of the portal seems to be open to a certain extent, and the rift in space-time created by Hopper's disappearance and the events as a whole has most definitely birthed a new abomination of a different breed.
Meanwhile, back in Hawkins, Max (Sadie Sink) is left to deal with the void of her dead breather, and she is seen grieving him, while musing that while everyone tried to move on and be happy, something has changed irrevocably. This scene alone brings elements of foreshadowing, begging the question, is Billy still alive, somehow, somewhere, in a form that is not corporeal and not of this world? Our queries are answered shortly with THIS shot later on:
Yes, that's Billy Hargrove, in the flesh, playing a sick riff on his guitar, as the Upside Down glistens in its telltale shade of blue around him. While a shot preceding this shows a shirtless (?) Steve (Joe Keery) battling a monster in the same dimension, these shots might be spliced up from completely different scenes, as a lot of action seems to be going down in the alternative, ominous dimension. The repercussions of Billy still being alive are huge, as this could mean a reunion with Max (but not in the way we think) and a possible return of the character, although his motivations remain shrouded in mystery for now.
If Billy is to embrace the darkness of the Upside Down, it cheapens the emotional weight of his sacrifice in the previous season. However, if he is somehow instrumental in the events that are able to turn back time and bring him back, things will change forever for him, Max, and everyone involved. Speaking of Max...
In this edition of what-the-hell-is-going-on, the trailer seems to suggest that Max has gained newfound powers, as seen in this sequence in which she is clearly levitating off the ground. While Eleven's powers were telekinetic in nature, Max's involve levitation, and perhaps more, as we are not aware of the full extent of her abilities as of yet. This could be a result of the rift in the portal, although it is a bit concerning, as we cannot be sure that Max will be able to tackle these abilities well on her own, especially as she is grieving the death of a loved one, while feeling left behind in a town with haunting memories. There's the gang there to help her, sure, but the expressions on Dustin, Steve, and Lucas are similar to when they found out about Eleven's abilities (I don't blame their reaction though), and this could mean that Max is somehow integral to the ushering of a new storm that will grip Hawkins and possibly the world-at-large.
Then there's Eleven, grappling with Hopper's absence and adjusting to her new life at Lenora Hills High School alongside Will and Jonathan, while attempting to make new friends, although she is having trouble fitting in. This is exacerbated by her being bullied at school, as evidenced in the teaser trailer, in which she is hit on her cheek with a spitball inside a classroom. In an extended shot of the County Line Cafe diner shot in the teaser, we see Eleven speaking to Sam Owens (Paul Reiser), who was last seen in season 2, replacing Dr. Brenner's post in Hawkins Lab and helping Hopper adopt Eleven officially. As two security guards are seen outside the diner, this seems like an intervention of sorts, as Owens seems to emphasize that Eleven is integral to ending the chaos, despite her proclamation that she has lost her powers. Here are some shots of the scene in question:
Apart from this, Eleven seems to be captured by bad men again, this time taken away in a vehicle of sorts, as seen below, which could be somehow connected to her traumatic past.
They say time is a flat circle, and this seems to be a theme in the upcoming season for "Stranger Things," as Eleven is seen captured by authorities in the teaser, and taken off somewhere in a van as a helpless Mike (Finn Wolfhard) looks on.
Despite losing her powers, El seems to be an integral piece of the puzzle, and certain shots from the trailer hints at the fact that we do not know everything about the past, and how her powers might have unlocked something deeply disturbing, causing monsters from another realm to enter our own. A young Eleven is seen bleeding from her nose, eyes, and ears, hinting that her powers were unleashed in a way that spelt catastrophe:
The first shot in particular is preceded by the words "Everything has a beginning," which reaffirms the time travel aspect of the show. Does it simply mean that actual time travel is involved, or does the past require revisiting to handle the present and preserve the future?
Glimpses of her powers are shown, with Eleven blasting two officials with her mind, which is most probably a gut reaction to her being emotionally abused as a child in order for Brenner to harness her abilities. While Brenner could very well make a return, the authorities that capture her could be ones from the Russian base, and Dr. Owens might be offering Eleven with protection in the meanwhile, although that does not seem to have worked in her favor. There is a voiceover by Hopper, which could be a conversation or a letter, that details how he tried to keep her away from Hawkins, hoping that she would be able to lead a peaceful life, away from her past, her traumas, and the attempts of people around her to use her for her abilities.
Hopper has already been through the ringer since season 1 of the show, having lost his family and found a daughter in Eleven, while battling a whole host of monsters to protect the kids in Hawkins. Although he is (thankfully) not dead, he does not seem to be doing very well in the new season, being battered and tortured by the Russians who seem to be keeping him alive for some nefarious reason.
The Russians involved with the experiment are building a railroad in the year 1986 (when the events currently take place), using him as forced labor to the extent of putting on a gas mask on him. If the railroad is an underground one, this makes sense, but there still seems to be elements of evil in the facility, as a full-fledged Demogorgon is seen flailing about and jumping on people, and Hopper trying to defeat one single-handedly (poor, brave soul). Shots of the scenes are embedded below:
Needless to say, I do not vibe with this. While being on the topic on monsters, let's address the elephant in the room: the big baddie who's voiceover we wear, bookending the trailer.
While the Mind Flayer, the Demogorgon, and the Spider Monster were terrifying in their own right, the idea of a hybrid beast/human creature with powers of speech and comprehension is the stuff of nightmares. We get a close-up shot of the monster in the first few minutes of the trailer, in which the creature sports wrinkly spin, a full body with human-like features, clawed hands, tentacles, and blue eyes. Here's the full reveal below.
Yeah, no. This seems straight out of a Lovecraftian nightmare, aesthetically similar to The Night King in "Game of Thrones," (makes sense in terms of artistic overlap) although it reminded me of Frank Cotton's resurrected monster body in "Hellraiser." The Duffer Brothers were not kidding when they emphasized on the horror element of the new season, as things seem much more darker, intense, and urgent than the previous iterations, and the fact that this creature has a mind of its own is troubling for everyone involved.
With Demogorgons and other creatures running around, the presence of a sentient mastermind is never good news, and those tentacles seem ominous for the central gang, surely, and this shift in tone has been explained in detail by the showrunners themselves (via Netflix TUDUM):
"When we pitched it to Netflix all those years ago, we pitched it as the kids are...The Goonies in E.T. That's their storyline. And the adults are in Jaws and Close Encounters and then the teens are in Nightmare on Elm Street or Halloween. But, this year, we don't have the kids. We can't do The Goonies anymore. And so, suddenly, we're leaning much harder into that horror movie territory that we love. It was fun to make that change."
There's a shot of bats (?) flying around in the Upside Down, which cannot be a good sign either, given that the residents of the shadow realm seem to be quickly and exponentially growing. However, that's not all...
Robert Englund plays Victor Creel, who will play a key role in the fourth season, as the clock is housed inside the Creel residence, which was also a hotspot for paranormal events, as seen in a teaser released previously. Around the time these events take place, Creel is a patient at Pennhurst Mental Hospital for murdering his family "The Shining" style, a crime he committed on March 26, 1959.
While much is not known about the character and his connection to the central events, he is described as "a disturbed and intimidating man" who went blind after gouging his eyes sometime in his life, which could be due to the fact that he was plagued by horrific visions, which propelled him to murder his family in the first place. As the rest of the gang, barring Jonathan, Will, and Eleven are seen spending a chunk of their time inside the Creel House, things are about to go down, and maybe, the past will repeat itself, as the house seems to be a portal to another world.
As Englund also played Freddy Krueger in the "A Nightmare on Elm Street Franchise," this ups the horror ante of the series — what's scarier than the Hawkins kids facing off against one of he ultimate '80s horror icons?
There's a host of new characters joining the characters both in Hawkins and Lenora Hills, and it is imperative for everyone to band together in order to save the world. In between Joyce and Murray (Brett Gelman) trying their damndest to locate Hopper, and Nancy (Natalia Dyer) and Robin (Maya Hawke) contributing to the team effort by showing up with guns, things need to be sorted by showing up as a collective.
There are a ton of bonkers stuff going down, and the shift in tone is clear from the get-go: while the trailer opens with characters doing regular teenager stuff, such as roller-skating, cheerleading, and participating in school activities, it ends with these kids fighting for their lives, going up against monsters from another realm (sometimes one-on-one), and dealing with the madness of the Creel House and the upside down. There still might be a way for Eleven to unleash her powers and Max to utilize hers, while the others can do what they do best and help put an end to the horror of the Upside Down. However, it won't be easy.
Steve seems to be stuck in the worst of situations, being dragged underwater while the red gleam of the Upside Down can be seen from the surface, and the others are doing their best to ward off dangerous mystery men, Demogorgons from Russian facilities, and of course, the central creature who might just be overwhelmingly difficult to defeat.
As the trailer is set to Journey's 1983 classic "Separate Ways," it is high time for them to come together, even if it means danger for everyone involved, as every character will have a part to play in defeating evil, just like old times.
The wait is nearly over, as Part 1 of "Stranger Things 4" makes its debut on Netflix on May 27, 2022, with Part 2 following on July 1, 2022.
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The Time Lord's regeneration in "Doctor Who" has always been an essential rule in the character's biology. The concept is one of the main reasons the show and character have continued to be relevant over the years. Every time the Doctor dies, the character is renewed, with a new face taking the reins, allowing numerous actors to take the lead role in the beloved sci-fi series.
Whovians might remember the events that ensued in "The Name of The Doctor," the sci-fi show's season 7 finale that introduced John Hurt as the War Doctor. If you don't remember the episode very well, allow me to refresh your memory: this is when the Eleventh Doctor, aka Matt Smith, steps into his time-stream to guide Clara (Jenna Coleman) back home. While John Hurt's appearance as a former incarnation of the Doctor was well-received, screenwriter Steven Moffat nearly wrote a retired Time Lord from the show's previous seasons to take over from Matt Smith. If Moffat had decided to go ahead with the plotline in question, it would have rewritten decades of "Doctor Who" in the most shocking way imaginable.
An alternative ending for "The Name of The Doctor" could have revised the course of "Doctor Who" history forever. Steven Moffat wrote an alternative ending to the episode which brought back Christopher Eccleston's Ninth Doctor — read it to believe it!
In conversation with Doctor Who Magazine (via BBC Doctor Who), Steven Moffat revealed the alternate, jaw-dropping cliffhanger he came up with for "The Name of The Doctor."
"The Name of the Doctor, the original version, ends with Matt's Doctor walking into his time-stream after he's kissed River, and I didn't know what was going to come after that, but I knew that it'd leap us into the 50th, even though I didn't know what the 50th was going to be.
At one point, I thought Matt's Doctor was going to step into his time-stream... and wake up as Christopher Eccleston. The Moment, who wasn't Billie Piper at that point, would say, 'So what do you think?' He'd say, 'What do you mean? What do I think about what?' She'd say, 'That's what would happen.'"
In "The Name of The Doctor," an entity called the Great Intelligence abducts the Time Lord's friends, forcing him to go to the planet of Trenzalore, which holds his future grave.
Matt Smith's incarnation of the Doctor travels with his companion Clara and, upon arrival, discovers that it is surrounded by tombstones, the consequence of a war in the past. A turn of events leads the nefarious entity to begin erasing information about the Doctor's life and impact on the world. Clara enters the Doctor's time-stream to stop this from happening in the hope of restoring the Doctor's timeline. We then see glimpses of the Doctor's past incarnations over the years before the Time Lord enters his now-collapsing time-stream to guide Clara back home.
When they reunite, the two spot a figure in the shadows which Clara does not recognize — despite having seen all of the Time Lord's faces. The Doctor explains that the elderly man is a past incarnation of himself, who took up arms and became a warrior. He disowned the title of the "Doctor."
Steven Moffat wrote a different ending to the story where it would follow Matt Smith into the time-stream, and he'd wake up as Christopher Eccleston — the Ninth Doctor! Moffat hoped for the episode's events to jump into the show's 50th-anniversary special — Smith's transformation into Eccleston would only be brief. "Matt and David would have turned up like the Ghosts of the Christmas Future," the writer explained during the interview.
Moffat created the War Doctor's character after Eccleston refused to make a reappearance as the Ninth Doctor, citing his irreparable relationship (via Radio Times) with the producers at the BBC as the reason. The actor had previously accused the BBC of smearing his name and spreading lies about his tenure on the show. Eccleston stated he didn't even receive an apology before being approached to star in the special. While the actor admired Moffat and considered taking the part because of it, he eventually decided it would be better not to return.
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"Harry Potter 20th Anniversary: Return to Hogwarts" premiered on HBO Max in January 2022, granting "Harry Potter" fans a heartfelt reunion of (almost) the entire cast from the original films. Daniel Radcliffe, who played The Boy Who Lived, was obviously present, alongside castmates Emma Watson and Rupert Grint, and it was endearing to see the heroic trio meet again. Speaking to Empire on their podcast, Radcliffe reflected on the reunion, musing how "double-edged" yet "lovely" the entire experience was:
"It was really lovely. I'm really, really glad we did it. It is double-edged, going back. If they'd done a five-year anniversary – which would have been silly, but if they had done that – I'm not sure I would have been able to go. It would have been a different-feeling thing. I think the place I'm at in my life allowed me to feel good to go back. And it was honestly great. There is something lovely and full circle about having adult conversations with people that you had only had children's conversations with before. That was really, really cool."
Although Radcliffe had previously mentioned that he is not interested in reprising his role as Potter anytime soon, he seems to be genuinely comfortable with the aspect of getting back together with the cast, as it allowed for more free-flowing conversations and open communication.
Time played a seminal part in Radcliffe's feelings towards the "Harry Potter" reunion, as he expressed how he is currently in a space that allows him to revisit in a way that feels good. Despite the crushing weight of childhood fame and the risks of being typecast after playing the protagonist of multi-billion dollar franchise, Radcliffe has continued to challenge himself as an actor, taking on roles of a wide variety. From playing a farting corpse in "Swiss Army Man" to an eccentric billionaire in the recently-released "The Lost City," Radcliffe has embraced genres and roles that are interesting and offbeat (good for him, we stan).
Radcliffe went on to express how the reunion allowed him to connect with senior actors in the "Harry Potter" cast, and have honest conversations with them, which he could not quite do before, due to his age at the time of filming:
"Particularly with Helena [Bonham Carter] and Chris Columbus and Gary [Oldman], but then also people like the Phelps twins [James and Oliver, who play the Weasley twins]. That was an interesting one. Because, you know, we were very friendly on the films, but they were older. I was 11 when we started, they were 14 or 15, and at that age, that is a massive gulf. Now, we're all just men in our 30s, and that age difference flattens out in a really nice way. It was lovely to see everybody and see how everyone has kind of come out okay. It was something that made me really proud, actually, of all of us."
The problematic legacy of the franchise aside, it is heartening to see the cast get back together and talk about their individual experiences while reconnecting to one another after a span of many years, leading to a nostalgia-addled reunion.
Radcliffe is set to star as musician "Weird Al" Yankovic in "Weird: The Al Yankovic Story," which is now in production.
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The post Daniel Radcliffe Opens Up About the 'Lovely' Harry Potter Reunion Special appeared first on /Film.
Although Joss Whedon has created several shows that have endured long past their time on television, for better or worse, he will always be most intrinsically linked to "Buffy the Vampire Slayer." The series, which just celebrated its 25th anniversary, starred Sarah Michelle Gellar as the titular slayer, one of the most iconic female characters in the history of TV. While "Buffy the Vampire Slayer" has always been indicative of Whedon's particular brand of feminism, the series was incredibly groundbreaking for its time, and remains my favorite show to this day. That said, Buffy Summers became an archetype that Whedon would go on to write into pretty much every subsequent series he has worked on, including "Firefly."
The beloved space western aired only 11 of its 14 episodes in 2002 before Fox axed the series for good, at least until high DVD sales helped enable Whedon to wrap things up with his feature film continuation, "Serenity." The series "Firefly" centered on the ragtag crew aboard the spaceship Serenity as they traversed the 'verse with trouble never far behind. "Firefly" was definitely an ensemble piece, but that didn't stop Whedon from giving the series its own iteration of Buffy. Loyal Browncoats can already guess the answer, but for the uninitiated, which character filled this role for the series?
There is so much to love about the cast of "Firefly." Although not everyone's auditions went smoothly, each actor is absolutely perfect in their role. With only 14 episodes and one movie, some characters got far more fleshed out than others, particularly in the film. One was given quite a lot of development in the movie since the series was never given the opportunity to flesh out, and that's fan favorite River Tam, brilliantly brought to life by Summer Glau.
Before her mind was irrevocably altered by government experiments, River was a child prodigy. Her lucid moments can be few and far between, but she is much more aware of what's going on than the rest of the crew might think. While eventually beloved by everyone aboard the ship, River's psychic abilities and impressive fighting skills do cause some of them to fear her as well.
Amy Pascale's "Joss Whedon: The Biography" (via Gizmodo) had Whedon explain that "Firefly" was meant to stand apart from his previous work. It was "about Joe Schmo, everyday life. And then of course I introduce River, the young female superhero. Let's face it, I'm just addicted."
Much of River's abilities are merely hinted at in "Firefly," because the series so quickly ran out of time. While it's not until "Serenity" that she really goes into full Buffy mode, it's easy to see that the young woman learning to cope with tremendous power and its many pitfalls is something of a Buffy stand-in. However, River Tam is no carbon copy of Buffy Summers. Beyond the fact that they are young women with superpowers, the two really don't share much in common at all. Their motivations are completely different, as are their personalities and abilities — though both have incredible prowess in battle. Glau imbues the character with such grace and childlike wonder that she cannot help but feel completely distinct.
It does indeed seem like Whedon was "addicted" to creating this type of character, but what felt innovative in "Buffy the Vampire Slayer" and original in "Firefly" felt somewhat stale once "Dollhouse" rolled around (I say this as someone who enjoyed the show) and downright tired by the time "The Nevers" released. We'll have to see how the second part of season 1 progresses without him.
Whedon may not have been able to help himself when it comes to adding a young female superhero to the mix, but River was one of an entire crew of unforgettable characters. While several of those aboard Serenity may have been familiar Whedon archetypes, these characters still managed to feel fresh. "Joss Whedon: The Biography" has Whedon reflecting:
"It was nice to have a show that was about different perspectives and to really get to explore all of them. I was excited that I was going to have a happily married couple that was not boring. Because that's just so rare in fiction and it's such an important thing in life. And yet apart from [the] Thin Man [film] series, I think it's never really been adequately represented. And I had a preacher on board, to explore the concept of faith, people who don't have it and people who do."
Considering the rule of thumb in "Buffy the Vampire Slayer" seemed to be that if two people were joyously in love, one of them was about to die or turn evil, It's a good thing Whedon found a way to make himself less bored by a happy marriage. Though the relationship between Zoë (Gina Torres) and Wash (Alan Tudyk) is one of the delights of "Firefly," only one of them survives "Serenity," so Whedon did indeed rob them of that happy ending. Sadly, Shepherd Book (the late Ron Glass) was also shortchanged in the 2005 film. There just wasn't enough time to give everyone their due.
One of the main reasons "Firefly" has continued to be beloved is because of the fully-realized characters populating this world and the amazing actors who portrayed them. It's likely we'll never see a reboot, but this is probably for the best, since Fox never knew what to do with the series anyway. Plus, what we got is already pretty great.
Read this next: The 14 Best Sci-Fi Shows On Amazon Prime
The post Joss Whedon Couldn't Resist Giving Firefly Its Own Version Of Buffy appeared first on /Film.
"Cowboy Bebop" is essential anime, a carefully blended concoction of genres that add up to a fiercely original space adventure. The series has received acclaim far outside the confines of anime fandom particularly because it travels outside the confines of anime conventions and tropes for its influences. It's ironic, then, that this irreverent, existential show started off as a way to sell spaceship toys.
Anime was on an upswing when "Cowboy Bebop" debuted, crawling out of a creative slump in the early '90s and reaching new heights by the end of the decade. This was the same era that gave us series like "Neon Genesis Evangelion" and "Serial Experiments Lain" that contrasted advanced technology and human psychology to explore the inner workings of the mind. Despite this exciting shift towards more mature, philosophical storytelling, however, the studio behind "Cowboy Bebop" imagined it as a kid-friendly romp. It took series director Shinichiro Watanabe going rogue to create the weird, wonderful classic we all know and love.
The birth of "Cowboy Bebop" began with a request from Bandai, one of the world's largest toy companies and a merchandising partner (and now sister company) of the animation studio Sunrise (now called Bandai Namco FIlmworks). Producer Masahiko Minami had already formed a relationship with the company through his work at Sunrise because the studio was responsible for the popular "Gundam" franchise, which spawned wildly successful lines of plastic models featuring the titular mechas. Bandai, interested in expanding their product selection from giant robots to spaceships, asked Minami if the creatives at Sunrise could come up with an idea for a show to sell these new types of figurines. That's when Minami called up his contact Shinichiro Watanabe, who turned what was supposed to be a glorified toy commercial into an anime classic.
According to Watanabe himself in a panel at Japan Expo 2018 (transcribed by Sakuga Blog), he took the opportunity to let his imagination run wild:
"The directive we got from Bandai was for the series to have spaceships and no guidelines regarding the narrative... Which is to say, our actual goal was to create a great series the way we saw fit without much concern about Bandai's request. Once we got back to them with our project draft, they went 'what about our toys?!' and backed out."
Unsurprisingly, Bandai wasn't pleased with Watanabe's character-driven, existential vision. The director had been working on the fourth episode when the company stopped production "because they didn't think such a dark and subdued portrayal of spacecrafts would do any favors to their toy sales," explained Watanabe in an interview with Otaquest. Luckily for him and anime fans everywhere, Bandai's film production and distribution subsidiary Bandai Visual rescued the project, and "Cowboy Bebop" lived to become one of the most beloved anime series of all time.
Read this next: 14 Anime Shows To Watch If You Love My Hero Academia
The post The Original Plan For Cowboy Bebop Was Nothing More Than a Cash Grab appeared first on /Film.
Roughly eight years ago, an image of the Marvel superhero Quicksilver went viral, with fans celebrating a superhero costume that finally resembled something straight out of a comic book. However, it wasn't the one worn by Evan Peters in "X-Men: Apocalypse" or Aaron Taylor-Johnson in the "Avengers: Age of Ultron," it was the one worn by the late Bill Bailey in Axel Braun's "Captain America XXX" porn parody.
For over two decades, Axel Braun has served as one of the premiere directors of adult entertainment, and holds the distinction of being the most awarded porn director of all time. Braun has seen and directed it all, but his dedication to superhero and other geek property parodies has launched his popularity into the stratosphere.
For obvious "please don't sue" reasons, all of Braun's XXX films inspired by existing IP are categorized as "parodies," but while the word usually indicates comedy, Braun's parodies are dedicated to honoring the source material.
"I only parody movies, TV shows, or characters that I have a strong emotional connection to, so my approach is always extremely respectful," he tells me. "I like to have fun with the source material, as opposed to making fun of it ... it's a subtle distinction which is pretty much the key to my style."
The proof is in the human pudding, as Braun has been inducted into the AVN and XRCO Hall of Fames for his work, with "24 XXX: An Axel Braun Parody" becoming the first parody film to win the AVN Movie of the Year award (think Best Picture at the Oscars but for adult films). He's taken home the top prize four times in total. For comparison, William Wyler, who holds the record for most Best Picture wins at the Academy Awards has only won three times.
Braun's dedication to the costumes have caused him to go viral on multiple occasions, which helped him generate crossover appeal and put his work on the radar of people who may not have known to seek it out.
"I am solely motivated by my uncontrollable need to achieve epic awesomeness, which is why I like to make great costumes," he says. As to be expected, the process of crafting the costumes is just as difficult as it would be on any major Hollywood production, if not even harder. "Not only I need to come up with designs that satisfy me, but also with costumes that allow access to specific body parts during the sex scenes, which can be very challenging," he says. For example Braun struggled on "Captain Marvel XXX" when trying to craft a costume that would expose the breasts of actress Kenzie Taylor without also damaging the integrity of the skintight suit.
Just like in the Marvel movie, Taylor wore both the green/black and red/blue color ways of Captain Marvel's suit, which meant they had to craft four separate costumes to accommodate for the exposed breasts and covered breasts.
"Between finalizing the design, screen-printing the fabrics, casting the molds, and the countless fittings, it typically takes me four to six months to make all the costumes for each project."
The same practice applies for the multitude of super suits worn by male actors, who need the suit to maintain structural integrity with the groin area removed. When working with such stretchy fabric, it's not as simple as ripping a hole or making a tear. The costume must be designed and fitted with a hem around the opening, or else the entire costume risks getting torn apart, unraveling, or shifting during vigorous activity. Fortunately, for the superheroes who wear trunks on the outside of their tights, hiding the opening is much easier.
Unless studios give fanboys what they want, they've called for boycotts and started virtual campaigns targeting studios in the hopes that they will put out movies that appease their needs. Axel Braun says that he is "more than content" with mainly appealing to fanboys. His work is intentionally comic book accurate, motivated by authenticity than the need for broad audience appeal.
"The fact that I don't have to answer to marketing execs who have never read a comic book but need to sell Happy Meals definitely allows me way more latitude," he says. "I am first and foremost a fan, which is probably why my movies are successful ... I am the target audience." There's a lot to be said about diehard fans working within the fandom space (Steven Moffat of "Doctor Who" fame comes to mind), but Braun seems to have cracked the code.
He tells me that his process in writing parody films is "grueling," especially when it comes to properties that have humongous existing fanbases. "Sometimes the inspiration comes really quick, like in the case of 'Captain Marvel,' which I started writing in the multiplex parking lot after seeing the movie, and sometimes I'm literally finishing a script the night before the first day of shooting, which was the case for "Deadpool XXX.'"
Not only does Braun have to figure out ways to tell compelling (and sexy) stories, he also has to make sure the interactions make sense in universe. Braun solved the problem of Rogue from X-Men's inability to touch people without killing them for "Wolverine XXX: An Axel Braun Parody" by pairing her up with Deadpool who regeneratively heals the effects of her touch on himself, and finally figured out how to make it make sense why Harley Quinn would be infatuated with the Joker.
During this year's Academy Awards, the "Oscars Cheer" and "Fan Favorite Movie" awards went to "Justice League" and "Army of the Dead," both directed by Zack Snyder and voted in by his zealous fan base. Many took the Synder-bro dominance as an act of fandom "revenge" for the constant perceived snubs of superhero movies at the Oscars. While superhero movies have yet to take home the top prizes with the Academy, Braun has reached legendary director status thanks to the successes of his films. According to Braun, he believes the difference lies in the median age and demographic of Academy members.
"Superhero movies may not be their cup of tea, but we have seen acting Oscars awarded to actors playing comic book characters," he says. "I think at some point, the right movie could end up snagging a Best Picture award."
Parody films may be his calling card, but just like in Hollywood, superhero films aren't the only films he puts out. In 2019, Braun won the AVN Movie of the Year for the fourth time, with his first non-parody feature in 15 years, "The Possession of Mrs. Hyde," shot in black and white CinemaScope. If you didn't know any better, the non-explicit images could easily pass for an A24 release.
As of publication, Braun's next comic book parody film "Spideypool XXX" is soon to debut. The film features the long-awaited crossover between Spider-Man (Tyler Cruise) and Deadpool (Seth Gamble), with a special live-action debut from Spider-Gwen (Blake Blossom). These are crossovers that superhero fans have been begging Marvel and Sony to make happen for years, but leave it to the adult entertainment industry to make it happen. Sure, adult films allow fans to see their wildest fantasies and shipped relationships play out in real life, but without the red tape of licensing and rights to bog them down, Braun is able to play out comic book storylines we've only been able to fantasize about.
"The Dark Knight XXX" remains one of the most accurate live-action adaptations of "The Killing Joke" in existence, the "Captain Marvel XXX" lets Carol and Maria Rambeau be gay together, and this is just scratching the surface of the multitude of ways Braun's superhero parodies give fans exactly what they've been asking for. All of his parody films can be found from his official website, or through Wicked Pictures, but be warned that both links, as should be expected, are not safe for work.
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The post Superhero Porn Parodies Are Giving the Fans Exactly What They Want, In More Ways Than One appeared first on /Film.
In the '60s, before cable, streaming services, and The World Wide Web, there were three channels on television. But, even with its limited options, TV still captured the attention of kids at the time, and one of those kids was Joel Hodgson.
Unlike today, Hodgson couldn't fire up Netflix and pick the films he wanted to see. He watched whatever those three channels had to offer, which might sound like some form of bizarre torture to modern audiences, but the lack of options didn't stop the young guy from loving television. A self-described "TV junkie," Hodgson would watch everything from polka shows to farm reports, rejoicing when he came across a monster movie.
He would explore magic, ventriloquism, and stand-up comedy throughout his early to mid-20s. While he had some success in stand-up in the '80s, his early exposure to B-movies would lead to his greatest creation, "Mystery Science Theater 3000," or "MST3K," as fans call it.
The original series consisted of a guy (Hodgson) living on an earth-orbiting spaceship called "The Satellite of Love." He is studied by mad scientists as he's forced to watch horribly bad B-movies. To make watching these films more bearable, Joel makes fun of them with a couple of robot friends he created to keep him company.
"MST3K" puts us all back into a world where your only viewing option is a dumpster fire of a movie, except we have Joel and his robots to help us laugh through it. But, in 2014, Wired interviewed the show's creators, who revealed that behind the scenes of wit, sarcasm, and robots, things didn't stay so lighthearted.
According to Wired, in 1982, Hodgson left Minneapolis to pursue stand-up comedy in LA. Throughout his time there, he appeared on "Letterman" and "Saturday Night Live," and received an offer for a Michael J. Fox show, "High School U.S.A." He turned it down, explaining to Wired:
"I didn't think it was funny and said no. They doubled the money, and that kind of offended me. I realized, oh, that's right, my opinion means nothing in Hollywood. I'd seen other people compromise, and I felt that once you gave up on what you wanted to do, you couldn't go back. It was selling out."
Hodgson, in an attempt to keep his artistic integrity, left Hollywood and went back to Minneapolis. Say what you want about the man, but few people believe so strongly in their principles that they'd turn down screentime with Michael J. Fox to work in a t-shirt factory, but that's exactly what he did.
His modest success as a comedian in Hollywood caused a bit of a buzz around him back in Minneapolis, which would make networking with producers and other comedians easier. This popularity would draw production manager, Jim Mallon, to offer Hogdson a TV spot on his network, KTMA.
KTMA was a small, Minneapolis TV station that owned a film library full of movies nobody wanted to watch, but that was exactly what Hodgson needed to pull off his idea. In that same Wired article, he explained that "MST3K" was:
"... an idea I'd had tucked away in the back of my mind since high school: On Elton John's "Goodbye Yellow Brick Road" album, there are illustrations in the liner notes. And for the song "I've Seen That Movie Too," it's got little silhouettes watching a movie. I remember [thinking that] someone should do a show like that. Run a movie and have these people in silhouettes say stuff."
His idea of riffing on movies paired perfectly with KTMA's library full of celluloid nightmares, and "MST3K" was born.
Hodgson and Mallon agreed to be partners, which meant they each owned 50% of the show. Hodgson would be the creative lead, while Mallon was in charge of the technical and business sides of things. This partnership seemed to work fine at the beginning of the show, but that changed pretty quickly after the series was picked up by The Comedy Channel (now Comedy Central).
Art Bell, a Comedy Central executive at the time, told Wired that:
" ... "Mystery Science Theater 3000" really got noticed. It became a cult hit, which was good enough for us in the first six months. It was the Comedy Channel's first attention-getting show, in a big way."
The surge in viewers, and how to take advantage of it, would lead to creative differences between Hodgson and Mallon. They both agreed to capitalize on the attention and success by attempting to make an "MST3K" movie, but they didn't agree on much of anything else. In fact, when they both spoke to Wired, each had very different memories of what exactly went down between the two of them.
Mallon insists that Hodgson was power-tripping and acted as if everyone worked for him, which caused tension among the crew:
"I think Joel operated under the idea that this was his show, and everyone was working for him. And everyone else was into this sort of cooperative mode—that it's all of us working together. So it would be somewhat analogous to John Cleese saying, 'Oh, by the way, this is my show, and you guys work for me.' The rest of the Pythons would have probably taken exception with that."
Hodgson claims that Mallon wanted to produce and direct the movie, which left him feeling powerless and wondering what his contribution would be. We'll never know which story is truthful, but we know that the partnership ended when Hodgson decided to leave the series in 1993:
"I was fighting with Jim Mallon. We had decided, oh, let's be like Star Trek: The Next Generation and do a movie. Instead of 22 movies a year, we'll do one really good one and be rich and famous. And that's when Jim said, 'OK, well, I'm the producer and I'm the director.' And I just felt like that didn't acknowledge my position. I'm like, I created this. Where's my acknowledgment? I felt that was kind of a power grab on his part. We were an ensemble. We did everything as a group. So that's when I kind of said, 'If you direct this, I'm leaving.' And it just all fell apart after that."
The show's head writer, Mike Nelson, replaced Hodgson on-screen after his departure, and, although there would be cast changes throughout the years, "MST3K" remained on Comedy Central until the mid-90s. After that, the series had a brief stint on The Sci-Fi Channel, but the show's humor didn't land with the network's executives. Mallon continued to produce the series until its cancelation in 1999.
But, that wasn't the permanent end of "The Satellite of Love."
In 2015, the entertainment company Shout! Factory acquired the rights to "MST3K" from Mallon's company Best Brains, Inc., which put Hodgson back in creative control of the show. The original creator teamed up with Netflix and revived the series in 2017. It lasted two seasons before, again, being canceled, but fans weren't done with it.
Thanks to a successful Kickstarter campaign by the series creator, "MST3K" now has its very own streaming platform, "The Gizmoplex," which has 13 seasons of hand-picked, deliciously awful B-movies waiting for you. Oh yeah, and some wisecracking robots.
Read this next: The 14 Best Sci-Fi Shows On Amazon Prime
The post Why Mystery Science Theater 3000's Founding Duo Eventually Split appeared first on /Film.
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So you want to play classic Windows and DOS games on your Mac, but you’re unsure where to begin. Fortunately, there are quite a few options open to you if you’re craving classics like Thief, Age of Empires 2, and Unreal Tournament but have made the switch to Apple hardware.
Paul Verhoeven loves talking about sex. Or, at the very least, he loves talking about his sex. I don't mean the kind he may or may not have in his own personal time, I don't know Verhoeven like that. I mean the sex in his movies. Sex that's laced with danger or sleaze or in the case of his latest movie, "Benedetta," sacrilege. Verhoeven hasn't pulled any punches when depicting sex in his slick Hollywood features or his European arthouse flicks, but despite Verhoeven's career-long dedication to sex, he's still fighting for its merit. In fact, he sees himself as a dying breed. One of the last few sexy directors, going the sexy way of the sexy dinosaurs.
In an interview with The Times of London, Verhoeven lays in on the state of sex in films and his own issues with censorship. Stating rather matter of factly: "Sex is the essence of existence! Without it, there are no species any more. So why is that a big secret? There is a new purity."
That quote sets the stage for a fun ride through Verhoeven's sexy career of sexy films, but when you're talking to the sex master, one film obviously stands out among the rest: "Basic Instinct." Starring Sharon Stone and Michael Douglas, who play a sexy murder suspect and a sexy detective, respectively, the movie grossed $352 million worldwide and was the biggest movie of March 1992. It's a movie that's both famous and infamous, well regarded for its A-list casting while also being heartily criticized for both its homophobia and its date rape scene.
And, you know, there's also the scene where you can see Stone's vagina, which has had a longer life than the rest of "Basic Instinct." The scene was also, according to Stone's memoir, shot without her express consent, although she did allow it to stay in the movie. The scene where Stone uncrosses her legs has been parodied widely, from "The Simpsons," to "SNL" to "WWE," it still lingers in the pop culture hive mind. Despite its lasting power, Verhoeven was surprised it made the cut then and definitely doesn't think it would make the cut now, saying in his interview with The Times, "We had no idea that shot, showing a little bit of vagina — not more than a stripe — would be a problem."
In fact, Verhoeven takes it a step further, saying, "Sexuality has been moved out of movies ... In the 1970s you could talk about it. But you arrive now, decades later, and those movies are not possible any more. It would be very difficult to make a film like 'Showgirls' or 'Basic Instinct' now."
Maybe that's true. Erotic thrillers might not hit like they used to in the peak of the "what if we did a movie about sex but it was also dark" days, but it's hard to unequivocally say that those themes aren't allowed anymore. It might not be a movie, but has Verhoeven had any time to catch up on "Euphoria"? He might just be surprised to see sex, the good, the bad, and the ugly, isn't completely dead.
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The post Paul Verhoeven Reflects On the Most Shocking Scene In Basic Instinct appeared first on /Film.
The news that old-school adventure game pioneers Roberta and Ken Williams are returning to gaming after 25 years with a virtual reality version of classic game Colossal Cave got me thinking about how awesome text adventure games were. Elden Ring is cool and all, but sometimes you want to type “GO NORTH” and enjoy some…
While many genres have captured the imaginations of filmgoers, none are quite as regal as costume dramas. Ranging from adaptations of beloved novels to depictions of historical figures, the films in this category go above and beyond to transport audiences into the past. Whether set in a period of luxurious wealth or an era based completely on fantasy, viewers can't get enough of the cinematic magic these movies supply.
But which costume dramas deserve to be regarded as the greatest? From Rococo-era romances to sweeping epics, this list has a little bit of everything. While it is nearly impossible to include every beloved costume drama, here is a ranking that consists of the obvious iconic and some that deserve a bit more time in the spotlight. So grab your petticoat, fan, and a cup of tea, and let's examine some of the greatest costume dramas in the history of cinema.
"Gone with the Wind," the winner of the 1940 Academy Award for best picture, remains controversial. Remembered for its sizzling dialogue and the volatile chemistry between stars Clarke Gable and Vivien Leigh, David O. Selznick's four-hour Civil War epic is an indisputable classic. With its fascinating behind-the-scenes story, incredible box office legacy, and stellar cast, "Gone with the Wind" defines old Hollywood style.
Yet, with all of its success, this adaptation of Margaret Mitchell's 1936 novel contains many painful elements. From its problematic, stereotypical portrayal of its Black characters to its romanticized depiction of the Antebellum South, "Gone with the Wind" ignores the realities of slavery and other atrocities taking place outside of its Southern fairy-tale setting. Despite these uncomfortable truths, "Gone with the Wind" is a significant part of movie history thanks in part to its sumptuous costume design by Walter Plunkett, who would go on to work on such films as "Singin' in the Rain" and "Forbidden Planet."
Focusing on the sweetness of Marie Antoinette's reign instead of its horrific truths, Sofia Coppola's pastel-colored biopic is a cinematic delight. Starring Kirsten Dunst in the title role, the film follows Marie Antoinette from her teenage marriage to Louis XVI to the royal family fleeing the riots in Versailles. At first glance, Coppola's film might seem like a typical costume drama, but the movie comes across more like a modern character study that chooses to show Marie as a young woman who never truly grew up.
That approach, along with Milena Canonero's highly stylized costumes, is what makes this "Marie Antoinette" an essential part of this list. While many costume dramas tend to center on the grand and epic scope of their stories, Coppola's intimate style makes Marie's life more relatable. Plus, with its exclusively 80's pop and new-wave soundtrack and stunning cinematography by Lance Acord, it's easy to see why this "Marie Antoinette" continues to inspire new filmmakers and pop culture as a whole.
With its down-to-earth presentation, the 2005 adaptation of Jane Austen's classic 1813 novel, "Pride & Prejudice," is a cinematic gem. The film focuses on Elizabeth "Lizzy" Bennet (played by Keira Knightley) and her adventures in love and proposed marriage. Along the way she walks many winding roads and is pushed into uncomfortable society-pleasing situations, all while questioning her developing feelings for the reserved Mr. Darcy (brought to life by Matthew Macfadyen).
That ever-changing romance is what makes director Joe Wright's faithful take on "Pride and Prejudice" so entertaining. From the undeniable chemistry between Knightley and Macfadyen to the now-iconic cinematography of director of photography Roman Osin, it's nearly impossible to not get wrapped in the evolution of Elizabeth and Darcy's complicated relationship. Along with Jacqueline Durran's perfectly designed period costumes and Dario Marianelli's Oscar-nominated score, it's easy to see why this costume drama has become an enduring classic.
When it comes to cinematic adaptations of fairy tales, none are quite as bold and campy as Jacques Demy's "Donkey Skin." An adaptation of the classic story of a princess trying to escape her uncomfortable relationship with her father, the film deserves to be on this list simply because of its ambition. "Donkey Skin" is a costume drama, a musical, and one heck of a cinematic experience. And with actress Catherine Deneuve at the film's center, it's hard to resist "Donkey Skin's" charms.
Taking aesthetic inspiration from Jean Cocteau's work, "Donkey Skin" features fantastic costumes by Gitt Magrini that are influenced by regal images of the past but have a splash of 70's glam rock for a visual punch. Yet, what makes "Donkey Skin" land on this costume drama list is how it comments on the genre. From the wild nature of the set designs to the Fairy Godmother's dialogue, Demy's film knows how melodramatic and silly movies of this nature (and fairy tales in general) can be.
Directed by Zhang Yimou, "House of Flying Daggers" might seem like just another martial arts spectacle. Instead, it's quite the emotional rollercoaster ride. Taking place in A.D. 859, the film follows two police officers (Andy Lau and Takeshi Kaneshiro) who are tasked with finding the leader of a rebellious group known as the Flying Daggers. When the pair encounter a mysterious blind girl (Ziyi Zhang) who may have connections to the group, things get more complicated.
With breathtaking costumes by Emi Wada and equally beautiful music by Shigeru Umebayashi, "House of Flying Daggers" stands as a fantastic example of making a melodramatic story unique and exciting. While many costume drama fans associate the genre with Eurocentric stories, Zhang Yimou's work deserves to be seen within those same elegant parameters. "House of Flying Daggers" is as regal as any of the other movies on this list. It just has a bit more "punch."
With its dark comedic tones, Yorgos Lanthimos' "The Favourite" is not your grandma's cozy costume drama. In the film, cousins Sarah Churchill (Rachel Weisz) and Abigail Masham (Emma Stone) fight for the affection and attention of Queen Anne (Olivia Coleman), all while dealing with the complications of living within a royal society. This trio goes through quite the highs and lows of their complicated relationship, from gunfights to mud baths and everything in between.
But what makes "The Favourite" an essential addition to this list is how it centers on the brutality of the film's central relationship rather than focusing on the glamourous aspects. Sure, the film showcases the lavish parties and meals the characters dine on. But it doesn't shy away from showing the cruelty and the darker elements of the character's lives. And with Lanthimos' unique directorial style, along with the witty dialog of screenwriters Deborah Davis and Tony McNamara, it's easy to see why "The Favourite" remains a fascinating example of the costume drama genre.
Jean Cocteau's version of "Beauty and the Beast" is a cinematic fairy-tale classic. Yet, it's also undoubtedly a costume drama. As in Jane Austen and Charlotte Brontë's famous stories, this movie centers around a beautiful maiden who comes to live with a mysterious figure in a grand castle. While most of the movies on this list don't feature magical curses, that core similarity is hard to ignore in any version of "Beauty and the Beast," especially in Cocteau's film.
The best part of "Beauty and the Beast" (and why it had to be on this list) is the attention to detail in every frame of the film. From the first few scenes in Beast's castle to the exquisite beauty of the costumes by Christian Berard and Marcel Escoffier, every element of Cocteau's film adds to the romance and melodramatic nature of the story. With the iconic performances of Josette Day as Belle and Jean Marais as the Beast, it's easy to see why so many film fans have fallen under the spell of this classic piece of cinema history.
Starring Kiera Knightly and Ralph Fiennes, Saul Dibb's "The Duchess" depicts the life of Georgiana Cavendish, the Duchess of Devonshire, in exquisite detail. Detailing her youthful days as an innocent teenager to her rise to power after her marriage, Dibb's film goes above and beyond to represent every element of Georgiana's character, especially when it comes to her incredible sense of fashion and keen eye for politics. With Knightly's powerhouse performance, it's easy to see why so many historical figures were once captivated by the real Georgiana.
Despite the film's interest in Georgiana's ever-evolving aesthetics, "The Duchess," at its core, is a love story in which the titular character is in search of a genuine partner who will support her — flaws and all. That accessible quality is what makes "The Duchess" one of the more relatable costume dramas. Any viewer can see themselves in Georgiana's desire for respect and love. Even though the film's cast is dressed in lavish costumes by Michael O'Connor, it's refreshing to see a historical drama with characters who seem more down-to-earth.
With an electric cast and an underappreciated score by Craig Armstrong, Thomas Vinterberg's 2015 adaptation of "Far from the Madding Crowd" takes Thomas Hardy's material in a new direction that is even lusher than prior adaptations but with a modern sensibility. In the film, simple country girl Bathsheba Everdene (Carey Mulligan) finds out she is to inherit her late uncle's farm. As she takes on her new position in life, the young woman meets three men that will change the course of her destiny and lead to one of the most famous love triangles of all time.
While it features the typical melodramatic beats of most costume dramas, Vinterberg's take on Hardy's novel relies on Bathsheba's perspective, allowing Carey Mulligan to flex her acting muscles to show the truly independent nature of the character. With a supporting cast that includes Matthias Schoenaerts, Michael Sheen, and Tom Sturridge and luscious cinematography by Charlotte Bruus Christensen, it's hard to not get swept up in the intense romantic nature of Hardy's classic tale.
Starring the stunning Gugu Mbatha-Rawa as the title character, Amma Asante's "Belle" takes inspiration from a famous painting of Dido Elizabeth Belle (along with her cousin, Lady Elizabeth Murray) to tell a story of love and standing up for what is right. The fictional tale focuses on Dido's (Mbatha-Rawa) relationships — particularly those with the men she loves the most, including her great-uncle William Murray (Tom Wilkinson) and her first proper romance with an aspiring lawyer, John Davinier (Sam Reid.)
Yet, what makes "Belle" a significant costume drama is how it tackles Dido's feelings towards how the upper-crust world treats her (due to her race). From small visual cues to poignant debates between Belle and her uncle, Asante's film handles Belle's narrative journey with a level of respect and maturity most costume dramas lack. And when combined with Gugu Mbatha-Rawa's incredible performance and stunning costumes by Anushia Nieradzik, it's clear why "Belle" remains a poignant and moving film that pushes the genre towards a more inclusive direction.
Considered by many to be one of the best films of 2019, "Portrait of a Lady on Fire" perfectly balances the elegance of the 18th century with a timeless, natural love story. Written and directed by Céline Sciamma, the film follows a young painter tasked with creating a portrait of a woman who is to be married off. As the two begin to get to know each other through their brief interactions, it becomes clear that the painter and her subject have a deeper connection between them. Their relationship results in a beautiful yet complicated romance.
From the beginning, "Portrait of a Lady on Fire" embraces the things that have worked in past costume dramas while also completely changing the genre. It presents a queer love story that many films have since tried to replicate. However, none of them are quite as stylish or sexy as "Portrait of a Lady on Fire." This is mainly due to the on-screen chemistry between Noémie Merlant and Adèle Haenel and the down-to-earth talents of Sciamma as a director. Together, they create not only a fantastic costume drama but a cinematic love story for the modern age.
While many fans pick the 2019 adaptation as their favorite version, 1994's "Little Women" (directed by Gillian Armstrong) paved the way for more female-empowered takes on classic tales — something that the film hasn't gotten enough credit for. Gerwig's rendition might have the more favorable commentary, but there's something to be said for the comforting yet vital energy in Armstrong's version. With its stacked cast of 90s heavy hitters, including Winona Ryder, Claire Danes, and Kirsten Dunst, this "Little Women" clearly has a lot going for it.
Yet, Armstrong's most significant achievement with her interpretation of "Little Women" is how she balances the original story's whimsical quality while also hinting at the changing nature of womanhood. With the magical details in Robin Swicord's script and the costumes by the icon herself, Colleen Atwood, this "Little Women" respects the romantic nature of past adaptations while also presenting a refreshingly modern twist filled with tears, laughs, love, and everything in-between.
"Amadeus" is a costume drama that has helped define pop culture, and it continues to enchant with its musical and dramatic power. This adaptation of Peter Shaffer's famous play, which details fictional encounters between composers Wolfgang Amadeus Mozart (Tom Hulce) and Antonio Salieri (F. Murray Abraham), is a delightful balance of humor and drama. Featuring stunning cinematography by Miroslav Ondříček and exquisite costumes by Theodor Pištěk, there are many reasons why "Amadeus" still has quite an influence over the genre.
Yet, what truly makes this Miloš Forman-directed film a masterpiece is the chemistry between its two lead actors, Hulce and Abraham. As Mozart, Hulce does a brilliant job capturing the rebellious and ridiculous sides of this incredibly tortured figure. Abraham counteracts Hulce's energy with his cartoonishly villainous yet complicated take on the vengeful Salieri. When the two are together on screen, "Amadeus" becomes pure cinematic magic.
The costume drama genre was thriving in the 80s and 90s thanks largely to the magical movies of Merchant Ivory Productions. Although many of the company's films left a lasting legacy, none are quite as fascinating as 1992's "Howards End." Featuring a star-filled cast, the movie details the complex relationship between the Schlegel sisters and the upper-crust Wilcox family, from their romantic connections to their dramatic scandals. The audience gets a glimpse into the characters' personal lives while also exploring the economic changes in turn-of-the-century Britain.
With beautiful performances from Anthony Hopkins and Emma Thompson and equally stunning art direction, "Howards End" balances a fairy-tale story with real-world struggles. Andrew Marcus' editing and Tony Pierce-Roberts' cinematography make the movie truly shine. Together, these two talented individuals pay a lovely tribute to E. M. Forster's novel's haunting quality while also imbuing it with a late-80s edge. Ultimately, "Howards End" is the film that defines Ismail Merchant and James Ivory as masters at their craft.
Some of the movies on this list are charming farces with romance at their centers. Yet, when it comes to 1988's "Dangerous Liaisons," this adaptation of Pierre Choderlos de Laclos' novel doesn't hold anything back. Directed by Stephen Frears, the movie follows the schemes of two high society individuals (played by Glenn Close and John Malkovich) as they plot to get revenge through love and sex. Featuring incredible costumes by James Acheson, this battle of intimacy is not only a visual feast but an emotional rollercoaster that keeps you on the edge of your seat.
Aside from its aesthetic accomplishments, what makes "Dangerous Liaisons" a gem is its dynamite cast. From iconic future stars like Uma Thurman and Keanu Reeves to beloved character actors like Swoosie Kurtz and Peter Capaldi, the film contains an endless treasure trove of talent. Yet, it's the three lead performances from Close, Malkovich, and Michelle Pfieffer that make Christopher Hampton's screenplay soar. Each actor knows how to balance the campy melodrama to evoke the duality of their characters. When combined with the film's other achievements, these performances make "Dangerous Liaisons" a textbook example of what all costume dramas should aspire to be.
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As he awaits the second season of his USA/Syfy series, everyone's favorite mass-murdering doll has found himself a side hustle. Chucky is taking a break from traumatizing teenage boys into becoming killers so he can file papers ... or make sales calls. The specifics aren't really important, just picture this: the vengeful spirit of serial killer Charles Lee Ray continues to exist in an adorably freckled Good Guy doll, but now he gets to wreak havoc in an office building. And as though a tiny ginger killing machine isn't dangerous enough, another agent of chaos is at play here — Jake Gyllenhaal.
This week's episode of "Saturday Night Live" featured Gyllenhaal as a host, and one of his more memorable skits involved Chucky (played by Sarah Sherman) and some very gossipy co-workers. The skit opens with Melissa Villaseñor, Chloe Fineman, and Ego Nwodim gossiping in the bathroom, only to realize that Chucky has been listening in the whole time — and he doesn't take well to being bullied. One thing leads to another, Chucky whips out a knife and then all of the co-workers find themselves being lectured by Gyllenhaal, who plays the Human Resources rep handling the insanity.
"Chucky, I understand when your feelings get hurt, your first reaction is violence," Gyllenhaal says quite calmly, as the camera cuts to show the adorable, murderous doll repeatedly stabbing him in the leg. At this point in the skit, you may find yourself wondering, "Hey ... could this work as a full-length series?" Sure, it sounds crazy, but this wouldn't be the first time a silly skit birthed some incredible TV. Hear me out: back in 1988 when the Good Guy doll first arrived, Chucky attached himself to a six-year-old Andy Barclay. In his TV series, "Chucky," he's upgraded himself to whispering darkness in the ear of teenager Jake Webber, a bullied kid weighed down by trauma.
Now consider this — what if Chucky makes the next big leap and becomes the companion of an adult, played by Jake Gyllenhaal. Just think of the havoc these two could wreak! As we all know, Gyllenhaal's greatest performance to date was the unhinged lyrical cryptid, Mr. Music, and his work in the Chucky sketch is just further proof that the kookier this guy gets to be, the better. With Chucky by his side (and Janet in the corner making the whole office smell like tuna), Gyllenhaal's HR rep would lose his sanity in a matter of minutes and unleash untold chaos upon the world. And who wouldn't wanna watch that?
Or better yet, we could take these agents of chaos and toss them into TV's current favorite office building, over at Lumon. The world of "Severance" would welcome them with open arms! But until the rest of the world catches onto this genius premise, the best we can do is keep revisiting the tumultuous tale of Gyllenhaal and Chucky's SNL adventure.
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The post SNL: Jake Gyllenhaal Mediates a Workplace Dispute With Chucky the Murder-Doll appeared first on /Film.
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Everyone's favorite actor who always gives 100%, Nicolas Cage, recently did a Reddit Ask Me Anything to promote his latest movie, "The Unbearable Weight Of Massive Talent," and it went about as amazingly as can be expected. Cage was characteristically candid, as always, and shared quite a bit about himself, his career, and his love of movies. Cage is a well-known lover of superheroes. He played Ghost Rider and was even supposed to play Superman at one point, so it's no surprise that questions arose about his comic book inspirations. For his role as Big Daddy in the comic book satire "Kick-Ass," Cage channeled one perfectly classic caped crusader, and the results were perfect.
Reddit user BennieWilliams asked about Cage's role as Big Daddy, and wondered if Adam West, who played Batman in the 1966 television series, was the main inspiration for his performance. Cage was unequivocal in his answer, revealing that West was the ultimate archetype:
"I would give it all to Adam West. I grew up watching him on the 60s Batman show and he is where it begins and where it ends as Big Daddy. I met Adam West once and I said 'did you see I was channeling you?' and he said 'I saw you TRY to channel me!'"
While West might not have thought Cage's performance accurately mimicked his campy but impassioned delivery, fans appreciated the homage quite a bit. Originally the character wasn't supposed to be much like West's Batman beyond being a goody-two-shoes with a similar costume, but Cage reportedly did the voice for director Matthew Vaughn and that was that. Vaughn loved Cage's vintage-inspired interpretation, and it gave Big Daddy an extra layer of lovability. Seriously, who doesn't love 1960s Batman?
We already knew that Cage was a big fan of the 1966 "Batman" series, because he told a local news station earlier this year about a dream role of his: Egghead, played in the series by Vincent Price. It would be great to see Cage take on one of the weirder villains in Batman's bizarre cadre of criminals, but there's no telling whether or not that casting perfection will ever come to pass. In lieu of watching Cage unleashing ovum-based insanity on Robert Pattinson's Batman, at least we can always go back and watch him portray a part of the 1960's series in his own weird way. "Kick-Ass" is a violent and often truly shocking film, but Cage's performance is rooted in West's earnest goodness, and it gives the film much-needed heart.
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Since the 1980s, the ever-meme-able Nicolas Cage has been one of the most memorable and widely beloved performers in modern film history, a true national treasure. The actor plays a fictionalized version of himself in the forthcoming film "The Unbearable Weight of Massive Talent," so it isn't much of a surprise that career reflections and examinations will be widespread as the film nears its April 22, 2022 release date. In a Reddit AMA session, Cage was asked by Reddit user Lukeh41 which three films of his diverse oeuvre he would see preserved for posterity. The answer provides an interesting look at which of his arsenal of films would win his personal filmographic face off.For fans of Cage's cinematic works, digging into the deep crate of his film outings must be like getting trapped in paradise. At the same time, the sheer diversity of his myriad film roles means that asking to choose a favorite is like getting stuck between the rock and a hard place. As hard as it is to really dig into that question, at any moment it could happen to you. Let's dig into his personal top three, and explore which other Cage entries truly kick-ass so that none get left behind.
Choosing favorite films always makes the filmgoing world seem like a dog-eat-dog place, but Cage's performances are always worth noting if you have some time to kill. In the AMA, Cage answered that the three films he would preserve for posterity would be "Bringing Out The Dead," "Pig," and "Leaving Las Vegas." He explains:
Thank you. I think Leaving Las Vegas, Pig and Bringing Out The Dead are my three favorite performances of my own body of work. I have not seen Leaving Las Vegas recently, however that movie and Elizabeth Shue's work in that movie are what I aspire to continue towards, and did continue towards with Pig, which is why I am always going to be up for small budget, independent, dramas.
These are easily three films that showcase Cage at his best, and it's clear from his answer that he loves the performances he is able to give in smaller, independent dramas. While Cage is known for his ability to bring to life larger than life (sometimes bombastic) characters, he often shines most in these more nuanced and subtle roles.
"Leaving Las Vegas" is an exceptional choice, with Cage's powerful turn as suicidal alcoholic Ben Sanderson serving as the only time the actor has been awarded an Academy Award. "Bringing Out The Dead" sees Cage collaborate with Martin Scorsese as a paramedic at the end of his rhetorical rope, finding a little solace in befriending a victim's daughter (spectacularly played by Patricia Arquette). Both roles see Cage give complex and nuanced performances as characters at the end of their ropes. "Pig" is one of the most surprising turns in recent memory, with Cage starring as a chef-turned-truffle-hunter living off the grid, when his prized truffle pig gets stolen. It's a remarkable performance in a wonderfully complex film that answers the question "what if we made a John Wick film but John Wick was Thomas Keller." It's easily one of his finest performances yet.
While each of Cage's chosen roles are easily among the actor's finest, there are many additional roles worth highlighting that showcase his range alongside the wonderful attributes he can bring to even the most unbelievable entries in genre cinema. In the critically acclaimed Spike Jonze outing "Adaptation," penned by Charlie Kaufman, Cage plays both Kaufman and his fictional twin brother Donald Kaufman in their attempt to adapt Susan Orlean's "The Orchid Thief." It is one of the best films ever made about the perils of being a writer, and Cage excels in both roles as only Nicolas Cage can.
In "Mandy" Cage plays Red Miller, a man with an ambiguous violent past who has since settled down in an isolated cabin with his love Mandy Bloom ... until a religious cult attacks the pair, ultimately tying Red up and burning Mandy alive in front of him. This sets Red on a grief-and-LSD-fueled revenge mission in a surreal but excellent action-horror hybrid that indirectly answers the question "could a Terminator kill the Cenobites?" He loves, grieves, rages, and freaks out against a surreal and colorful horror backdrop, and anyone who hasn't seen it should.
Finally, though he was one of the smaller players in the film, his turn as Spider-Man Noir in the animated film "Spider-Man: Into The Spider-Verse" was an easy highlight in an otherwise spectacular film. There are many Spider-folks in that film, sure, but Cage has so much gravitas as the trenchcoat-wearing 1930's-era hero that, frankly, he steals every scene he's in despite the film being positively loaded with talent. While Nicolas Cage himself has a clear penchant for his more subtle entries, these are still three very different films that highlight the range of one of our era's finest talents (at least in this author's estimation).
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The post It's Hard to Argue With Nicolas Cage's Top Three Nicolas Cage Films appeared first on /Film.
I consider myself pretty conversant in metric units. I know that 20 kilograms is 44 pounds (double it and add 10%) and that five kilometers is a little over three miles (I’ve, uh, run a lot of 5Ks). But Celsius temperatures are trickier. Instead of memorizing a one-step formula, try these three tricks—two of which require zero math.
Not only are Celsius and Fahrenheit degrees different sizes (each Celsius degree covers more of the scale), they have different baselines because Celsius is calibrated to the properties of water, and Fahrenheit is calibrated to the comfort of humans:
Zero degrees Celsius is the freezing point of water. (It's 32 degrees Fahrenheit.)
100 degrees Celsius is the boiling point of water. (It's 212 degrees Fahrenheit.)
Zero degrees Fahrenheit, as a weather forecast, is bitterly cold. (-18 degrees Celsius.)
100 degrees Fahrenheit, as a weather forecast, is sweltering hot. (38 degrees Celsius.)
With other measurement scales, like pounds versus kilograms, the baseline is the same: zero pounds is equivalent to zero kilos. So you just need to multiply or divide (by 2.2, in this case) to convert one to the other.
For temperature, though, you need to account for the different units and the different baseline. So it's a two-step process: you need to multiply and add (or subtract and divide). Here are the official formulas:
To convert Celsius to Fahrenheit:
(degrees in celsius * 1.8) + 32
To convert Fahrenheit to Celsius:
(degrees in Fahrenheight - 32) * 0.55
If it helps, 1.8 is equivalent to 9/5, and .55 is 5/9. I used the decimals here because we all carry calculators now. In any case, there are easier ways to do this in your head than memorizing formulas! I'll give you three options, in order from least math to most.
Still too much math? Try memorizing this poem:
30 is hot, 20 is nice, 10 is chilly, and zero is ice.
Those numbers correspond to 86, 68, 50, and 32 degrees Fahrenheit, respectively, but you don't need to know that. If the forecast is around 10 degrees, you need a light jacket. If it's over 30, that's beach weather. And a fun bonus fact, in case you’re ever vacationing in the Arctic: -40 is -40 in both scales.
The poem above will get you in the right ballpark, but if you prefer numbers to words, here's a cute trick that relies on the symmetry between some of the numbers on the thermometer.
Here’s the trick: You reverse the digits of these specific numbers.
04 degrees Celsius is 40 degrees Fahrenheit (chilly!)
16 degrees Celsius is 61 degrees Fahrenheit (hoodie weather)
28 degrees Celsius is 82 degrees Fahrenheit (balmy!)
40 degrees Celsius is 104 degrees Fahrenheit (stay inside and crank up the A/C)
You can even use this conversion both ways, if you remember which one is which. The Celsius degrees are always the smaller number of the pair, so 61 Fahrenheit is 16 Celsius. And by the way: The numbers are all 12 apart. (4 + 12 = 16, 16 + 12 = 28, etc.)
The only weird one here is 40, but now that you’ve read it, you get the idea. Four degrees Celsius is 40 Fahrenheit, and 40 Celsius is 104 Fahrenheit. So if you're on vacation and you hear it’s going to be 32 today, you know that that’s more than 28 (82 Fahrenheit) but thankfully below 40 Celsius (104 F). It’s tank top and shorts weather.
If you want a formula that works for any temperature, but that is still easier than the original formula, we can replace the 1.8 or 0.55 with a simple halving or doubling. That means our approximate formulas are:
Celsius to Fahrenheit: double it and add 32
Fahrenheit to Celsius: subtract 32 and then cut the resulting number in half
20 Celsius is now 40 + 32 = 72 (actual answer: 68). And to do it the other way around: 72 Fahrenheit is 40/2, which is 20 Celsius. You can even use 30 instead of 32, if that lets you do the math quicker—the answer will still be close enough.
It's relatively safe to say that Guillermo del Toro has a thing for monsters. Virtually every one of the films the director has made has featured some kind of horrifying creature. The obsession spans from the literal, like that of the Pale Man in "Pan's Labyrinth" and colossal Kaiju of "Pacific Rim, to the metaphorical, as with his first film, "Cronos," and the newly minted "Nightmare Alley." But del Toro's fascination with monsters isn't just morbid curiosity.
If it was, monsters in his films would remain solely terrifying and intense reflections of human nature. But del Toro also expresses clear admiration for them as outcasts, as individuals caught up in a world so entirely unlike themselves that they're treated as hostile. It's a story that plays out in everything from "Hellboy" to "The Shape of Water" — not to mention his personal favorite, Mary Shelley's "Frankenstein." Turns out the reason del Toro can't get enough of monsters has quite a lot to do with the ones he himself saw come to life on the silver screen when he was just a boy.
Boris Karloff remains a giant within the horror genre and among actors who've played monsters. It's no surprise that just two of the films he appeared in, "Frankenstein" and "The Bride of Frankenstein," have such far-flung influence on everything from "Star Wars" to Jordan Peele's "Us." Guillermo Del Toro underscored the profound impact seeing Karloff onscreen had on him to NPR, saying that witnessing the performance felt like being "struck by a lightning bolt of fever."
Children who don't fit in is another running motif that pops up every now and then in del Toro's films. I think of 10-year-old Ofelia in "Pan's Labyrinth" or even the young versions of Hellboy that appear in flashbacks — young outcasts the director clearly saw a bit of himself within. And his connection with Karloff's portrayal of Frankenstein's monster was just as rooted in an identity del Toro was still coming to terms with as an adolescent. He continued to NPR:
"This monster crossing the threshold, this anomaly seemed to embody everything that I thought was 'wrong' with me, in a beautiful way. It was like a patron saint being discovered for me."
Of all the ways you could describe Karloff's portrayal, I wouldn't have thought "patron saint" would be one of them. Then again, that's pretty on-brand for del Toro, and I'd imagine if anyone had a pantheon of iconic patron monsters, it's him. At one time, del Toro was actually going to direct a "Frankenstein" film, and to add insult to injury to the film never being made, Javier Bardem was going to play the monster. But at least we can take solace in the fact that del Toro's next film is going to be a deliberately unnerving take on a Disney classic.
Guillermo del Toro's next project is unsurprisingly very del Toro-esque: a stop-motion remake of the "Pinocchio" story that'll unfold in the shadow of Mussolini's fascist Italy. If you're getting "Pan's Labyrinth" flashbacks, you're not the only one. The director further explained to NPR that both Pinocchio and Frankenstein's monster actually have quite a bit in common:
"They are both characters that are born into a world and then sort of abandoned to their fate to figure it out. They're very Miltonian in a very different way. I think Pinocchio and Frankenstein both go through that painful learning curve. I find it moving in Pinocchio, the idea that he has no notion of not being "a real boy," and that he is a real boy by the act of existing and being in this world. I try to explore that in the movie I'm making now. I'm making the stop-motion version of 'Pinocchio,' but it's set during the rise of Mussolini in fascist Italy in which most people act like a puppet except the puppet. I think that it will be a very different version from the classic ones. But I think it's one that suits me and my preoccupations and my recurring questions very, very much perfectly."
In a lot of ways "Pinocchio" culminates some of the themes most important in Guillermo del Toro's work, as he's not only a child outcast, but also one treated as inhuman. But of course, Pinocchio's own status as a puppet is one that needs to be held up to the world like a mirror — hence the brilliant juxtaposition of people who act like fascist "puppets" alongside a wooden boy. Leave it to del Toro to find brilliant ways to root the supernatural elements of a story in the gritty, real world. I think it's safe to say the director's version of "Pinocchio" will be just as emotionally taxing a film as it sounds. Especially given it's a story about a boy trapped inside a police state who cannot be deceptive or lie — even to save himself or someone else. One can imagine the tragedies that ensue.
What's ironic is that by the time 2022 has ended, we will have been treated to not one, but two remakes of the Pinocchio tale. One is a Disney live-action remake with Tom Hanks, while the other is del Toro's Netflix film with Ewan McGregor as the narrating Cricket. I'm willing to bet at least some parents will accidentally find themselves and their children viewing a much darker version of the sanitized story they're familiar with at some point.
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The post The Movie That Started Guillermo del Toro's Love Affair With Monsters appeared first on /Film.
Fables have an important place in every culture, using magic or unrealistic storytelling conventions to help teach audiences a real-world lesson. Each of the stories in the new Apple TV+ series "Roar" is a different fable about womanhood, and some are more effective than others. Telling a fable is a balancing act between entertainment value and teaching a lesson, and when "Roar" strikes that balance, it makes for excellent television. When it doesn't, it's well-made but ultimately frustrating, like after-school specials made by Women's Studies majors.
"Roar" is an anthology series with eight unique episodes, each chronicling the bizarre experiences of a different woman. The women are never named and are instead referred to by their circumstances in each episode title. Nicole Kidman is "The Woman Who Ate Photographs," for example, and you can likely guess her peculiar dining habits from such a name. The stories are all taken from the book "Roar" by Cecelia Ahern and have been adapted for TV by creators and co-showrunners Carly Mensch and Liz Flahive, known for their work on the brilliant and canceled-too-soon Netflix series "GLOW." Each episode has a different director, and as such, they have some very different styles, though this works well because the tones are all so different. You'll laugh, you'll gasp, you'll cry, and you'll probably cringe. That is the full femme experience, after all.
As a collection of stories with a central theme of the weirdness of being a woman, "Roar" mostly works. Individually, the stories are as varied as the women themselves, for better and for worse.
"Roar" is at its best when it lets the allegories serve the characters and stories, but unfortunately some are too on-the-nose to feel like anything other than a bludgeoning. Even the best episodes have moments where the fables are over-emphasized, which is the series' greatest failing. If the series trusted its audience just a bit more, everyone would have been better off for it. "Roar" is one part "Black Mirror," one part "The Twilight Zone," all filtered through the lens of feminism.
The most compelling and satisfying story of the bunch is "The Woman Who Returned Her Husband," directed by Quyen Tran. The episode stars Meera Syal as Anu, who lives in a world where husbands can be purchased at the local big-box superstore. After decades of marriage, she decides to return her husband to the store where she bought him. Due to the store's return policy, she has to pick a replacement instead of getting a refund, and starts learning more about men, marriage, and most of all, herself. The episode is funny and relatable for anyone who's ever lived with a significant other for any length of time, and the lesson it's trying to teach is as complex as it is sweet.
"The Girl Who Loved Horses," directed by So Yong Kim, is less sweet but thankfully just as subtle, with a lesson about the meaning of revenge at the core of a sort of western buddy-comedy. The episode has the aesthetic of something like "The Ballad of Buster Scruggs," with just enough violence to remind you that the old west was an anarchic nightmare. Fivel Stewart plays Jane, a young woman whose father is killed over a debt, and she's excellent in the role. Kara Hayward is sweet as her long-time friend, the local pastor's daughter. Alfred Molina also appears as the man who killed Jane's dad, giving the episode some heaviness and grit beyond Stewart's annoyed glares.
"The Woman Who Disappeared" stars Issa Rae as a memoir writer who travels to meet with executives to discuss a book deal, but then she begins, well, disappearing. It's the most "Twilight Zone"-like of all of the episodes, but Rae's performance and eerie direction by Channing Godfrey Peoples make it sing. The metaphors start getting a bit heavy-handed in the back half, and one shocking, timely sequence would feel like exploitation in any other hands — but it's still one of the better episodes of the series.
The most truly terrifying episode of the bunch is "The Woman Who Found Bite Marks on Her Skin," directed by Rashida Jones. Cynthia Ervio stars as a woman who almost dies giving birth to her second child, then begins having mysterious bite wounds develop on various parts of her body. The episode deals with many of the challenges facing working mothers, along with other kinds of guilt, and it's extremely unsettling even without the bite marks. This one also almost overplays its hand with its metaphors, but the performances and sharp direction keep it afloat.
The Nicole Kidman-starring "The Woman Who Ate Photographs" is poignant, but gets a little lost in its metaphors. Kidman's character takes in her mother, who is slowly fading due to dementia, and begins eating photographs as a way to deal with the pain of her own memories fading. Kidman gives one great monologue near the end, but the episode, directed by Kim Gerhig, just sort of ends with a bittersweet sentimentality that doesn't feel entirely earned.
"The Woman Who Was Kept on a Shelf," starring Betty Gilpin and directed by So Yong Kim, "The Woman Who Was Fed by a Duck," starring Merritt Weaver and directed by Liz Flahive, and "The Woman Who Solved Her Own Murder," starring Alison Brie and directed by Anya Adams, are all completely mixed bags even within their 30-minute episodes. All three have some interesting ideas but lean so hard into the lesson of it all that they ultimately feel trite. Gilpin, Weaver, and Brie all do great work, and Hugh Dancy is clearly having a laugh playing a detective that's the polar opposite of his empathetic weirdo Will Graham from "Hannibal," but without going into spoilers, all three of these episodes miss the mark.
While it is an interesting experiment in anthology television, the episodes are so wildly different that addressing "Roar" as a whole is as messy and complicated as the series itself. Instead of feeling like a full-blown roar, it's more of a trained growl, and that's a real shame.
/Film Rating: 6 out of 10
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