Tunisian Anti-Riot unit = AKA Shredder’s Henchmen
Tunisian Anti-Riot unit = AKA Shredder’s Henchmen
Tim Allen and Tom Hanks have already confirmed they are returning for Toy Story 4, but what about the rest of the toy box gang? Well we now know comedian Don Rickles will officially reprise his role as Mr. Potato Head in the fourth installment of the Pixar animated film series. Read the Don Rickles Toy Story 4 quote, after the jump.
89-year-old comedian Don Rickles confirmed the news to Closer Weekly:
“They just signed me to do the fourth Toy Story. We start [work on it] in September, and I’m very delighted with that. … “When John [Lasseter] approached me for the first one, I said, ‘I don’t do comedy with cartoons, dummies and toys. Leave me alone.’ And [John] said, ‘No, you’re gonna love this!’ Then he told me the money and how nice it was going to be and, I said, ‘Yeah, I can give it a try.’ All of a sudden it’s going on 17 years.”
Before we get to the details on Toy Story 4, lets get to a bit of fun: Rickles recorded Mr. Potato Head lines for the Disney theme park ride Toy Story Midway Mania. Here is a video showing some outages from the recording session as presented at D23 Expo:
Rickles’ returning for Toy Story 4 shouldn’t come as a big surprise. A fourth Toy Story film has been rumored to be in the works for the last five years now. Last year Toy Story 4 was officially announced as it was revealed that John Lasseter would return to direct a screenplay written by Rashida Jones and Will McCormack based on a story dreamed up by the Pixar dream team of Lasseter, Andrew Stanton, Pete Docter and Lee Unkrich. Lasseter has insisted that the sequel is not about money, but they came up with a great story idea worth exploring.
We still have no idea what the story will be about (but that didn’t stop us all from taking some guesses), but it is expected to reunite Woody, Buzz and the whole gang in an all new adventure. Pixar animation studio president Jim Morris has said that the new film will not be a continuation of the story of Toy Story 3, offering only some vague hints about the film’s plot:
It is not a continuation of the end of the story of Toy Story 3. Temporarily it is, but it will be a love story. It will be a romantic comedy. It will not put much focus on the interaction between the characters and children. I think it will be a very good movie.
Toy Story 4, which will hit theaters on June 16, 2017, will be co-directed by Josh Cooley, the head of story on Inside Out.
The post Mr. Potato Head Is Back: Don Rickles Returns For Toy Story 4 appeared first on /Film.
We’ve seen enough movies based on video games to know that they just don’t seem to work very well for some reason. Whether it’s too much fan service for those who played the games, or maybe video game stories are only fun when you’re the one in control of the main character, Hollywood just can’t crack them.
But before there were dozens of examples of this, Buena Vista Pictures took a swing and missed hard with Super Mario Bros., probably the worst video game movie ever made. Actually, it’s probably one of the worst movies ever made period. And now Honest Trailers has taken aim at the weird half-ass video game movie for your enjoyment.
Watch the Super Mario Bros Honest Trailer after the jump!
Here’s the Honest Trailer from Screen Junkies:
From the strange, germaphobic nature of Koopa (Dennis Hopper) to the unnecessarily abundant practical use of plumbing by Mario Mario (Bob Hoskins) and Luigi Mario (John Leguizamo), it’s all just an absolute mess.
I love that Honest Trailers points out the hard contrast between the brightly colored Super Mario Bros. video games and the “bleak dystopian hellscape” that is Dinohattan. This wholly peculiar and nonsensical place where dinosaurs somehow thrived and evolved and built a Blade Runner-esque underground city isn’t even the tip of this disastrous iceberg.
And even though this movie came out when I was just a kid, I still noticed the similarities between Mario and Bob Hoskins’ character Eddie Valiant in Who Framed Roger Rabbit?, so much that I had no idea that the actor didn’t really talk like that in real life.
Also, this is the first time I’ve heard that Hoskins got injured and dealt with so much physical trauma while making the movie. We would have been so pissed if this was his last movie. Thankfully we got over 20 more years of great acting from Hoskins before he passed away last year. Hopefully he’s laughing at Super Mario Bros. with us in the afterlife.
The post ‘Super Mario Bros.’ Honest Trailer: The Awful Movie Based on the Video Game…Kinda appeared first on /Film.
From the mind of artist Joe Simko, whose earlier work includes Garbage Pail Kids and Wacky Packages, Cereal Killer cards are a monster mash-up of your favorite cereals and horror movies from the last 30 years into a series of trading cards. Titles include Silence of the Grahams, Tales from the Crisp, and Fiber the 13th, which has the tagline “Disembowel Your Bowels.” There’s also Chucky Harms, which are “Magically Malicious!” The cards can be purchased directly from Eye Wax, but are found on Amazon as well. They also sell t-shirts for things like “Eye Pops” or “Fruit Gloops.”
Just yesterday, we brought news of a new Blu-Ray release for the Back to the Future trilogy, including a set with the entire animated series from the 90s, for the first film’s 30th anniversary. Appropriately, the new Blu-Ray set arrives October 21st, 2015, the same day Marty McFly and Doc Brown traveled to the future in Back to the Future Part II.
It turns out that won’t be the only way you can celebrate the classic time travel trilogy, because buried in a press release for the new Blu-Ray set is word that the entire Back to the Future trilogy will also be returning to theaters that same day. And there’s another cool item fans will want to pick up this fall as well.
Find out more about the Back to the Future trilogy in theaters after the jump!
Since the release is still three months away, specifics on where the Back to the Future trilogy will be screening have not been revealed. The press release merely says to “Check local listings for show times,” so we’ll have to wait for more information on that front. But previously only the original film had been re-released for anniversary screenings, so this is pretty cool.
Something else we’ll have to wait for more details on is a new picture disc vinyl soundtrack release for Back to the Future, which will be available on October 16th. We’ll likely get to see the artwork for that as the release gets closer.
But if you’re really craving some Back to the Future this weekend, AMC is having a marathon of all three films in honor of the 30th anniversary. So if you’re one of those people who doesn’t own the movies for some reason, and you just like to watch them on television, then this Sunday, July 19th is your day. Here’s the schedule for the marathon on AMC this weekend:
SUNDAY, JULY 19th
“Back to the Future” at 11:00 a.m. ET/PT
Teenager Marty McFly is sent back in time to 1955, where meets his future parents in high school and accidentally becomes his mother’s romantic interest. Marty must repair the damage to history by causing his parents-to-be to fall in love, and with the help of eccentric scientist Dr. Emmett “Doc” Brown (Lloyd), he must find a way to return to 1985.
“Back to the Future II” at 1:30 p.m. ET/PT
McFly and Dr. Emmett “Doc” Brown travel to 2015 to prevent McFly’s future son from ending up imprisoned. However, their presence allows Biff Tannen (Wilson) to steal Doc’s DeLorean time machine and travel to 1955, where he alters history by making his younger self wealthy.
“Back to the Future III” at 4:00 p.m. ET/PT
While stranded in 1955 during his time travel adventures, Marty McFly discovers that Dr. Emmett “Doc” Brown, trapped in 1885, was killed by Biff Tannen’s great-grandfather Buford. Marty decides to travel to 1885 to rescue Doc.
“Back to the Future” at 6:30 p.m. ET/PT
All this leads up to the premiere of AMC’s new eight-part sci-fi drama series Humans, which will begin at 9pm Eastern that night. You can check out the trailer for that new series right here.
Otherwise, stay tuned for details on all the forthcoming Back to the Future 30th anniversary celebratory releases coming later this year (like the Hot Toys version of the DeLorean and Marty McFly from Back to the Future Part II). As a huge fan of the trilogy, I know I’ll be on the lookout for whatever I can get my hands on.
The post Entire ‘Back to The Future’ Trilogy Returning to Theaters in October for 30th Anniversary appeared first on /Film.
Quality podcast. One of my favorites.
Great if you have some time.
Animation director Chuck Jones is celebrated for his Oscar-winning achievements in the Warner Bros. Looney Tunes and Merrie Melodies cartoons, where he brought to life Daffy Duck, Bugs Bunny, Marvin The Martian, Wile E. Coyote, the Road Runner, and many more. (To say nothing of his work on other animation, such as The Grinch Who Stole Christmas.)
We know Jones’ style, which ranges from frenetic to cooly observational, and we know that he is uncommonly adept at defining and exploring characters, with simple changes of facial expression doing the comedic work that other artists would need huge motions to achieve. Below, you’ll find a terrific video essay on Jones, focusing on how he made some of his tricks work, and what inspirations he drew from when animating his greatest achievements.
This essay comes from Tony Zhou, whose Every Frame a Painting videos are among our favorite essays on the construction of character, comedy, and meaning in film. (We recently highlighted his Jackie Chan essay, for example.)
As with so many of Zhou’s essays, this one airs a simple but important truth: that mastery of cinematic character-building and storytelling is rooted not just in familiarity with films, but in observation of real life.
Zhou quotes Chuck Jones: “All humor, I believe, comes from human behavior, and logic.” Zhou: “How do you improve at understanding human behavior? The truth is, there’s only one way, and it’s not by watching films… Jones believed it wasn’t enough to just watch movies. You had to have interests outside of film. You had to study real life. Most of all, he encouraged [reading].”
The post Watch a Great Video Essay on ‘Looney Tunes’ Director Chuck Jones appeared first on /Film.
Bert, however, may be possessed…
I'd still watch it...
Joe Dirt 2: Beautiful Loser is one of the most fascinating cultural artifacts of the year. No one should ever watch it, but it still raises big questions about the purpose and definition of movies in 2015. Years from now, it will be seen both as a pioneer (that, again, shouldn’t actually be watched) and as the moment the existential fault line between art and commerce rumbled until foundations cracked.
The first of the questions is whether or not this 14-years-later sequel is a movie at all. Technically, yes. With a 115-minute runtime, it’s a feature length narrative. It’s also presented with “limited commercials” on Crackle, Sony’s streaming service. If you thought January was a dumping ground, welcome to Crackle.
It’s free to watch it (like everything on the site), and it’s designed to act as a delivery method for Arby’s commercial sponsorship and to draw attention to the website itself — which means that Joe Dirt 2 is also a kind of commercial. A commercial with three Arby’s commercials inside of it. Promoting the film has focused largely on bringing people to the site.
If you were wondering, no, there’s nothing like being bombarded with a bacon burger advertisement (“Look at all that bacon!”) after watching David Spade get his testicles sucked into an airplane toilet.
Did I mention that no one should actually watch the movie? Because that’s important. It’s a heinous experience, but it’s not so-bad-it’s-entertaining. It’s so bad that even making fun of it is a joyless endeavor. Like making fun of an orphan puppy in a wheelchair. It’s mostly a rehash of the first film complete with retreads of sequences, jokes, lines and cameos. Every scene is a first take where comedians bring their B-game, and writer/director Fred Wolf didn’t find anything to leave behind on the cutting room floor.
Brian Tallerico at Roger Ebert’s site has it covered pretty well, but you should also know that two preps from 1965 say, “Do you even lift?” in the movie because, sure, why not. The movie should be studied for centuries to come in film schools as an example of where fat should have been trimmed.
But the first draft feeling of all of it makes sense because Joe Dirt 2 isn’t just a movie; it’s a commercial for Crackle. A really long, unfunny commercial. For a movie, it was made on the cheap. For a commercial, it’s insanely overpriced.
Which leads to the second major question: who would spend this much money on a commercial? To be fair, I don’t know how much the movie/commercial cost, but I’d ballpark it around $3m simply because of all the locations involved. The most expensive part of the movie was probably the rights to “Sweet Home Alabama.” For comparison, the original was made for $18m (about $25m in today’s money).
In almost every other situation, a decades-later sequel with name-recognition would be a cash grab, but I don’t see how anyone other than Bialystock and Bloom saw this as a winner. The young legend goes that Sony saw #joedirt trending every time the harmless 2001 comedy played on cable, so they saw a market for a sequel. Call it TBS-thought.
Keep that in mind while considering that Joe Dirt 2 has also offered us the bottom of the reboot hierarchy — a trend we’re still trying to wrap our opinions around. Ghostbusters is getting a reboot decades later with a big budget and one of the most bankable comedic duos (Feig/McCarthy) working today. Anchorman got a sequel a decade later for a medium budget, and it went to theaters. Then there’s Joe Dirt 2, which wasn’t released in theaters.
It wasn’t even released straight-to-dvd. It wasn’t even released for rental on iTunes. It was released for free on Sony’s subsidiary streaming site, paid for by commercials (and rationalized as an attention-getter). So it’s a movie using the television show model — a feeling enhanced even further by the vignette-bound nature of the movie’s nonsensical narrative. You come back from commercial to find Joe in a new episode of the same movie.
Thus, Sony saw the name Joe Dirt as big enough to shoulder burger commercials and bring people to their website, but not big enough to get people to theaters or type in their iTunes password.
Our typical understanding is that if something has name-recognition value, then someone, somewhere will usher it into theaters with plausible deniability at their back. Reboot and rehash culture thrives on that mindset. Joe Dirt 2 proves that it isn’t true.
Joe Dirt made almost $31m back in 2001, meaning that after DVD sales, it was either made a little money or lost a little money for Sony. Critics hated it, but it’s actually a pretty harmless, dumb comedy that sticks to a message of being your idiot self and staying optimistic.
Its harmlessness puts it in a position to be used as a commercial. Not a flop, yet not really a success. Like if studios suddenly wanted sequels to Corky Romano, The Hot Chick, Someone Like You, My Dog Skip, The New Guy or any other mostly-forgettable films from over a decade ago in order to slap fast food franchise logos on them.
Now, what I’m saying might be unfair. Netflix has, for years, used its online-only programming simultaneously as a way to entertain subscribers and bring new ones to the fold. A kind of advertising for themselves. Any difference between that and what Crackle/Sony is doing (or what TV stations have always done) is purely academic. Maybe Joe Dirt 2 stands out because the usual model involves prestige programming (Orange is the New Black, House of Cards) as well as niche entertainment (kids shows, whatever beautiful beast BoJack Horseman is), but Crackle has announced its arrival as a production house with a generic comedy born on the blurry fringe of Y2K’s memory.
It’s hard to sell subscriptions and burgers at the same time.
Thus, the biggest question here is what we use art for now. This isn’t a new situation, but the filmmaking era we currently live in is busting at the seams with movies that act as individual entertainment and as advertisements. It’s no surprise that this era gave rise to the most overt, embedded advertising in history: the post-credits scene.
“James Bond will return…” has been injected with steroids and cameo appearances to the point that we wait to see past the second unit director’s name in order to be sold the next movie.
But it’s not just the post-credits scenes. A lot of movies — big movies, that actually get released in theaters — are also advertisements for the next in the franchise, the series, or the universe. Iron Man is an advertisement for The Avengers is an advertisement for Ant-Man is an advertisement for Captain America: Civil War. The Hunger Games is an advertisement for Catching Fire. Movies that were marginally successful last year may not even know that they’re advertisements for the eventual sequel in 2024.
The Status of David was an advertisement for The Sistine Chapel. “If you like the way I carve a slingshot, you’ll love the way I paint God.” Like I said, this isn’t exactly new. Just bigger.
So, Joe Dirt 2: Beautiful Loser. It’s a movie. It’s a TV-like series of vignettes glued together by commercials. It’s a commercial itself. It’s a mascot for a website.
However, it’s also — in its awful way — the first of its kind. A unique piece of cinema that lives at the crossroads of artistic design and the ad sales team. I have to wonder if, like direct-to-video and online rentals, we’ll eventually see the legitimization of this format. Legitimately entertaining movies delivered online for free with only the occasional annoyance of a meaty commercial break and the suggestion that we should watch The Fifth Element next. Films — good films — made to act as entertainment, commercial and commercial conveyance device all in one. Joe Dirt 2 could be only the beginning.
I hope it isn’t. Although Christopher Walken is still pretty great.
"Joe Dirt 2 and the Very Meaning of Art Itself" was originally published on Film School Rejects for our wonderful readers to enjoy. It is not intended to be reproduced on other websites. If you aren't reading this in your favorite RSS reader or on Film School Rejects, you're being bamboozled. We hope you'll come find us and enjoy the best articles about movies, television and culture right from the source.
In 2006, Roger Ebert wrote this about Chuck Jones’ cartoons in his “Great Movie” column:
These cartoons, and all the cartoons from the same tradition, seemed doomed to play for a week and then disappear (although sometimes there would be a collection of “Five Color Cartoons” before a kiddie matinee, and London’s Piccadilly Circus had a theater that played only cartoons). Then, just as the studios pulled the plug on cartoon shorts, color TV came along to give them a new life, and now on cable and DVD they seem immortal.
There are two ways to regard them: As silly little entertainments, or as an art form that in its own small way, its limitations permitting an infinity of imagination, approaches perfection.
“Limitations permitting an infinity of imagination” is a beautiful way to describe the craftsmanship behind Jones’ classic cartoons. From the beginning of cinema history, animation was plagued by its total freedom in a way we seem to reserve solely for CGI these days. The ability to do anything inevitably becomes the context by which we judge the finished product — a reversal from the bulk of movies that have to be forgiven their trespasses due to financial constraints. They only had so much money, they only had so much time, you can’t expect the mechanical dragon to look better than it does.
That mindset is one of many reasons for the duality of animation that Ebert mentions. Plenty of people see those brief shots of joy as frivolous, but Looney Tunes characters haven’t endured 85 years on accident.
In his latest Every Frame a Painting video essay, Tony Zhou breaks the format in order to explore the evolution of Jones’ style and skill. Both seem born from the self-imposed restrictions Jones placed on his work and his one-two punch comedic formula.
That formula owes a lot to Vaudevillian and silent film humor, particularly physical comedy from greats like Charles Grapewin, Buster Keaton and Harpo Marx. Expectation + Reality = The Funny was a major equation in early 20th century entertainment, and Jones capitalized on the exaggeration possible in animation to ramp that physicality up to 11. This wasn’t a simple case of copying and pasting; Jones was a comic master who served to push comedy forward in a medium that is unfortunately regarded by some as kids’ stuff.
This is another stellar video from Zhou, who explores Jones’ genius with gusto and clear reverence, ending on one of the most hopeful, artistic notes about inspiration that Every Frame a Painting has ever seen.
What I find most interesting — particularly in the video’s focus on limitations — is that those restrictions are both wisely manufactured by Jones and inherent in the freedom of animation itself. Animation allows you to create a character with no face, which offers the limitations of telling a story with a character with no face. Jones rightly recognized that sometimes those natural restrictions weren’t enough to keep the storyteller focused on the best possible gags and situations. There had to be more.
It’s within that framework that Jones and the Looney Tunes team were able to craft characters with singular goals who nonetheless felt fully realized and rounded. Oh, and hilarious.
"How Looney Tunes Animator Chuck Jones Became a Master of Visual Comedy" was originally published on Film School Rejects for our wonderful readers to enjoy. It is not intended to be reproduced on other websites. If you aren't reading this in your favorite RSS reader or on Film School Rejects, you're being bamboozled. We hope you'll come find us and enjoy the best articles about movies, television and culture right from the source.
Ahhh I hate the guy who runs this site!
They covered "Stay with Me" by Rod Stewart.
Glass house resident Anthony Bourdain recently had some choice words in an interview with Atlanta Magazine about “colorful” Food Network personality Guy Fieri. Going very much on-the-record, the former chef turned TV personality accused the other former chef turned TV personality of some mental distress as demonstrated by his fashion sense.
More specifically, he said, “So I sort of feel in a heartfelt way for Guy. I wonder about him. He’s 52 years old and still rolling around in the flame outfit … What does he do? How does Guy Fieri de-douche?”
Strong words from the arbiter of cool and credibility, who’s currently on his fifth travel show. Guy Fieri is also 47, not 52, but that really doesn’t excuse the outfits any more.
Apparently, when Return of the Jedi was first on the drawing board, the geniuses of ILM attempted to create the Rancor as a full monster suit someone could wear. They did not succeed, and a puppet/model was used in the film. Do you see where this is going?
Earth’s most furious mountains are also the most rewarding to visit.
Have you hugged a volcano lately? You should. Although we commonly perceive them as lava-spewing cones of doom, humans probably wouldn’t be here without them. Roughly 2.5 billion years ago, underwater volcanoes breached the ocean’s surface and began emitting gases like steam, carbon dioxide, and nitrogen into the air: These became the building blocks of a life-supporting atmosphere. When all that carbon dioxide dissolved into the oceans, simple cyanobacteria— which possibly evolved thanks to underwater volcanoes called black smokers—gobbled it up and released an important by-product: oxygen. So, it seems humanity owes volcanoes a debt of gratitude.
And in a way, we’ve already thanked them. Ancient cultures turned these mountains into gods and goddesses, like Vulcan, Hephaestus, and Pele. We still worship them today, but mainly by vacationing in their shadows. About 1,500 potentially active volcanoes dot the globe, each one a unique source of wonder.
(Image credit: Roger McLassus 1951)
Ash billows daily from Japan’s Sakurajima, which is so active that authorities prohibit anyone from climbing it. Sakurajima’s activity often causes “dirty thunderstorms.” When the mountain throws a tantrum, lava and rock fragments spew into the air, colliding and creating electric charges. The result? Lightning bolts streaking over an erupting cone.
(Image credit: Geoff Gallice)
Ecuador’s second highest peak hasn’t erupted for decades. That’s made Cotopaxi popular with a diverse set of adventurers, namely climbers, skiiers, and... bird-watchers. That’s partially the fault of the Ecuadorian Hillstar, a rugged species of hummingbird, that likes hanging out there.
(Image credit: Greg Willis)
Guatemala’s Pacaya is a popular tourist draw, despite the fact that it erupts with some frequency (it last blew its lid this past spring!). Volcano diehards can go on day hikes from nearby Antigua or Guatemala City and walk close enough to the lava to poke a stick in it.
(Image credit: idobi)
It takes about four hours to hike to the lip of Chile’s Villarrica, one of only five volcanoes worldwide with a lava lake in its crater. Adventurers enjoy the mountain shaking beneath their feet and can explore empty lava tubes, where molten rock left behind wormlike caves. Alternatively, you can bungee jump out of a helicopter straight into its caldera. Your choice!
(Image credit: Nikater)
Europe’s tallest active volcano, Mount Etna in Sicily is also the birthplace of volcanology. Etna inspired the Greek philosopher Empedocles to divide the world into four elements: earth, wind, water, and fire. Although Empedocles was the first person to study volcanoes, he met a rather unscientific end when he tested a weak hypothesis: He jumped into Etna’s fiery crater to prove his immortality.
(Image credit: Ghessica De Leon)
Mount Mayon is the Philippines’ most active volcano and probably the easiest to paint—the smoking cone is almost perfectly symmetrical. But good looks can be deceiving. In 1814, Mayon erupted, followed by Mount Tambora in Indonesia the next year. The two belched so much ash into the atmosphere that, in 1816, temperatures plummeted worldwide. In New England, snow fell as late as August, and people called it the Year Without a Summer.
(Image credit: Flickr user callandresponse)
The Nicaraguan city of León is surrounded by 11 volcanoes. Cerro Negro attracts the youngest crowd: It’s the world’s best place for volcano surfing. Riders coast down the black ash—which is actually sharp as nails—at speeds up to 50 mph!
(Image credit: Boaworm)
Remember when this geological boil halted air traffic over Europe in 2010? Well, today you can take helicopter rides over the scarred, blackened remains of Eyjafjal- lajökull [eye-a-fyat-la-jo-kuhl], Iceland.
The above article by Robin Escrock is reprinted with permission from the July 2014 issue of mental_floss magazine.
High praise from a member of one of the best starting rotations in baseball history.
For most baseball fans, casual or otherwise, the Braves' pitching of the 1990s is the stuff of legends. Even today, the rotation, which included Hall of Famers Tom Glavine and Greg Maddux and soon-to-be Hall of Famer John Smoltz, is spoken of in hushed, reverent tones. Dreams of replicating that magic were exactly that: a dream. But at least one person thinks the Mets have some magic of their own.
"They're way better," Smoltz told the New York Daily News when asked how the Amazin's rotation matches up. "They've got more talent than we could ever have."
This year, Jacob deGrom, Matt Harvey, and Noah Syndergaard have been godsends for an offensive-deficient Mets team. Steven Matz showed flashes of brilliance in his two starts before he went on the disabled list with a lat tear. Zack Wheeler, out for this year and part of next year after Tommy John surgery, was off to a fast start. Seemingly constant injuries make it feel like Mets fans may never see these five on a mound together, but even the possibility gives you chills.
Statistics are practically impossible to compare; of the Mets, only Wheeler has completed a full season. Glavine, Maddux, and Smoltz pitched together for almost a decade, dominating the NL East. But the Mets' pitchers are young and have time under club control to become the Five Horsemen of the Apocalypse.
It's been a long season, and it's only halfway done. Wheeler likely won't be back until the All-Star Break next year. But just think about it, Mets fans. Can you feel the goosebumps?
Actually, actor W. Earl Brown’s got quite the filmography
Deadites- prepare to lose your heads, because the grooviest ghoul slayer to ever grace the silver screen is back in a new series on Starz.
Ash Vs. Evil Dead is ready to take over right where Army Of Darkness left off, and since it's on a cable network Sam Raimi can let that fake blood fly!
Collider sat down with Director Sam Raimi and stars Bruce Campbell and Lucy Lawless for a fun chat about the resurrection of the beloved Evil Dead franchise, and you can see a trailer for the new show below! (Barely NSFW due to language)
IT’S FUCKING WEDNESDAY. DID YOU KNOW FINGERNAILS GROW ABOUT THREE TO FOUR TIMES FASTER THAN TOENAILS?
WORDS OF WISDOM OF THE FUCKING DAY:
DON’T BUY THINGS. BUY EXPERIENCES.
PERSON OF THE FUCKING DAY:
THE FIRST MOTHERFUCKING MOUNTAIN MAN. more>>
EDUCATE YOUR IGNORANT ASS:
TEST YOUR SHITTY PROBLEM SOLVING SKILLS. more>>
FUCKING MIND-BLOWING BOOK OF THE DAY:
AWE PEOPLE WITH YOUR BITCHIN’ SKILLS. more>>
USEFUL SHIT OF THE GODDAMN DAY:
THE FIRST STEP TO GETTING YOUR ASS IN SHAPE. more>>
APP OF THE FUCKING DAY:
CREATE THE PERFECT FUCKING WORKOUT. more>>
AWESOME-AS-SHIT VIDEO OF THE DAY:
WHAT DOES YOUR PEE SAY ABOUT YOU? more>>
SWEET-ASS PICTURE OF THE DAY:
SEATTLE, FUCKING WASHINGTON. more>>
Netflix has released the first official trailer for Narcos, the story of the U.S. Colombian drug war of the 1980’s.
The Medellin cartel – the most violent, ruthless and wealthy criminal organization in the history of modern crime. And the one man who lorded over them all… Pablo Escobar.
NARCOS is the true story of the U.S. and Colombian efforts to battle the Medellin cartel during the cocaine-fueled drug wars of the 1980’s. Multi-layered and multi-faceted, NARCOS depicts a brutal world where lines are blurred and little is black and white. The Netflix original series, starring Wagner Moura, Boyd Holbrook, and Pedro Pascal,
Narcos premieres August 28th.
deGrom needed just ten pitches in to complete his inning.
Jacob deGrom made it into the All-Star Game, entering in the sixth with the National League trailing 3-1. He proceeded to pitch arguably the best single inning in All-Star Game history, striking out the side on just ten pitches. No pitcher had ever struck out three batters on ten pitches or fewer in the midsummer exhibition. A two-strike ball to Jason Kipnis was the only flaw preventing an immaculate inning from deGrom.
The inning started with Stephen Vogt (162 wRC+ against RHP this year). deGrom painted the corner twice to get ahead 0-2, then promptly blew Vogt away with a high fastball. Next up was Jason Kipnis (179 wRC+, 12.3% strikeout rate against RHP). deGrom again got ahead 0-2 with two fastballs on the corner. He then left a fastball outside before striking out Kipnis again with another fastball. Last up was Jose Iglesias (9.5% strikeout rate), entering the game for Alcides Escobar. deGrom got him to swing and miss at a fastball before throwing two consecutive curve balls for swinging strikes to end the at bat.
While the trio he faced was hardly murderers' row, Vogt and Kipnis absolutely mash righties and Iglesias is one of the hardest strikeouts in the game. deGrom managed to make them all look silly.