New Trailer for JJ Abrams and Bad Robot's Stranger

August 19, 2013, 3:50 pm

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TrailerDavid Crow8/19/2013 at 2:50PM

The new mystery box teaser promises a story about a man...a story which is a mystery.

All that is really known about the newest project from the JJ Abrams’ Bad Robot production company is the title: Stranger. Why do I get the feeling that they want to keep it that way?

In the mysterious new teaser for the upcoming flick, a black and white sequence of close-ups promises that “Soon” he (and thus we) shall know the truth. Soon, there will be an explanation as to why he is in the water. And soon, we might know why there is some creepy guy in the corner with his lips sewed shut. See for yourself.

Personally, I am getting a bit weary of this mystery box marketing campaigns. What seemed fresh and daring in the build-up for Cloverfield and intriguing, if it a bit annoying, in the lead-in to Super-8, feels downright hammy now. And the less said about “Who is Benedict Cumberbatch Playing,” the better.

Still, the visuals and atmosphere hopefully promise something worth seeing in this stylishly impressive tease.

Abrams is currently in heavy pre-production for his upcoming 2015 Star Wars: Episode VII film at Disney.

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Gregg Henry Going to the Guardians of the Galaxy

August 19, 2013, 4:51 pm

≫ Next: Exclusive: Patrick Wilson Talks About Setting For The Conjuring 2 [Hint: It's Not Amityville]

≪ Previous: New Trailer for JJ Abrams and Bad Robot's Stranger

NewsDavid Crow8/19/2013 at 3:51PM

James Gunn recurring player Gregg Henry is set to join the Nova Corps. into the great cosmos beyond in next summer's Guardians of the Galaxy.

In a sweet bit of casting of James Gunn fans, Gregg Henry confirmed via Twitter today that he is indeed joining next summer’s Guardians of the Galaxy.

OK UK hold on, I'm comin'.
Joining @JamesGunn again-
#Slither #Super-
this time for @Marvel #GuardiansOfTheGalaxy. Gonnabegreat!
— Gregg Henry (@GreggHenry88) August 19, 2013

Henry who has memorably had hilarious parts in Gunn’s gallows-humor genre comedies Slither and Super, will now join Marvel Studios’ ever-expanding Marvel Cinematic Universe. And knowing Gunn, the role will be humorously oily with an abrupt ending.

The casting comes on the end of news last week that Vin Diesel is in talks to play the voice of Groot, a revelation Diesel confirmed is likely happening via his Facebook page.

Guardians of the Galaxy will be Marvel’s first cosmic adventure when a group of space-traveling anti-heroes, that features a talking raccoon, come face to face with all sorts of galactic scum and villainy.

Guardians of the Galaxy releases August 1, 2014 and will star Chris Pratt, Zoe Saldana, Michael Rooker, Ophelia Lovibond, Benicio Del Toro, Djimon Honsou, Karen Gillan, Glenn Close and John C. Reilly.

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Exclusive: Patrick Wilson Talks About Setting For The Conjuring 2 [Hint: It's Not Amityville]

August 19, 2013, 6:28 pm

≫ Next: New Tense Clips for Closed Circuit

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NewsDavid Crow8/19/2013 at 5:28PM

Patrick Wilson sits down with Den of Geek to discuss Insidious Chapter 2, but helps confirm some rumors about the plot of The Conjuring 2 and its decidedly less well-known setting.

Over the weekend, we had the chance to sit down for a round of interviews with Patrick Wilson and other members of the cast and crew of Insidious Chapter 2 (don’t worry those interviews are coming). However, during our discussion with Patrick Wilson, the subject inevitably veered from one horror franchise currently helmed by James Wan to another.

In that other newly minted franchise, Wilson plays Ed Warren, the only non-clergy man recognized as a demonologist by the Vatican. Throughout the 20^th century he and his wife, Lorraine Warren (Vera Farmiga), investigated thousands of cases besides the one in this summer’s The Conjuring. This also goes beyond their most famous case, The Amityville Horror, as well.

So, when I asked him about the prospect of the plot for The Conjuring 2, Wilson just smiled and had some interesting things to say.

Den of Geek: In your research for The Conjuring, did you read of any particular Ed and Lorraine cases that you could see being adapted into a movie down the line?

Patrick Wilson: You digging for a sequel? [Laughs.] I mean we’re going to do a sequel to that. Yeah, [Screenwriters Chad and Carey Hayes] have come up…But they said one about a case in London about two sisters that were possessed. I mean there are thousands of cases, so there may be more than one. I don’t know, I have not read a script.

DoG: Did you read about this case in your research?

Wilson: About which case?

DoG: About the London case with two sisters.

Wilson: Yeah…Yeah…Yeah. [Laughs] Well if you go to The Demonologist[the Gerald Brittle book about the career and lives of Ed and Lorraine Warren], inthe latter half of that book, it gets pretty intense and insane…

Wilson is speaking of the 1977 case of Janet and Peggy Hodgson, two sisters purportedly haunted by paranormal activity in the English Borough of Enfield (a northern suburb of London), much to the interest and fascination of British newspapers for over a year. When Ed and Lorraine Warren investigated, Ed Warren claimed to have seen 11-year-old Janet levitate from her bed, as well as other unsetting contortions that suggested, to his and Lorraine’s diagnosis, demonic possession. The story has been rumored before as the plot when Lorraine Warren spoke with an unnamed source at Ain't It Cool News.

As always, there is controversy and dispute about the findings.

The Conjuring was the sleeper hit of the summer, gaining over $125 million in the U.S. box office alone (it still may cross $200 million worldwide). You can read our review HERE.

Wilson can next be seen in Insidious Chapter 2, which opens on September 13 in the U.S.

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Submitted by Sammy Lane on Mon, 2013-08-19 22:35.

gONNA BE EPIC!

Submitted by Victor Pleitez on Tue, 2013-08-20 02:53.

I doubt it. I didn't find the conjuring scary. Probably because people were over hypying it but i still had lots of fun with it, thought it was one of the better filmed movies of the summer. Still up until Insidious 2 Wan never made a sequel and if you look at the conjuring you can argue that a sequel isn't needed, it is ok as a stand alone horror movie.

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New Tense Clips for Closed Circuit

August 19, 2013, 8:08 pm

≫ Next: Man of Steel Lands on DVD and Blu-Ray November 12

≪ Previous: Exclusive: Patrick Wilson Talks About Setting For The Conjuring 2 [Hint: It's Not Amityville]

NewsDavid Crow8/19/2013 at 7:08PM

Four scenes of taut political thriller starring Eric Bana, Rebecca Hall and Julia Stiles are gleaned.

In our increasingly paranoid and monitored world of surveillance, at what point does paranoia become rational?

In John Crowley’s new terrifyingly sharp thriller about two British advocates entrusted with the defense of a man accused of a horrific act of terrorism, the answer is always going to be not soon enough. For proof, look no further than these four clips of the film:

Closed Circuit stars Eric Bana, Rebecca, Hall, Ciarán Hinds, Issac Hempstead-Wright, Julia Stiles and Jim Broadbent.

If you enjoyed thrillers in the ‘70s like The Conversation or have any thoughts about closed door judiciary hearings (and how can you not after this summer?), look out.

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Man of Steel Lands on DVD and Blu-Ray November 12

August 19, 2013, 8:41 pm

≫ Next: Bobby Cannavale Joins Annie

≪ Previous: New Tense Clips for Closed Circuit

NewsDavid Crow8/19/2013 at 7:41PM

Man of Steel gets an official DVD/Blu-ray release date, as well as a list of the slew of features within.

Some Superman fans may worry that the Last Son of Krypton will have to share the spotlight with another caped avenger in 2015, but this holiday season it is all about the Man of Steel.

In a triumphant announcement, Warner Brothers released a press statement that included the Nov. 12 release date for Man of Steel’s Blu-ray combo pack, Blu-ray 3D combo pack, DVD 2-Disc Special Edition and Digital Download debut. With more than 4-hours of special feature content and a swanky new cover photo, fans will have a lot to chew on. But don’t take our word for it. Read the official announcement (with pic!) below:

The fate of mankind is in the hands of one man when “Man of Steel” arrives onto Blu-ray 3D Combo Pack, Blu-ray Combo Pack, DVD 2-disc Special Edition, 3D Limited Collector’s Edition and Digital Download on November 12 from Warner Bros. Home Entertainment. In “Man of Steel,” Clark Kent is forced to confront his extraterrestrial past and embrace his hidden powers when Earth is threatened with destruction.
From Warner Bros. Pictures and Legendary Pictures comes “Man of Steel,” starring Henry Cavill in the role of Clark Kent/Kal-El under the direction of Zack Snyder.
The film also stars four-time Oscar® nominee Amy Adams (“The Master,” 2012), Oscar® nominee Michael Shannon (“Revolutionary Road,” 2008), Academy Award® winner Kevin Costner (“Dances with Wolves,” 1990), Oscar® nominee Diane Lane (“Unfaithful,” 2002), Oscar® nominee Laurence Fishburne (“What’s Love Got to Do with It,” 1993), Antje Traue, Ayelet Zurer, Christopher Meloni, and Academy Award® winner Russell Crowe (“Gladiator,” 1992).
“Man of Steel” is produced by Charles Roven, Christopher Nolan, Emma Thomas and Deborah Snyder. The screenplay was written by David S. Goyer from a story by Goyer & Nolan, based upon Superman characters created by Jerry Siegel & Joe Shuster and published by DC Entertainment. Thomas Tull, Lloyd Phillips and Jon Peters served as executive producers.
“Man of Steel” will be available on Blu-ray 3D Combo Pack for $44.95, on Blu-ray Combo Pack for $35.99, on DVD 2-disc Special Edition for $28.98, and as a 3D Limited Collector’s Edition for $59.99. The Blu-ray 3D Combo Pack features the theatrical version of the film in 3D hi-definition, hi-definition and standard definition; the Blu-ray Combo Pack features the theatrical version of the film in hi-definition and standard definition; the DVD 2-disc Special Edition features the theatrical version in standard definition; and the 3D Limited Collector’s Edition features the theatrical version of the film in 3D hi-definition, hi-definition and standard definition, and also includes a limited release metal “S” glyph with lucite glass stand. The Blu-ray 3D Combo Pack, Blu-ray Combo Pack, DVD 2-disc Special Edition and 3D Limited Collector’s Edition include UltraViolet* which allows consumers to download and instantly stream the standard definition theatrical version of the film to a wide range of devices including computers and compatible tablets, smartphones, game consoles, Internet-connected TVs and Blu-ray players.
SYNOPSIS
A young boy learns that he has extraordinary powers and is not of this Earth. As a young man, he journeys to discover where he came from and what he was sent here to do. But the hero in him must emerge if he is to save the world from annihilation and become the symbol of hope for all mankind.
BLU-RAY AND DVD ELEMENTS
“Man of Steel” Blu-ray 3D Combo Pack, Blu-ray Combo Pack and 3D Limited Collector’s Edition contain the following special features:
· Journey of Discovery: Creating “Man of Steel” – This immersive feature-length experience allows you to watch the movie with director Zack Snyder and stars Henry Cavill, Amy Adams, Diane Lane and others as they share the incredible journey to re-imagine Superman.
· Strong Characters, Legendary Roles – Explore the legendary characters of the Superman mythology and how they have evolved in this new iteration of the Superman story.
· All-Out Action – Go inside the intense training regimen that sculpted Henry Cavill into the Man of Steel and Michael Shannon and Antje Traue into his Kyptonian nemeses. Includes interviews with cast and crew.
· Krypton Decoded – Dylan Sprayberry (Clark Kent, age 13) gives the lowdown on all the amazing Krypton tech, weapons and spaceships featured in “Man of Steel.”
· Planet Krypton – The world’s first exploration of Krypton and its lost society.
“Man of Steel” DVD 2-disc Special Edition contains the following special features:
· Strong Characters, Legendary Roles
· All-Out Action
· Krypton Decoded
DIGITAL DISTRIBUTION ELEMENTS
On November 12, “Man of Steel” will be available for download in HD or standard definition from online retailers including but not limited to iTunes, Xbox, PlayStation, Amazon, Vudu, CinemaNow and more...
The film will also be available digitally in High Definition (HD) VOD and Standard Definition (SD) VOD from cable and satellite providers, and on select gaming consoles and broadband customers including Amazon, iTunes, etc.
ULTRAVIOLET
*UltraViolet allows you to collect, watch and share movies and TV shows in a whole new way. Available with the purchase of specially marked Blu-ray discs, DVDs and Digital Downloads, UltraViolet lets you create a digital collection of movies and TV shows. Services such as Flixster and VUDU allow you to instantly stream and download UltraViolet content across a wide range of devices including computers and compatible tablets, smartphones, game consoles, Internet-connected TVs and Blu-ray players. Restrictions and limitations apply. Go to ultraviolet.flixster.com/info for details. For more information on compatible devices go to wb.com/ultravioletdevices. Restrictions and limitations apply. Go to ultraviolet.flixter.com/info for details.
BASICS
PRODUCT SRP
Blu-ray 3D Combo Pack $44.95
Blu-ray Combo Pack $35.99
2-disc Amaray (WS) $28.98
3D Limited Collector’s Edition $59.99
Standard Street Date: November 12, 2013
DVD Languages: English, Latin Spanish, Canadian French, Thai
BD Languages: English, Latin Spanish, Canadian French, Brazilian Portuguese, Mandarin
3D BD Languages: English, Latin Spanish, Canadian French, Brazilian Portuguese
DVD Subtitles: English SDH, Latin Spanish, Parisian French, Cantonese, Chinese (Traditional), Thai
BD Subtitles: English SDH, Latin Spanish, Parisian French, Brazilian Portuguese, Chinese (Simplified)
3D BD Subtitles: English SDH, Latin Spanish, Parisian French, Brazilian Portuguese
Running Time: 143 minutes
Rating: PG-13 for intense sequences of sci-fi violence, action and destruction and for some language
DLBY/SURR DLBY/DGTL [CC]

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Bobby Cannavale Joins Annie

August 19, 2013, 9:14 pm

≫ Next: Universal Bringing Boom! Studios’ Day Men to the Screen

≪ Previous: Man of Steel Lands on DVD and Blu-Ray November 12

NewsDavid Crow8/19/2013 at 8:14PM

Popular character actor joining Jamie Foxx, Cameron Diaz and Rose Byrne in Jay-Z produced musical adaptation, Annie.

In demand character actor Bobby Cannavale has been cast to join the star-studded, Jay-Z produced, new film adaptation of Broadway sensation Annie.

Deadline is reporting that Sony Pictures closed a deal with Cannavale to join its exploding cast of talent, which includes Quvenzhane Wallis in the title role, Jamie Foxx as Benjamin Stacks, Rose Byrne as Grace, and Cameron Diaz as Miss Hannigan.

The project is being directed by Will Gluck (Easy A) and is being produced by, among others, Jada Pinkett Smith, Will Smith and Shawn Carter.

Cannavale is coming off a superb stint as the Season 3 psychopathic villain on Boardwalk Empire, for which he earned an Emmy nomination for, as well as for his stint on Nurse Jackie, and a successful run on Broadway in Glenngary Glen Ross. He also can currently be seen in Lovelace and Blue Jasmine.

Annie is set for release Christmas Day 2014.

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Universal Bringing Boom! Studios’ Day Men to the Screen

August 19, 2013, 9:30 pm

≫ Next: New Poster of Benedict Cumberbatch as Julian Assange

≪ Previous: Bobby Cannavale Joins Annie

NewsDavid Crow8/19/2013 at 8:30PM

Universal and Boom! Studios to bring vampire horror/action story, Day Men, to the big screen.

In a bit of unsurprising news, Boom! Studios, the biggest comic book publisher not owned by Disney or Time Warner, has inked a deal with Universal Pictures to adapt another property. This seems like a no-brainer after 2 Guns, a Denzel Washington and Mark Wahlberg action flick based on a Boom! Comic of the same name, opened at the top of its weekend with $27 million earlier in August.

According to Deadline, Universal has been so impressed that they preemptively bought the rights to Day Men with a seven-figure bid before the comic ever hits shelves.

Day Men imagines a world where rival vampire families clash during the night, and the “Day Men” keep the secrets by the sun. When the war spills into the light, on specific Day Man will have to intervene.

This seems par for the course for Boom!, who acquired Archaia Entertainment in June to hold this title. And given how Icon’s (a Marvel imprint) Kick-Ass 2 did this weekend, it is not a surprise more are turning to this alternative.

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New Poster of Benedict Cumberbatch as Julian Assange

August 19, 2013, 9:53 pm

≫ Next: Fox Scares Up Trailer for Fright Night 2: New Blood

≪ Previous: Universal Bringing Boom! Studios’ Day Men to the Screen

NewsDavid Crow8/19/2013 at 8:53PM

New poster for The Fifth Estate shows actor Benedict Cumberbatch going the full Assange.

DreamWorks is gearing up for the fall by releasing the first poster for the Bill Condon-directed project, The Fifth Estate. Based on true events, the film aims to explore the genre around an Internet upstart that became the most controversial Website in the last decade when to “speak truth to power,” it leaked countless government documents onto the Internet.

The film is set to star Benedict Cumberbatch as the much-debated figure Julian Assange, as well as Daniel Bruhl, Anthony Mackie, David Thewlis, Alicia Vikander, Peter Capaldi, Carice van Houten, Stanley Tucci and Laura Linney.

The film will tell how WikiLeaks began as a meagerly financed platform for whistleblowers to bring attention to government and corporate secrets, however when they leak the biggest cache of confidential U.S. documents in history, WikiLeaks founder Assange falls out with colleague Daniel Domscheit-Berg (Bruhl) and ask the ever prevalent questions, regarding secrecy, freedom, and security.

The Fifth Estate opens its doors on October 18.

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Submitted by maria on Tue, 2013-08-20 01:53.

Draco Malfoy, 20 years later.

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Fox Scares Up Trailer for Fright Night 2: New Blood

August 19, 2013, 10:48 pm

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NewsTony Sokol8/19/2013 at 9:48PM

Fox Home Entertainment released the trailer for its new straight to DVD movie Fright Night 2: New Blood.

Straight-to-DVD movies are a mixed bag. For the most part, the best you can say about them is they have an inferiority complex. The studios don’t think either don’t think enough about what they made to put them out in full theatrical release or they never intended them to go into theaters in the first place. In the case of really low-budget indies, it’s better than not being viewable by the public, in the case of the studios, it usually means they really aren’t viewable. I always hold out hope. Now I wasn’t too thrilled with the remake of Fright Night. It didn’t have the charm or the humor of the original, even if it did have Colin Farrell. But Fright Night 2, which is a reboot of a seldom seen sequel? That might be worth it. I liked the original sequel and Julia Carmen’s vampire. Seldom has a crucifix been so sexy.

Fox Home Entertainment released its trailer for Fright Night 2: New Blood. I think I remember this making the bootleg rounds. Edward Rogriguez is the director and it comes out on DVD and Blu-ray October 1. It doesn’t look like this is a remake of the original. It takes place in Romania, where Charlie is going to school with his friend “Evil” Ed and his ex-girlfriend Amy. Charlie gets hot for teacher, but his teacher is probably a little cold to the touch. Gerri, played by Jaime Murray, is a vampire and she probably has tenure. Charlie figures this out, but no one believes him. Why should they? He’s only done the vampire expose once before. The vampire teacher turns “Evil” Ed. But no one believes him. Except possibly Peter Vincent, renowned vampire hunter from the show “Fright Night,” who is going to teach Charlie how to put a mosquito net around his ex before Gerri sucks her dry.

Sounds like fun. But it doesn’t sound like Fox has too much faith in it. All the characters from Fright Night are back, but not the actors who played them. And Craig Gillespie, who directed the first remake, is nowhere to be seen. What is to be seen in the trailer is the same car wreck I saw Colin Farrell cause in the Fright Night remake. But like most car wrecks, I know I won’t be able to look away. See you in October, Fright Night 2: New Blood.

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Samuel L Jackson on Captain America: The Winter Soldier

August 20, 2013, 9:00 am

≫ Next: Why Fast & Furious 7 should be a slasher movie

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NewsGlen Chapman8/20/2013 at 8:00AM

Samuel L Jackson has been chatting about Nick Fury's role in the upcoming Captain America sequel

Samuel L Jackson's Marvel contract is a multi-picture deal that ties him to the cinematic universe for the long haul, so his appearance in the studio's movies, no matter how big the part, is something of a given.

He's recently been chatting about his upcoming appearance in Captain America: The Winter Soldier, and he told USA Today that "you see Nick Fury as the office guy, he's going about the day-to-day work of S.H.I.E.L.D. and the politics as opposed to that other stuff. It's great to have him dealing with Captain America in terms of being able to speak to him soldier to soldier and to try to explain to him how the world has changed in another way while he was frozen in time".

He added that "some of the people who used to be our enemies are now our allies – him trying to figure out 'well, how do you trust those guys?' or 'how do we trust guys that you didn't trust who don't trust you?' And explaining to him that the black and white of good guys/bad guys has now turned into this grey area. Nick lies to him all the time, too".

Jackson then went on to discuss Robert Redford's role as Alexander Pierce. "He's part of that World Security Council I was talking to in The Avengers, just he wasn't there. We also know each other because we've been comrades for a very long time … there's some stuff that's said that gives you an idea of how he's been a part of that environment for a long time and the kind of guy he was".

More on Captain America: The Winter Soldier when it's available.

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Why Fast & Furious 7 should be a slasher movie

August 20, 2013, 9:03 am

≫ Next: Author With an Ear for Dialogue Elmore Leonard Dies at 87

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NewsRyan Lambie8/20/2013 at 8:03AM

With Fast & Furious 7, director James Wan could take the franchise into slasher movie territory. Ryan explains why he should...

NB: This article contains spoilers for Fast & Furious 6

Defying the laws of sequel entropy, Fast & Furious 6 managed to be an even bigger financial hit than its predecessor. The Fast franchise, it seems, is like a speeding juggernaut, crashing through minor details like logic and the laws of physics, and entertaining through sheer thunderous velocity.

The Fast movies have also managed to grow in popularity, as opposed to drifting into straight-to-DVD hell, thanks to a canny bit of reinvention. Fast Five wisely put aside the street racing and Halfords bling of its predecessors and took a U-turn into action heist territory. With director Justin Lin throwing in Dwayne Johnson for good measure, Fast Five was a loud, larger-than-life carnival of crashing cars and fist-fights, and the results were overwhelmingly popular.

This year's Fast & Furious 6 continued in a similar vein, with its cast of upbeat gasoline heads (and a scowling Vin Diesel) indulging in a new automotive adventure in various parts of Europe. What probably stayed with cinemagoers when they left the theatres, though, was that unexpectedly harsh mail-credits scene, which both cleared up a lingering plot detail and introduced the next movie's villain.

Finally joining the Fast series back up to 2006's Tokyo Drift (confusingly, every movie since then has been set before the events of the third Fast & Furious), the stinger saw Han (Sung Kang) head to Tokyo. And in a recreation of Han's death scene from Tokyo Drift, where we saw the character's car fatally smashed up but not the driver responsible, Han's car flips upside down, pinning him inside.

This time, however, we get to see the culprit. Stepping out of his silver Mercedes with a flourish, it's none other than Jason Statham. He's Ian Shaw, the brother of Owen, the ex-SAS Fast 6 bad guy played by Luke Evans - and he's clearly intending to avenge his sibling's death by offing every member of Dom's crew.

"Dominic Toretto," Ian growls into a mobile phone as Han's car explodes in the background, "you don't know me, but you're about to..."

Leaving aside the brilliance of having a villain called Ian for a moment, this scene raises one quite exciting possibility. Given that Statham's character just killed Han using a car, could it be that the Fast franchise is about to switch genre again? Could it be that Fast & Furious 7 will be a kind of road-going slasher movie?

Longstanding franchise director Justin Lin has stepped out of the picture for Fast 7, and James Wan's now in his place. While it's likely that Wan will hew to the straight action-and-theft formula of the previous two films, it's also possible that he's been hired precisely because of his form in directing such horror flicks as Saw, Insidious and The Conjuring - he could be just the director to bring a renewed sense of threat to the franchise's action scenes.

In Wan's hands, Fast 7 could be like a 12A, popcorn-crowd version of Quentin Tarantino's Death Proof, in which a deranged stunt driver (played by Kurt Russell) terrorised other road users with his apparently indestructible car. Jason Statham has form in the killer car subgenre, having starred in Paul WS Andersons' Death Race remake, so he's well versed in the habit of using a vehicle for murderous ends - and his casting in the role of Ian Shaw could be a nod to that earlier movie, too, as well as his driving-and-fighting turns in the Transporter series.

Having Statham chase the cast of Fast 7 like Jason Voorhees in a Mazda would not only add a new air of tension to the series' now familiar range of gravity-defying car chases, but also give the writers a chance to thin out its now gigantic cast of characters. Where the first Fast movie was essentially a bromance starring Vin Diesel and Paul Walker, the roster has since ballooned: Fast 6 counted Tyrese Gibson, Chris Bridges, Jordana Brewster and Dwayne Johnson among its central heroic actors, with Tego Calderon and Rico Santos from Fast Five barely even getting a look-in. A rampaging Statham could be just what the series needs to stir this ever-expanding gang up a bit.

The loopy notion that a revenge-seeking hitman would use cars to kill his victims even fits in with the franchise's own loopy form of logic; Dom's gang is, after all, obsessed with stealing things from moving vehicles rather than, say, a warehouse or something.

It's more likely, of course, that the producers of Fast 7 will play it safe, and turn out another movie in the same mold as the previous two entries. If they really wanted to pull their punches, they could even reveal that Han survived his apparent death on that Tokyo road. But with Wan's previous form wouldn't that be a missed opportunity? With Fast 7, he has the chance to craft a high-octane slasher flick about a revenge-mad serial killer called Ian. Played by Jason Statham.

It's not necessarily the sequel that fans would expect, but it's a sequel we'd pay good money to see.

Fast & Furious 7

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Submitted by Al X. Parkour on Tue, 2013-08-20 18:31.

A nice idea, surely, but not something that really piques any interest in me. I don't see myself going to pay for Fast and Furious 7: Death Proof. I do agree that the mold currently being set by the past two films needs to be broken, though.

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Author With an Ear for Dialogue Elmore Leonard Dies at 87

August 20, 2013, 12:05 pm

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NewsTony Sokol8/20/2013 at 11:05AM

Elmore Leonard, writer of Hombre, Out Of Sight, 3:10 To Yuma, Get Shorty and Jackie Brown, dies at 87.

Elmore Leonard, who’s novels inspired 26 movies, died in Detroit today at 87 from complications from a stroke at 7:15 this morning. His Facebook page says “at home surrounded by his loving family.” The films Hombre, Out Of Sight, 3:10 To Yuma, Get Shorty,Jackie Brown and the FX series Justified are all based on his work. His researcher Gregg Sutter said he was “very much into his 46th novel” when he was hospitalized in August.

Elmore Leonard was born in New Orleans on October 11, 1925 and raised in Detroit. Leonard cited the duel headlines of the exploits of Bonnie and Clyde and the Detroit Tigers riding their way to the World Series 1934 and 1935 for igniting his passion for sports and guns. Leonard went into Navy where he was stationed in the South Pacific and got the nickname “Dutch” after a pitcher. Leonard studied writing at the University of Detroit, earning a degree in English and philosophy while submitting poems and short stories to magazines. He continued writing while he wrote copy for the Campbell-Ewald Advertising Agency.

In 1951 Argosy published Leonard’s short story "Trail of the Apaches." He wrote his first novel, The Bounty Hunters in 1953. The Tall T and 3:10 to Yuma, two classic fifties westerns were based on Leonard stories. Leonard continued writing pulp Westerns and expanded into mystery and crime genres and screenplays.

Besides the nickname Dutch, Elmore Leonard was also called "the Dickens of Detroit" and other writers gushed over his gift for realistic dialogue. Stephen King called him "the great American writer." Leonard said he was most influenced by Ernest Hemingway but wished Hemingway had more of a sense of humor.

SOURCE: DEADLINE

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The Star Wars #1 Preview Pages From Dark Horse Comics

August 20, 2013, 1:21 pm

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NewsMike Cecchini8/20/2013 at 12:21PM

George Lucas' original, unfilmed version of Star Wars is getting visual life thanks to Dark Horse Comics. Check out these preview pages from The Star Wars #1!

Dark Horse Comics is bringing George Lucas' original vision for Star Wars to the comics page. And, as you're about to see, it's a version unlike any you've ever seen before. You see, THIS Star Wars isn't a matter of Special Editions, prequels, or who shot first. This is based on the early drafts of the Star Wars screenplay...most of which never made it to the screen. And the stuff that did was in a drastically altered form.

Now, Dark Horse has provided seven preview pages from this ambitious project, to give us a glimpse of a Star Wars comic unlike any they've ever published in their long, storied history as four-color custodians of the Star Wars legacy. The Star Wars #1 hits shops on September 4th, and is written by J.W. Rinzler with art by Mike Mayhew, and colors by Rain Beredo and Brad Anderson. Enjoy these pages, and may the force be with you...wait...will they even say that in this one?

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The World's End, Review

August 20, 2013, 1:34 pm

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ReviewSeb Patrick8/20/2013 at 12:34PM

The Cornetto trilogy is complete, as Edgar Wright, Simon Pegg and Nick Frost deliver The World's End. Here's our review...

There's something deeply apt about the central tenet of The World's End involving Simon Pegg's hopeless wastrel Gary King seeking comfort in the familiar haunts of his youth. Having spent the six years since Hot Fuzz developing respective careers that have shown an ability to outgrow and expand from, rather than simply retread, the paths that made them famous, Pegg and his trusty cohorts Nick Frost and Edgar Wright return to complete the fabled 'Blood and Ice Cream' trilogy by digging for the same sort of cosy familiarity that Gary looks for in his fabled twelve-pint bar crawl.

And the familiarity is, to begin with, comforting for the audience, too. After a pre-title sequence that's as close to a big screen version of Spaced as we'll ever get (yes, including Shaun Of The Dead), the remainder of the opening act plays out with a tone that borders on flat out Pegg-Wright-Frost nostalgia. Wright's signature scene-pans are in place, the dialogue subtly hints at future plot events in the way Shaun so expertly did, and the character humor – as Gary rounds up a dispersed gang of school chums to their home town to re-enact the bar-crawl-that-never-quite-was – is reassuring and comfortable.

The first hint that the movie intends to surprise, though, comes with its first heavy gear change – with the opening half an hour or so managing to lull the audience into forgetting that actually, a sudden shift into violence is as much a trademark of the Cornetto films as Pegg jumping over a fence. Managing to turn what should be an expected peeling-back of the plot proper into a sudden and genuine shock is just the first of a number of twists and swerves the movie decides to take.

Perhaps most notable of these, although it's apparent from any advance publicity you may have seen, is the decision by Pegg and Frost to reverse their usual roles – Frost playing the more sensible, 'together' Andy, while Pegg is allowed to cut loose for arguably the first time in this partnership. On the one hand, it's an inspired move – it means we get Pegg's best performance in many a long while. King is a masterful creation, in the finest tradition of British comic monsters. He's jokey on the surface but deeply grim underneath, the unpleasant 'life and soul of the party', who has nothing to live for but the next pint, and seems to care little about the friends he drags through metaphorical hedges with him. A less inherently likeable actor would make the character irredeemable, but a performance filled with nuance leaves us perpetually uncertain as to whether we should give up on him or root for him.

The positive side of this role-swapping, however, comes at the expense of getting a performance out of Frost to match his turn as Hot Fuzz's Danny Butterman. The feeling that he's outgrown the likes of Shaun's Ed or Spaced's Mike persists, but the range he's shown in recent years is largely untapped here, as he's forced to play the straight man, with only a late sparking of the classic Simon-and-Nick chemistry kicking full life into the character. Not that he's alone in this. A fine set of supporting players in Paddy Considine, Martin Freeman, Eddie Marsan and Rosamund Pike are given characters who can't help but be overshadowed by Pegg's towering performance. Indeed, as far as the supporting cast goes, it's single-scene cameos from an array of names (many too good to spoil) that keep the interest up.

Although more overtly a genre piece than its predecessors, the gay abandon with which the movie leaps head-first into its sci-fi conceit actually allows it to sustain the humor for longer than they did. Where the plot of Shaun necessitated a significantly darker final act, and Fuzz relied on mystery and dramatic tension, The World's End shoots far closer to out-and-out parody, with a threat that seems drawn from approximately five or six classic films at once. With a less palpable sense of jeopardy at play – although Wright draws a couple of genuinely chilling moments that we won't spoil here – the laughs are able to fly more freely, drawn largely from argument-based patter and the odd bit of slapstick. There's one absolutely exquisite, near-show-stopping visual gag to trunk.

By the time the obligatory Cornetto reference shows up, however, it's hard to shake a very slight nagging feeling that the gang have made the movie that people might have expected of them, rather than the movie they necessarily wanted to. It's as if the pressure to make a third 'Blood and Ice Cream' movie slightly compromised, rather than informed, the story they planned to tell. That in turn means that an ending quite unlike anything they've done before (and which you suspect will be heavily debated, for better or worse, for quite some time afterwards) feels like the movie's major attempt to break from the norm.

A sharp, funny, energetic, visually and sonically stylish romp, the only real problem with The World's End is that as the third movie this team have made that ticks all those boxes, it falls prey to the risk of having those qualities be taken for granted. The cosy nostalgia remains very welcome, but the movie's at its best when it sets out to surprise and confound, rather than to simply give us what we want. As such, the lesson that it sets out to teach Gary is one that it could perhaps stand to learn just a little from itself.

Den of Geek Rating: 3.5 out of 5.0

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Robert Rodriguez's El Mariachi Coming to TV

August 20, 2013, 2:24 pm

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NewsTony Sokol8/20/2013 at 1:24PM

Sony Pictures will produce a TV Version of Robert Rodriguez's movie El Mariachi starring Ivan Arana.

Sony Pictures Television announced that it will produce 70 episodes of a new original series based on Robert Rodriguez's 1993 revenge drama El Mariachi. The Spanish-language series will be shot in Mexico and star Ivan Aran.

This is the first time that Sony and Teleset, Sony’s Colombian partner, will shoot a whole series in Mexico. Ivan Arana, who played in Soy tu Fan, will play the mariachi who goes on a vendetta against drug cartels. El Mariachi will also star Mexican actors Martha Higareda of Street Kings and Julio Bracho of Road to Fame.

Angelica Guerra, Sony senior vp production in Latin America and the U.S. Hispanic market said "Staying true to the story, we are producing the series in Mexico, shooting in magnificent locations and utilizing some of the country's best talent."

El Mariachiwill be broadcast on Sony Entertainment Television in Latin America. It will be on a network in the United States, Sony hasn’t announced which one yet. Sony and Teleset also are producing a Spanish language version of Breaking Bad called Metastasis, which will be set in Colombia.

Robert Rodriguez’s Machete Kills premieres on Sept. 19 at the Fantastic Fest in Austin.

SOURCE: THR

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Kick-Ass 2 and The Mask of Violence

August 20, 2013, 2:34 pm

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FeatureDavid Crow8/20/2013 at 1:34PM

Like a timeless narrative, Kick-Ass 2 and its cartoonish blood-in-the-water marks another media feeding frenzy that shrouds any real discourse; even the stars are jumping in.

“Show’s over motherfuckers,” Chloe Grace Moretz’s always-controversial Hit-Girl says in the most pivotal scene of the 2010 instant geek cult classic Kick-Ass. The gleefully shocking expletive follows a scene of extravagant movie violence and high-tension editing as director Matthew Vaughn strobe lights his sharp visuals to the ridiculously operatic (and reappropriated) “Adagio In D Minor” by composer John Murphy. The sequence is meant to be hilarious, harrowing and awe-inspiring as an 11-year-old girl armed to the teeth with semi-automatic pistols desperately fights to save the life of her overacting father played by Nicolas Cage dressed like a Batman knock-off. While she may fail in her mission, this moment has lived on in the dubious superhero movie hall of fame.

There is so much that is offensive about this scene for the gatekeepers of good taste and purveyors of moral decency that I would not know where to begin. But it is clear that its greatest sin remains that it wasn’t the end of the show. Hell, we hadn’t even gotten to the sequel where a character would quite literally adopt the (jarred) five-dollar handle of “The Motherfucker.”

For the last month or so Kick-Ass 2’s incoming release, hurled at this weekend like a throwing star, has been engulfed by a cloud of moral disdain for its mere existence. Ultimately, this has done little to improve the sequel’s box office returns, which have been overtaken by the definitively Oprah’s Lee Daniels’ The Butler. Still, the cultural climate should be noteworthy considering how euphorically welcomed the series was in 2010, and how total its disavowal and societal regret is in 2013. Especially as the most peculiar aspect about this kind of media frenzy is that the charge was first sounded by one of its stars.

Jim Carrey, an enigmatic face of Hollywood for the last 20 years, is in the midst of rebranding his image following one senseless tragedy after another in the American heartland. In the wake of one of the most horrifying school shootings ever, committed last December when a lone gunman walked into an elementary school named Sandy Hook, many minds and emotions were fundamentally and understandably changed. In Carrey’s case, it began with a provocative, if curiously targeted, condemnation of the political maneuvering of gun lobbyist the National Rifle Association and its long dead movie star president, Charlton Heston. However, the entertaining satire simultaneously raised many eyebrows, as Carrey was also appearing in trailers for this summer’s Kick-Ass 2, in which he could be seen waving a gun around with a big grin.

In the final film, it turns out the gun was empty; yet, Carrey’s political reservations about gun violence were not. In June, the funnyman movie star distanced himself from the film’s violence and his role in it. This came as an even bigger surprise, considering that he was such a fan of the original film that he appeared alongside Conan O’Brien in 2010 dressed as Kick-Ass and openly campaigned for a role in the sequel. While the change of heart appears legitimate, it remains a curiosity why he announced the move via Twitter to his bosses who reportedly gave him a 7-figure paycheck for his work. Still, the gates were opened and the hype around the August follow-up exploded like a discharging bullet.

Now, finally released, the claws have come out, and many critics are issuing a moral outcry to a film whose predecessor was greeted with 78 percent positive reviews on Rotten Tomatoes. It has been called “mean-spirited,” “ugly” and just all around repugnant. But the most biting denouncement has been reserved by Manohla Dargis, co-chief film critic of The New York Times. In her scathingly riveting takedown of the film, entitled by copy as “Teenagers with Guns, Supposedly Good Guys,” Dargis accuses the film not only of glorifying over-the-top violence, but panegyrizing teenage violence itself.

“You may also wonder who at Universal signed off on a flick in which human beings are as disposable as tissues, and teenagers shoot to kill,” rhetorically muses the writer with more than a hint of pessimism about the Hollywood system. She goes on to exasperatedly sigh at the sequel and its progenitor for using caricatures and extremes to justify manic violence masquerading as woozy comedy. And at the heart of it all is, as always, Moretz’s now 15-year-old Mindy Macready, aka Hit-Girl.

“Now Mindy is just another kid with only one real friend, no real parenting, problems at school, a carefully nurtured secret life and a roomful of lethal weapons,” Dargis cryptically closes her review with. “In other words, while she’s still a fictional character and a moderately cartoonish one at that, she’s also a heroic stand-in for every teenager who picks up a gun and starts shooting.”

Moral disdain and sweeping cultural implications in a nutshell.

Personally, I did not find Kick-Ass 2 to be a good movie. Despite a number of entertaining set-pieces and laugh-out-loud one-liners fired off from writer/director Jeff Wadlow’s screenplay like a particularly crude night at The Comedy Cellar, the picture undeniably lacks the creative spark that elevated Matthew Vaughn’s 2010 original flick from a coarse groaner to a spiteful love letter for the superhero form that sported a wickedly devious smile. Kick-Ass is an infinitely smart action/comedy/drama/schizophrenic fantasy that revels in its lowbrow humor and silly medium; Kick-Ass 2 is, at best, equivalent to one of the lesser Judd Apatow-produced raunchfests that settles for the juvenile yuks. It often achieves just that thanks to a very talented cast that, if nothing else, further cements Ms. Moretz’s inevitable rise to Hollywood stardom, but the joy and wonder of the original left with Vaughn and co-writer Jane Goldman.

Nonetheless, I cannot help but detest these media violence arguments, whether splashed across social media by a mega-name or left dangling between the lines of a well-written analysis. Either way, it is maddening.

The moral majority could also be heard, much more faintly, when the previous Kick-Ass enjoyed its time in the sun. Chicago Sun-Times critic Roger Ebert infamously blasted the well-received curveball as “morally reprehensible” and included it on his “Your Movie Sucks” list. While I disagree with Ebert on that particular film, he remains one of the most insightful and illuminating cinephiles to ever put pen to paper. In that vein, Ebert coined a terrific phrase, which he often repeated: “It’s not what a movie is about, it’s how it is about it.” Truthfully, reaction to the level of carnage in Kick-Ass, which can be comparable to the animated wackiness of Looney Tunes, is contextually not dissimilar to distressing over Elmer Fudd shooting Daffy Duck in the face. And given that Universal Pictures evidently toned down the mayhem for this big studio supported sequel, the sudden influx of Ebert cosigners is even more mystifying. Is an 11-year-old committing violence really more acceptable than a 15-year-old?

To be fair, for some the cutoff age may be 17. After all, Quentin Tarantino featured a murderous 17-year-old waif, who appeared at all times in a Japanese schoolgirl outfit no less, in Kill Bill Vol. 1 (2003). Gogo Yubari, a sociopathic teenager played by Chiaki Kuriyama, amusingly slaughters male suitors at bars and wields a nasty looking mace-like ball of death before being brutally (and graphically) dispatched herself by our heroic Uma Thurman. Kuriyama likely even got the role for playing Chigusa in another cult classic called Battle Royale (2000), a film in which she plays a 15-year-old who castrates a classmate who cut her face (that film is often cited by critics as a forerunner to The Hunger Games).

All this exaggerated and celebratory violence, and the film received nothing but the highest of praises, including from Roger Ebert and Manohla Dargis, the latter of whom was then writing for the Los Angeles Times. Dargis at the time, under the headline “It’s Bloody Tarantino,” called Kill Bill“a blood soaked valentine to movies.” She even enthusiastically begins the review by stating that “blood doesn’t just flow in Quentin Tarantino’s ‘Kill Bill-Vol. 1’– it splatters and spurts and rises in fountains so baroque and luxuriant that there are moments when it seems as if it were raining red.”

God forbid that I try to draw a parallel between Tarantino and Wadlow, but their approach to violence in comedic terms is not that different, save for that Tarantino does it with grace, artistry and deft, as opposed to clumsily stumbling over his own material. Yet, even with filmmakers whose use of violence I despise, such as frequent Tarantino collaborator Eli Roth’s abhorrent Hostel films, or more recently Michael Bay’s brain dead monument to materialism, Pain & Gain, accreditation or implication for the ruination of culture seems not only to be folly, but the exact sort of corn syrup-drenched paper mask that the stalwarts of a deadly status-quo yearn to hide behind.

Last year, Tarantino released another film that was rated R for extreme violence, which includes (but was not limited to) a man being ripped apart by dogs, another man being beaten to death for sport, a woman being sold into a slaver’s form of prostitution and an African-American hero who goes on a triumphant rampage through the white planter class of a Mississippian Antebellum plantation.

Also, it’s a fantastic film that deserved its Oscar for Best Original Screenplay, as did featured co-star Christoph Waltz, who picked up his second Academy Award from a Tarantino collaboration. The New York Times even dubiously claimed it to be one of the year’s films influenced by Obama’s cultural impact. While that argument can certainly be made for other 2012 prestige pictures, including Lincoln, I would call shenanigans on this particular correlation. Still, it also drew the ire of other political forces last winter.

Following the inconceivably heinous events in Newtown, the NRA was disturbingly slow to respond to the madness, though still lightning quick to find a scapegoat in their eventual press conference. Wayne LaPierre, executive vice president of the NRA, wasted no time in changing the subject from actual gun violence to media violence. And while the handpicked sacrificial lambs were laughably dated, American Psycho (2000) and Natural Born Killers (1994), the message is really a timeless classic. Soon enough, actually culturally relevant Django Unchained ended up in the breathlessly irrelevant conversation.

In January, instead of discussing his movie, Tarantino was rather skeptically asked by NPR to essentially defend the entire worth of movies featuring violence.

“I'm really annoyed,” the director said about the line of questioning. “I think it's disrespectful. I think it's disrespectful to [the victims’] memory ... of the people who died to talk about movies.” He posited to the elephant in the room: Why is this a discussion instead of gun control or mental health?

The answer is because it is easier to talk about anything other than the nose in front of your face. Consider that in 1999, following the Columbine school shooting, Wayne LaPierre of the NRA testified before the U.S. House of Representatives that his organization thought “it’s reasonable to provide mandatory instant criminal background checks for every sale at every gun show.” Anything except THAT unreasonable bill being pushed by Sen. Frank Lautenberg (D-N.J.) in the U.S. Senate right now! Of course, when the House shot down the Senate bill later that year, the NRA surely did not campaign for background checks at gun shows. Why, they even vowed to oppose universal background checks in 2013 after a 24-month period saw mass shootings in Tucson, Aurora and Newtown, among others. Hence, the successful lobbying effort killing the anemic 2013 Senate bill to require universal background checks, a basic reform that according to polls enjoyed the support of a whopping 86 percent of Americans.

But let’s get back to violence in Kick-Ass 2, as it is the much more crucial problem facing this society.

I would not be so authoritative (or naïve) to deny the concept of media influence. While supposedly once conclusive research, such as Dr. Albert Bandura’s famed Bobo doll experiment, has been repeatedly torn apart for selective bias and other inadequate temporal jumps, one cannot ignore that human nature includes some form of observational learning. It is one of the many factors as to how one generation passes knowledge to the next. But the idea that media, art or fiction, even that of bad quality, should be feared or condemned as a causal effect or spectral signpost for the demented or mentally ill in our society is smoke in the wind, chased since Romeo and Juliet was blamed for teen suicide, Batman and Robin for "turning" children gay, and Catcher in the Rye was banned in U.S. schools for causing youthful revolt and inciting Mark David Chapman to shoot John Lennon.

In other words, it’s like suggesting that teenagers didn’t know what sex was until Elvis Presley shook his hips, or that Al Capone didn’t discover his Lake Shore hospitality until he watched Howard Hughes’ Scarface. There will always be that old guard attempting to shame with a shaking finger the Hughes’ or the Presleys or the Salingers of the world, always ready to bemoan the assured decadence and decay of a society slipping into the moral abyss with each passing year and new popular trend. But try to discuss fixing that societal decay? Oh hold on, someone wants to get back to talking about the movies.

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Disqus - noscript

Submitted by Lord Stubbington on Tue, 2013-08-20 19:47.

WELL-DONE! Politically charged, yes, but those are my politics, too! You nailed it. I am tired of people having the WRONG arguments about these issues. "it’s like suggesting that teenagers didn’t know what sex was until Elvis Presley shook his hips" ....BOOM!

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New Pictures From the Set of Noah

August 20, 2013, 3:38 pm

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NewsDavid Crow8/20/2013 at 2:38PM

New images from Darren Aronofsky's Biblical epic Noah with Russell Crowe, Jennifer Connelly and Anthony Hopkins.

Darren Aronofsky’s new Biblical epic, Noah, doesn’t flood screens until next March. But thanks to a photo dump of terrific set photos on Film Stage, we have been able to get our first glimpse of this truly epic production.

Described as more about the man’s struggle on the land before the watery annihilation than the actual flood, Noah aims to tell one of the oldest stories in darkly grim, modern terms.

Released March 28, 2014, Noah features an all-star cast that includes Russell Crowe as the titular Biblical savior, Jennifer Connelly, Logan Lerman, Emma Watson, Ray Winstone, Marton Csokas, Kevin Durand and Sir Anthony Hopkins as Methuselah.

As Aronofsky’s first film since his Oscar Nomination for 2010’s Black Swan, eyes are on whether the fabled Bible Epic can return with force in Hollywood.

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New Getaway Trailer

August 20, 2013, 4:09 pm

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TrailerDavid Crow8/20/2013 at 3:09PM

Final trailer for the driving thriller that stars Ethan Hawke and Selena Gomez!

Have you ever had to speed from one location in the next to save a loved one from faceless vaguely European voices coming out of your cell phone?

Probably not, but in action films it seems to be more and more of a common occurrence. Take Warner Brothers’ new Getaway feature (not to be mistaken as a remake of either the Steve McQueen or Alec Baldwin films of the same). With his wife kidnapped, Ethan Hawke’s ex-racecar driver must team with a street-wise carjacker (Selena Gomez) to obey the orders of a shadowy radio voice. Or else. Trailer below.

Getaway is directed by Courtney Solomon (An American Haunting, Dungeons & Dragons) and also stars Jon Voight, Rebecca Budig and Paul Freeman. It races into theatres August 30.

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Sony and Ubisoft to Adapt Watch Dogs Video Game Into Film

August 20, 2013, 4:41 pm

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NewsDavid Crow8/20/2013 at 3:41PM

Sony is teaming with Ubisoft Motion Pictures to bring November's forthcoming PS4 title, Watch Dogs, to the big screen.

At a Sony Computer Entertainment press conference earlier today, Ubisoft announced it will be collaborating with Sony Pictures Entertainment (Columbia) and New Regency to develop Watch Dogs into a feature film.

The news comes as the most recent and impressive development from Ubisoft’s newly formed film and television division, Ubisoft Motion Pictures, who is currently developing an Assassin’s Creed film, as well as partnering with New Regency for a Splinter Cell movie.

The video game Watch Dogs does not even release until November 15, for Sony’s PlayStation 4 no less, but the title has obviously caught the interest of the movie arm of the media empire.

Earlier this year, Ubisoft announced that Basil Iwanyk and Thunder Road Pictures were also working to seriously produce a Splinter Cell film with Tom Hardy attached to star. Michael Fassbender has also been attached to the Assassin’s Creed film series.

SOURCE: Deadline

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New Thor: The Dark World Featurette

August 20, 2013, 5:58 pm

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NewsDavid Crow8/20/2013 at 4:58PM

We get our first videographic behind-the-scenes look at the making of the Marvel sequel with Chris Hemsworth, Natalie Portman and Tom Hiddleston.

As Fall 2013 inches ever closer, so too does the rising marketing of Marvel Studios’ Thor: The Dark World.

Fresh off their second trailer, Disney and Marvel have released this quick look behind the scenes of the Asgardian sequel. Producer Kevin Feige, director Alan Taylor, and stars Chris Hemsworth, Natalie Portman and Tom Hiddleston all take turns talking about the epic scope and the humanity they search for between the magical explosions.

The film looks visually more ambitious than the first outing. Indeed, Taylor’s Game of Thrones experience seems to be informing some of the icier settings at the very least. The general tone appears to promise a larger adventure that is set more squarely in fantasy. Feige even goes so far as to hint that the scope and success of The Avengers and Iron Man 3 have allowed them to really open up Thor’s world of Nine Realms and beyond.

Aye, has it intrigued thou?

Thor: The Dark World lays his hammer down on November 8 in the U.S.

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