The thing about The Quiet Ones is that when they speak…they can be terrifyingly loud. That seems to be the case with this new creepy, crawly horror movie from Lionsgate and Hammer(!) Studios that follows supposed true events of Hellhouse like terror. And in the new featurette, stars Jared Harris and Sam Claflin take fans behind the scenes to see how the nightmares were created.

Supposedly based on true events, this period piece horror looks equal parts Hellhouse and Exorcist in its grand setting of 1970s creepy-crawlies. The intentionally vintage look promises hopefully another grand freak show when university student (Sam Claflin of The Hunger Games: Catching Fire) and some classmates are recruited to carry out a private experiment by a peculiar scientist (Jared Harris of Mad Men and Sherlock Holmes: A Game of Shadows) -- to create a poltergeist. Their subject: an alluring, but dangerously disturbed young woman (Olivia Cooke of Bates Motel). Their quest: to explore the dark energy that her damaged psyche might manifest. As the experiment unravels along with their sanity, the rogue PHD students are soon confronted with a terrifying reality: they have triggered an unspeakable force with a power beyond all explanation. Inspired by true events, The Quiet Ones is directed by John Pogue from a screenplay by Craig Rosenberg and Oren Moverman and John Pogue, and based on a screenplay by Tom de Ville.

The Quiet Onesopens April 25, 2014.

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Love or hate the idea of the apparently unstoppable Ghosbusters 3, or reboot, or remake, or whatever Sony Pictures has up its sleeve, another Ghostbusters film seems to be coming. And they’re at least being savvy enough to know who they’re gonna’ call: Phil Lord and Chris Miller.

The two cheeky filmmakers who brought back another relic of the 1980s with much affection and mockery in 2012’s comedy hit 21 Jump Street, which has a sequel out later this year, and who dealt with almost every other Gen-X icon in last month’s shockingly great The Lego Movie, seem like smart choices. And Sony would agree, according to Nikke Finke’s Twitter account. Normally, we don’t run stories from unnamed sources, however Finke, the founder of Deadline, has made a career out of breaking legitimate news well before the PR departments have their statements in a row. So, this has more than a ghost of a chance at materializing.

What do you think? Is Ghostubsters one more brand that Lord and Miller should set their porton packs on?

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Jem and the Holograms were best known as a rock n' roll toy line and an animated series (which sometimes boasted episodes written by comic book luminaries like Marv Wolfman). But now, it looks like Jem will get another life, this time on the big screen, from GI Joe: Retaliation and Step Up 2: The Streetsdirector, Jon M. Chu. Chu is teaming up with Jason Blum and Scooter Braun to bring Jem and the Holograms to the movies. But they want your help...

In a video posted on Tumblr, Chu, Blum, and Braun asked fans for help in making this next movie happen. No, it's not a Kickstarter campaign. Instead, they want fans to actually contribute to the making of the film itself. How is this possible? Watch the video!

Here's the official word: 

Mixing music, art, technology, and fairytale, Jem And The Holograms reimagines Jem for a whole new generation with themes of being true to who you are in a multitasking, hyperlinked social-media age. When an orphaned teenage girl becomes an online recording sensation, she and her sisters embark on a music-driven scavenger hunt – one that sends them on an adventure across Los Angeles in an attempt to unlock a final message left by her father.

And just in case you aren't familiar with the majesty that is Jem, check out the source material:

You can check out all their social media, here: 

twitter: @JemtheMovie

instagram: @JemtheMovie

tumblr: jemthemovie.com

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Let’s just cut to the chase: Captain America: The Winter Soldier is awesome. While both Iron Man 3 and Thor: The Dark Worldwere solid, enjoyable affairs, they both felt like relatively smaller stories with only cursory ties to the larger Marvel Cinematic Universe. The Winter Soldier– loosely adapted from the sensational comic book arc written by Ed Brubaker – is not only a direct sequel to The Avengers, but it shakes the foundations of the Marvel Cinematic Universe in a big way and lays the groundwork for next year’s The Avengers: Age of Ultron.

When we catch up with Steve Rogers (Chris Evans) as The Winter Soldier begins, he is working for S.H.I.E.L.D. full-time as S.T.R.I.K.E. team leader on various covert counter-terrorism missions. He has an uneasy relationship with Nick Fury (Samuel L. Jackson) as well as team members Natasha Romanoff (Scarlett Johansson) and Brock Rumlow (Frank Grillo). Those relationships are tested when the team’s latest mission at sea proves to have a hidden agenda that Fury and Romanoff kept secret from Cap, while Fury makes further revelations about S.H.I.E.L.D.’s latest initiatives that have Cap wondering if he’s playing for the right team.

But the pressure is increased dramatically by a brutal assassination attempt that brings Cap face to face with both S.H.I.E.L.D. senior exec Alexander Pierce (Robert Redford) and the Winter Soldier, a legendary killer who has a direct tie to Cap’s past (it’s not a huge secret, and most fans know it all too well, but we won’t mention it here for anyone who might still be surprised). With Cap suddenly on the run from S.H.I.E.L.D. itself, he must turn to the only two people he can trust – Natasha and an Army vet named Sam Wilson (Anthony Mackie) who has access to some interesting tactical gear – as the contours of a vast and terrifying conspiracy come into focus.

I hesitate to say too much because I don’t want to ruin either the twists and turns of the main storyline or the many shout-outs to Marvel lore that populate the film. One scene in particular features the reinvention of a classic villain while another all but confirms the arrival of a major Marvel character in the studio’s Phase 3 slate of films. The plot also reaches back into the history of the world and S.H.I.E.L.D. itself, tying elements of all the Marvel films together – and don’t forget to stay for the two post-credits scenes, which bring us right up to the doors of both Age of Ultron and 2016’s Captain America 3.

But let’s get back to this movie for now. The Winter Soldier feels expansive and epic, matching the scope of The Avengers but keeping things solidly on Earth. It also raises the stakes tremendously for all the major players while adding new wrinkles to their characters. Nick Fury and Natasha Romanoff are fleshed out much more than we’ve seen in their previous appearances – with both Jackson and Johansson clearly delighting in exploring new facets of each character – while Anthony Mackie immediately establishes his Falcon as a worthy addition to the team with his relatively brief introduction. Sebastian Stan brings an eerie stillness and relentless ferocity to the Winter Soldier, while Robert Redford’s gravitas and sheer presence easily calls back to the ‘70s conspiracy thrillers he starred in and which this film is patterned after.

And then there’s Captain America. In his third outing in the uniform, Chris Evans has become completely comfortable, confident and empowered in the role – and since Evans is decidedly not Steve Rogers, his transformation into Cap may be even more impressive in the long run than Robert Downey Jr.’s ongoing (but always entertaining) conversation with himself as Tony Stark. Evans deftly balances Cap’s loneliness and feelings of displacement with his unwavering sense of purpose and intense physical stamina, making Cap a more successful screen superhero than anyone might have thought possible just five years ago.

Directing team Anthony and Joe Russo guide the whole thing skillfully and with a sense of drama and power – it’s kind of hard to believe that most of their work before this has been in the TV sitcom world. They have an excellent script by Christopher Markus and Stephen McFeely to work with – it might be the tightest, most complete Marvel screenplay to date – and never let the energy level flag, even in the more expository scenes (of which there are a few). They create a sense of urgency and danger that pulsates throughout the entire film and elevates the major action sequences, including the opening gambit on the ship and especially the assassination attempt, a showstopper that is the film’s centerpiece.

I do have three quibbles with the movie: first, although the action scenes are thrilling, they could have been even more exciting if the Russos did not rely as much on the quick cutting that has become the norm for all action movies. Second, the movie’s final chain of events falls into the template of getting one thing over to another thing to stop a digital countdown – it just comes off as a little more generic after the more visceral earlier sequences. Lastly, while the visual effects are generally top notch, there are a few shots of the Falcon flying and landing that could have done with one more run through the computer but instead end up looking sketchy.

Those complaints, however, don’t detract from the overall excellence of the film. Captain America: The Winter Soldier is not only woven into the fabric of the MCU in a big way, but it’s perhaps the first Marvel movie that feels relevant to today: with its plot elements of surveillance, covert action, PTSD and remote targeting, not to mention the idea of the central character – the living embodiment of patriotism – questioning his government and his leaders, the movie is tied to the cultural zeitgeist in the same way that its spiritual antecedents like Three Days of the Condor were locked into the mood of their moment.

Kudos all around to the cast, the writers, the Russos and Marvel Studios president Kevin Feige, who have crafted what is almost certainly one of the company’s top three movies to date. The Marvel machine is on a roll right now, and if this movie is any indication, not even the Winter Soldier himself can stop it.

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In Divergent, the film version of Veronica Roth’s best-selling novel, Shailene Woodley (The Spectacular Now) plays Tris, a young woman in a post-apocalyptic society where the population is divided mostly into five factions, each representing a different character trait. But when Tris is tested like everyone else at age 16 to see which faction she might belong to, she is found to be “divergent,” meaning she has characteristics of several factions – and that is enough to make her dangerous to the ruling order.

Divergent is directed by Neil Burger, who touched on sci-fi with his last film, the mind-enhancement thriller Limitless, but dives full-on into the genre with this one. Rather, he plunges into one specific area of sci-fi: the dystopian young adult melodrama. The blockbuster success of The Hunger Games has paved the way for Divergent (and potentially, its two sequels) to reach the screen, while more adaptations such as The Maze Runner and The Giver are getting in line for their shot at box office glory.

Den Of Geek sat down recently with Burger to discuss the pressure of being the “next Hunger Games,” what was important about shooting on location, how to visualize the book and why he stepped away from making the sequel, Insurgent.

Den Of Geek: Let's just get this out of the way: the cover of a recent Entertainment Weekly blared that all eyes were on Divergent as the y/a adaptation that Hollywood needs to succeed. Is that an unfair burden to put on a film? 

Neil Burger: I think it’s inevitable because it’s kind of an emerging genre. I mean nobody’s asking like when, you know, Iron Man comes out, “Oh well, here comes the next superhero movie -- is Hollywood going survive and is the genre going to survive?" And they don’t say like well, big copycat movie, you know, superhero movie. It’s an existing genre. This genre of these young women, heroines in a future society -- it’s kind of new and there’s been a couple movies like that but not a lot. So it’s inevitable that people are asking, is this a genre or is this a movie that’s copying another movie. So I understand it. I feel like this movie is very different. I mean it does have a female heroine in a future society. Beyond that she has such a different journey than any of those other stories. Visually it’s very different. You know there are these fear landscapes, these controlled nightmares (editor's note: these are part of the personality test that each young person must take). There’s a whole psychological aspect to it that’s very cool and different. So I think when people see it they’ll understand that.

Was it sort of a natural evolution for you to go from Limitless, which touched on the edges of sci-fi, to a full-blown future science fiction scenario?

Well, yeah. I mean I think all my movies have been different and I like that. I’m interested in a lot of different things and so something comes to my attention and I’m like wow, I’d like to do that. I can’t do everything. I wouldn’t be good at certain things but there are certain things that I am interested in. I'll pursue them even though they’re 180 degrees from the last movie. I think the one thing that is connected to Limitless is what I was talking about before –- those fear landscapes. You know, Limitless explored that kind of psychotropic, psychological world of mind expansion, and I like doing that -- playing with mirrors and how to portray that world. And so in this one I actually do take it a further step with these fear landscapes, with these kind of controlled nightmares that she’s put into. And it’s been fun to sort of explore, you know, what that inner psychological landscape is like.

Was it a hard movie to visualize in terms of how to differentiate between the factions? How much of that was on the page and how much did you and your production people have to really dream up to get these concepts on the screen?

Well, it’s a complicated concept for a society. A lot of movies or stories like 1984 or Brave New World, they’re about now. They’re about, "if we continue on this path of society this is where we will end up." This story isn’t really about that. This story isn’t about the future or about futurism even though it’s set in the future. It’s kind of an artificial construct of a story -- these five factions -- in order to explore human nature I think. So the idea of five factions isn’t necessarily an intuitive idea of the way society might be. But it is what it is in the story. And so then the trick as a director was like, okay, how do we set that up? How do we make it feel like it is natural and make it feel somehow relevant to where we are today?

To me the ideas are, who am I and where do I belong and do I conform to society’s norms and if I don’t, if I’m different, do I try to fit in and hide in plain sight? Or do I speak with my own voice, and if I do, what’s the cost of that? I liked those themes. I thought they were very real and real world and I wanted to treat them in an honest way. So I wanted to have the performances be real and the people be emotionally kind of present and be intimate with them. So I wanted visually the world to be very real as well. So that’s why I really wanted it to be set in Chicago and that’s where I began sort of visually, from that place of like keeping it as real as possible.

Does using real sets and real locations keep it grounded?

That’s right. That’s exactly the right word. I wanted it to feel grounded and even though it’s set in the future I wanted it to have almost like a "You Are There" quality. Like, you know what?  The future will come and there will be people on the streets and they will be not like us but sort of just like us. And, you know, things will be dirty and they’ll be pieces of paper blowing down the street or, you know, some things will be crumbling and some things will be new. So I wanted to keep it real which is why I wanted to do it in Chicago.

You’ve got some of the most highly touted young actors around in this film. Shailene and Miles in particular are getting a lot of attention right now. Can you talk about working with them?

Obviously I’m really proud of the movie but I’m particularly proud of the casting in the movie. From Shailene who I think is, you know, really one of the best actresses of her generation, to getting Kate Winslet in the movie, who’s really one of the best actresses of her generation. And then to have Theo James, who is like a real star about to burst, and to have gotten the right role for him and the right performance out of him to see him emerge. But the other cast in it are incredible. Miles Teller is a great actor and I was so pleased that he was willing to do the movie. Jai Courtney, I think, is kind of a revelation actually. He’s got such strength in his screen presence that’s intense. Zoe Kravitz is fantastic. Not to mention Tony Goldwyn and Ashley Judd, you know, they’re amazing. So it was just a dream for a director.

You’re not doing the second film, Insurgent. Is that by choice?

Well, originally I was going to do the second one and we were making my directors deal and it was always going to be tough because I was going to be finishing this one at the same time. They were overlapping because we were going to start shooting in May -- two months from now. And it was always going to be a crazy schedule but I was like okay, I can do it. I’m going to pull it off. And then we decided on this one to shoot some additional scenes to better kind of explain the world because we needed that. And once we did that, that was like the straw that broke the camel’s back. I was like, I can’t be prepping additional shooting on this movie at the same time I’m prepping the next movie at the same time I’m trying to mix sound and finish post-production. So that was it. It was like, "I can’t do it."

Were you sad? You built it and then you have to walk away.

I was very sad in a way because I just loved those actors and I felt very proprietary over the whole project because I cast it and I designed it and then I had to sort of give it away. It felt sad but on the other hand it had also taken such a long time. It had been kind of grueling and now it’s kind of a relief ultimately. So I felt like, you know what? I’m really proud. I feel like I had a very specific vision for this movie and I was able to achieve that and get this great cast and the movie turned out really well and I’m really happy about it. And so that’s good.

Read our Divergentreview right here.

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Genre fans unfamiliar with Omar Sy’s terrific performance in 2011’s The Intouchables are about to get to know him in a big way. Besides having already been cast as the time-traveling mutant Bishop in this summer’s X-Men: Days of Future Past, Sy has just broken the news himself (via Twitter) that he is headed to Jurassic World.

Proving that life has found a way (as has talent) to make the French actor a big name in Hollywood blockbuster cinema, Sy tweeted, “Fans of this saga from the beginning, I’m proud to be part of the cast for Jurassic World.”

Fan of this saga from the beginning, I’m very proud to be part of the cast for JURASSIC WORLD #jurassicworld@UniversalPics@colintrevorrow

— Omar SY (@OmarSy) March 21, 2014

Director Colin Treavorrow confirmed the casting when he tweeted Sy back in French:

Très heureux d'accueillir @OmarSy dans Jurassic World. @JurassicParkFR

— Colin Trevorrow (@colintrevorrow) March 21, 2014

Jurassic World is the fourth trip to Isla Nublar (or Isla Sorna) and its legendary inhabitants, just off the coast of Costa Rica. The film also includes the cast of Chris Pratt, Idris Elba, Bryce Dallas Howard, Vincent D’Onofrio, Jake Johnson, and Irrfan Khan. The film is set to raise its gates on June 12, 2015.

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Wes Anderson’s The Grand Budapest Hotel is a cinematic confection so sumptuously decadent that, like the titular resort, it must be savored and dined within repeatedly. Exceedingly gracious, Anderson throws out the most inviting red carpet and exquisite beguilements with his reliable repertory of A-list talent. Yet, there is something haunted waiting in the wings about the stately affair; the Matryoshka doll-like narrative, maintaining the expected hilarity associated with its auteur, ultimately reveals a contrastive element to the splendor. Simply put, The Grand Budapest Hotel is Anderson’s most ambitious film to date, lingering in your presence long after check out.

Inspired partially by the writings of Stefan Zweig, The Grand Budapest Hotel imagines the fictional European nation of Zubrowka, likely located somewhere between Vienna and the land of Lord Mandrake’s birth, on the eve of fascism. However, the political climate of the era bothers M. Gustave (Ralph Fiennes) little since he must perform his duties as concierge with as much glamour as the ostentatious hotel situated in the height of the Alps. An effete man, M. Gustave still rules his hotel with a velvet glove, which compliments his consummately dapper, plum attire. It is accommodation in the morning for the guests, and scripture (as according to the Book of Gustave) for the staff at night, with maybe just a little bit of time for canoodling the oldest of visiting matrons during after-hours (Gustave is a man of many contradictions).

And yet, the story is not his. Despite dominating the narrative, these 1930s shenanigans are relayed through the devoted eyes of Gustave’s newest bellboy, Zero Moustafa (Tony Revolori), who is recounting these events 30 years on, after he has become the owner of the no longer "Grand" Budapest Hotel. An undocumented immigrant who fled wars in the Middle East, Moustafa follows Gustave rapturously, even after the concierge finds himself as the guest for an extended stay at a nearby correctional institution. It is all an unfortunate misunderstanding due to the death of Gustave’s recent gray conquest, Madame D. (Tilda Swinton), who has departed under mysterious circumstances and whose son, Dmitri (Adrian Brody), fingered Gustave as the murderer. Gustave impulsively taking the Madame’s priceless Renaissance painting, “Boy With Apple,” after she willed it to him probably did not help this situation. Soon, Zero and his whirlwind soulmate, Agatha (Saoirse Ronan), are planning for Gustave’s release, and a civilized adventure is undertaken to clear the blood splotch by Gustave’s good name.

Actors go their whole careers searching for roles like M. Gustave. The personification of incongruity, Gustave is a wonderful creation that Fiennes illuminates in his first collaboration with Anderson. A figure who can demand both perfection from his employees, but also on occasion swear like a sailor and mispronounce the word fillet, Gustave is too smooth by half and initially seems the grifter who smiles his way into old ladies’ pockets like Zero Mostel. However, just as Gustave’s soft gestures mislead one to doubt the levels of his determination and even bravery, so too do his experienced tastes contradict a man who is simply a step out of time. Like his shimmering hotel, the flashback journey to the 1930s still leaves Gustave feeling a man too late to the game of life. Gustave and the Budapest probably would have been more at home in the Belle Époque period than in a time when each nearing death is more grisly than the last.

This incredible character study is achieved in part because The Grand Budapest Hotel is the most fully realized world yet constructed from Wes Anderson’s imagination. He has assuredly built his own pocket universes before, as seen in the adoring public for the wunderkind family of The Royal Tenenbaums and the sheer fact that The Life Aquatic’s Steve Zissou could be a hit documentarian filmmaker. Nonetheless, there is an entire fictional history built around the Grand Budapest and the greater alpine utopia of Zubrowka. From the history of the transitioning government officials, epitomized by the truly sociable fascist Capt. Albert Henckels (Edward Norton), to the legendary baked artworks of Mendl’s, where Agatha works, it is a detailed kingdom built in the bubbly pastels of Anderson’s well-known hand.

Thus, Anderson’s intentional departure from this early splendor is all the more fascinating. The director half-jokingly told me that it’s because this is his first movie with an actual bit of plot, yet there is more to it than that. The Grand Budapest Hotel intricately examines the prisms of nostalgia that deceptively bind all things together. By its definition, nostalgia imagines a world more perfect than the present due to forced perspective, but early 1930s Europe at best could be seen as the deep breath before the plunge into the continent’s darkest hour. After all, the credited Zweig, a literary giant of his time who ran in the same circles as Freud, took his own life in 1942 over a depression from the seemingly unending spread of Nazism. While this movie avoids those downer inclinations, it is told in a carefully constructed artifice dependent on multiple unreliable narrators.

The film itself begins with a modern young woman reading a novel by an author, who published the book in 1985, based on his chance encounter with an older Moustafa (F. Murray Abraham) in 1969. Only in the author’s literary retelling of that conversation do we travel to the time of M. Gustave and his relatively wacky adventures circa 1932. Each era is brilliantly complimented with a contrasting color palate and even aspect ratio. The modern era is in the common theatrical ratio of 1.85:1, while the aspect ratio explodes into true widescreen 2.35:1 for the heyday of 1960s CinemaScope, before culminating in the classic 1.33:1 Hollywood standard of yesteryear. The tone of each transition matches accordingly. The sequences in the 1960s are drab and deliberately paced with the lyricism of a writer (personified in these scenes by Jude Law), but the movie becomes as brisk as the early 1930s talkies under Gustave’s stewardship. The washed out garish ‘60s oranges are replaced by the colors of royalty, red and purple, and Gustave is a king on his small hill. The accuracy of any of these exploits thusly comes into question when the full frame version of a hotel lobby deliberately evokes Stanley Kubrick’s The Shining.

Yet, for whatever other influences, many of them including Ernst Lubitsch and very early Billy Wilder, my mind is repeatedly drawn to the shocking thriller elements apparent throughout the story. By the third act, comedy is edged into the periphery when there are several sequences that take on a Hitchcockian quality; one in particular is inspired by a scene from Torn Curtain (1966) with violence that is more than complimentary to this European moment. Predators stalk prey through charmingly elegant death traps and for the first time, formal niceties are strikingly absent.

Still, this movie remains at its core a brilliant Wes Anderson creation. The vibrant color scheme of this country and the muted restraint of nearly every actor, each speaking with their own authentic accent, forms a world entirely fabricated, but inherently true. For over a decade, it has been Anderson’s way to reflect a beautifully photographed and precisely realized laugh out of the chaotic mess that is our reality. But with The Grand Budapest Hotel, there is something more acute and painful about that vision, a hypnotic carousal that knowingly, and abruptly, must end before such a story can ever truly begin.

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In the latest clip for Marc Webb’s The Amazing Spider-Man 2, released via MTV, a spotlight is placed on Oscrop. Why do we feel like that is exactly what Norman Osborn (Chris Cooper) wouldn’t want?

Whether it was the Lizard (previously seen in 2012’s The Amazing Spider-Man) or the new film’s villainous Electro (Jamie Foxx), it appears that Oscorp is a factory for the transmuted and the depraved. It is also the legacy old Peter Parker bud, Harry Osborn (Dane DeHaan), is standing to inherit after the death of Papa Norman. Does it seem like that could drive a wedge between Peter and Harry?

The Amazing Spider-Man 2 finds Peter Parker (Andrew Garfield) fighting for his life against Oscorp’s newest freaks, including Electro (Jamie Foxx) and Rhino (Paul Giamatti), all while trying to balance a high school romance with Gwen Stacy (Emma Stone). Yet, when an old friend named Harry Osborn (Dane DeHaan) comes back into his life, the secrets of Norman Osborn (Chris Cooper) and its villainous past reach closer to home than even Spidey can realize. Worse still, they may expand into his future.

The Amazing Spider-Man 2 opens May 2, 2014.

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A new clip for Jonathan Glazer’s “Scarlett Johansson is an alien succubus” movie, Under the Skin, is upon us and it is as trippy and hypnotic as the early reviews from the TIFF have led us to believe.

Literally nothing more than Johansson’s out-of-town protagonist driving around and cruising for some fast food, the movie seems entrancing in its methodical pace, as does Johansson’s eye-line, demonstrating again that she is quite the underrated actress.

Based on a novel by Michael Faber, this project is directed by Jonathan Glazer. If you have seen his previous feature film work, namely Sexy Beast (2000) and Birth (2004), then you may have an idea of what to expect. The trippy premise is about a mysterious stranger who travels the backwoods and American highways through the most remote countryside searching for a man. One that she can eat without notice.

The film has developed some infamy as well based around controversial nude scenes and a ponderous premise. However for geeks with an interest in slightly more disturbing and off-the-beaten starship sci-fi, it could be what they’ve been long looking for.

Under the Skin opens in select cities on April 4, 2014.

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Tubal Cain, descendant of Cain, the slayer of Abel, is in the Bible. He forged weapons and was all around one bad dude. But his prominence is about to be elevated even higher in Darren Aronofsky’s Noah, where he is played with villainous glee by Ray Winstone.

In Noah’s new featurette, Aronofsky, star Russell Crowe, and more explain the importance of turning Tubal Cain into the symbolic visage of all that is wrong with man. He also makes an apparently solid heavy who will attempt to take Noah’s ark by force.

The film looks like a definite change of pace for Aronofsky, who's best known for subtle dramas such as Requiem for a Dream, The Wrestler and Black Swan, but many consider The Fountain an epic and his magnum opus. Could Noah be the film that Aronofsky was born to make?

Noah, of course, is an adaptation of the famous biblical story "Noah and the Ark" in which a man named Noah must build an ark before a flood wipes out every living thing on the planet.

The film stars Russell Crowe (Noah), Jennifer Connelly, Emma Watson, Anthony Hopkins, Logan Lerman, Douglas Booth, and Frank Langella. It's an all-star cast unlike any Aronofsky has ever had. Hopefully, this flood of talent will be a godsend for the picture.

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In heroes we trust, and if you read our review for Captain America: The Winter Soldier, then you know why! Two weeks away from release, Cap’s return to the big screen is closer than you think, and it should be something all citizens of any nationality can take stride in. To remind the world of this, Marvel Studios and The Walt Disney Company have released the following TV spot for the superhero epic. And in this one, we see our first real look at Captain America...the fugitive.

Captain America: The Winter Soldier stars Chris Evans, Anthony Mackie, Scarlett Johansson, Sebastian Stan, Robert Redford, and Samuel L. Jackson, and its own winter comes April 4, 2014 in the U.S.

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Having already scored Iron Man 3 and Thor: The Dark World, Brian Tyler finds himself being called once more unto the breach. Confirmed by Film Music Reporter, Marvel Studios and Disney have tapped Tyler to compose the music for Avengers: Age of Ultron.

The news marks the departure of Alan Silvestri from the Avengers films, who also composed the score for Captain America: The First Avenger. The news also increases Tyler’s profile as an action movie composer, as he has previously scored the last two Expendables movies, several installments in the Fast & Furious franchise, and most recently composed the music for Fox’s hit TV series Sleepy Hollow.

Avengers: Age of Ultron reunites Joss Whedon with the original cast of the Avengers, including Iron Man (Robert Downey Jr.), Captain America (Chris Evans), Black Widow (Scarlett Johansson), Nick Fury (Samuel L. Jackson), and Bruce “the Hulk” Banner (Mark Ruffalo). The film also will introduce new superheroes Scarlet Witch (Elizabeth Olsen) and Quicksilver (Aaron Taylor-Johnson) when the team faces a new threat in the robotic guise of the villainous Ultron (James Spader).

Avengers: Age of Ultron opens May 1, 2015.

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