“What do we do to help the Senator?” “We tell the truth…” Entertainment Studios has unveiled the first official trailer for a film titled Chappaquiddick, referencing the Chappaquiddick Island in Massachusetts and the accident that occurred there in 1969. This first premiered at the Toronto Film Festival this year to mostly positive reviews, and will hit theaters in April. Chappaquiddick stars Jason Clarke as politician Ted Kennedy, whose political career became derailed in the aftermath of a fatal car accident that claimed the life of a young campaign strategist, Mary Jo Kopechne, as played by Kate Mara. The film’s full cast includes Clancy Brown, Ed Helms, Bruce Dern, Jim Gaffigan, Andria Blackman, Olivia Thirlby, and Taylor Nichols. This looks damn good, seems to be a solid political thriller with some intricate twists. ›››
It’s easy to imagine the pitch meeting for Game Night, a high concept dark comedy about an evening of frivolous fun gone horrifically wrong. “What if David Fincher’s The Game starred a bunch of bumbling idiots?” Well, here you go. The first Game Night trailer is here, and I’ll be the first to admit that it made me chuckle more than a few times.
This is a low comedy, but there’s nothing wrong with a low comedy that works! Jason Bateman and Rachel McAdams lead a strong cast as a couple whose weekly game night spirals out of control when an interactive “murder mystery” element is introduced. But what’s real and what’s not? And why are people actually dying and why are guns going off? And why is that dog covered in blood?
Game Night Trailer
Most importantly, Game Night is a Friday Night Lights reunion, once again putting Kyle Chandler and Jesse Plemons within spitting distance of each other. Texas forever!
While this is undeniably a glossy studio comedy hoping to please the broadest audience possible, I’ll just be honest with you and admit that yes, I laughed during this trailer. I laughed a lot. I especially laughed during the plane engine gag, an amusing bit brilliantly punctuated by McAdams’ line delivery. While I’m not a fan of Vacation, the previous film from directors John Francis Daley and Jonathan Goldstein (okay, it’s straight-up rotten), the dark edge on display in this footage has my attention. After all, Bateman has been at his best when his “straightforward nice guy” persona is pushed to uncomfortable extremes, and McAdams is a frequently underutilized comedic talent. Bring it on.
Here’s the official synopsis:
Bateman and McAdams star as Max and Annie, whose weekly couples game night gets kicked up a notch when Max’s charismatic brother, Brooks (Chandler), arranges a murder mystery party, complete with fake thugs and faux federal agents. So when Brooks gets kidnapped, it’s all part of the game…right? But as the six uber-competitive gamers set out to solve the case and win, they begin to discover that neither this “game”—nor Brooks—are what they seem to be. Over the course of one chaotic night, the friends find themselves increasingly in over their heads as each twist leads to another unexpected turn. With no rules, no points, and no idea who all the players are, this could turn out to be the most fun they’ve ever had…or game over.
Game Night also stars Billy Magnussen, Sharon Horgan, Lamorne Morris, Kylie Bunbury, Danny Huston, and Michael C. Hall and opens on March 2, 2018.
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Saturday Night Live has always taken great care to strike the right tone after tragedy, and this week’s episode managed to delicately address a terrible week on multiple levels, but with a single, thoughtful stroke.
Instead of a cold open mocking the Donald Trump administration — breaking what must have been some kind of record streak — the first face we saw was that of country singer Jason Aldean, about to make his first public performance since leaving the stage last Sunday as the shooting rampage in Las Vegas began last Sunday night.
Exclusive: Jason Blum Talks Todd McFarlane Directing Spawn
After years of anticipation, Spawn creator Todd McFarlane announced at this year’s San Diego Comic-Con that he his entertainment division (McFarlane Films) are partnering with Jason Blum and Blumhouse Productions (Get Out, Split, The Purge) to make a feature film of the Image Comics character. Now ComingSoon.net has spoken exclusively to producer Jason Blum about the prospect of McFarlane directing Spawn and how they plan to accomplish bringing the character back to the big screen.
ComingSoon.net: If you look at Todd McFarlane’s career, him becoming a movie director almost seems inevitable. He’s obviously worked in film and TV and music videos before, but how do you think he’s going to adapt his singular style to movies?
Jason Blum: I think he’s gonna do a great job. Being a director encompasses a lot of different skills, but one of the most important skills is you have to be a great manager. You’re kind of a General of this army that you have to lead into battle every day, and he does that in his life every day running McFarlane Enterprises. So I think that translates to directing in a lot of ways. We’ve had a great back-and-forth around developing the script. I wouldn’t have done it if I didn’t think he could do a great job, but we’ll see. I have a good feeling about it.
CS: He’s said he sees this more as a down and dirty horror movie than a superhero film. Obviously demonic beings and hell are a big part of Spawn’s mythology, but how do you guys plan to translate Todd’s very dynamic form of storytelling onto a lower-scale budget?
Blum: (laughs) That’s a good question. One of the things is we’re keeping the scope of the script relatively contained, so that’s the biggest way. I think the other way is he and I aren’t paying ourselves any money out of the budget nor will any of the actors, so that’s another way. We’re using our usual tricks!
McFarlane has written the first draft of the screenplay and is set to make his directorial debut in this dark exploration of one of comics’ most popular characters.
“We’ve gone from the theoretical to now we’re making movies,” McFarlane previously said. “Blumhouse. Spawn. Badass. R. Get ready for it, we’re going into production. No more talking, it’s time to do.”
McFarlane is known for reinventing the look of Spider-Man as well as co-creating the Venom character for Marvel Comics. First appearing in 1992’s Spawn #1, the character quickly became the symbol for 1990s comics dark and brutal antiheroes. His Hellspawn powers allow him to teleport, shape shift, and utilize a variety of weapons (notably chains) in combat.
Spawn previously made the leap to the big screen in 1997 with Michael Jai White in the title role and then on television as an HBO animated miniseries, titled Todd McFarlane’s Spawn.
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“I could stand in the middle of Fifth Avenue and shoot somebody and I wouldn’t lose any voters,” declared then-candidate Donald Trump in the middle of the 2016 Republican primaries. Perhaps he was well acquainted with the chapter in the life of Ted Kennedy, the legendary “lion of the Senate,” chronicled in John Curran’s Chappaquiddick – and how it ultimately failed to move the needle among his constituents. Despite lies, misrepresentations and cover-ups, Kennedy’s involvement in the death of a political aide now serves as little more than a footnote on his Wikipedia page.
Curran, with stone-faced intent and brutal focus, makes the case that such an incident cannot help but illuminate the true character of a man. People may not need to reconcile Kennedy’s deficient response to a tragedy of his own creation with his legacy of championing liberal causes. But Chappaquiddick provides a sobering, non-ideological reminder that if such deeds do not become a part of a public figure’s narrative, then a frightening impunity for elected officials can reign.
Ted Kennedy, embodied here by Jason Clarke, may not consider himself above the law, although he certainly assumes he can act outside it and face fewer consequences. In a decade where his family staked an almost dynastic claim on the American government, he fancies himself an heir apparent to the presidency like a monarch eyes their future throne. (Of course, the Kennedys unabashedly fashioned themselves as something akin to a royal family.) For a brief, shining moment, the family business was not politics. It was public service, a trade that placed them in the powerful position of bestowing their presence like a gift to others.
If Jackie and John F. Kennedy’s “Camelot” myth, so brilliantly evoked in last year’s Jackie, captured the pinnacle of American optimism in the early 1960s, Chappaquiddick captures the decade’s dissolution in the bitter discontent of the 1970s. Early in the film, Ted remarks in an interview that he’s always walking in the shadow of his late brother, unable to free himself from the burden of his older sibling’s legacy. Ted’s incident takes place quite literally against the backdrop of the weekend in which the greatest aspiration of President Kennedy – putting a man on the moon – came to fruition.
The assassinations of both John and Robert Kennedy scarred the American psyche in profound ways, but they had a more direct impact for Ted. As the last remaining male descendant of his demanding father Joe (Bruce Dern), Ted gets thrust into a leadership role in the family enterprise for which he is ill-prepared and remarkably unsuited. He lacks the charisma and skill which came so naturally for his brothers, yet he needs copious amounts of both to escape the mess of Chappaquiddick.
While blowing off frustration and steam, Ted drives his car off a dock, killing passenger Mary Jo Kopechne (Kate Mara), a former staffer for his brother, Bobby. His immediate physical response remains a mystery lost to time, though his first verbal reaction sums up the overarching concern in the fallout: “I’m not going to be president.” Rather than expressing any remorse or respect for the deceased, Ted filters everything through the lens of his own political future. Chappaquiddick takes place primarily in back rooms of resplendent Massachusetts waterfront homes where rich old white men plot a public relations campaign to protect a criminal from receiving justice.
Curran’s filmmaking tends to freight the proceedings with tragic overtones. Practically everywhere, there’s a symbol carrying an overloaded weight – the moon, the water. And yet through it all, Jason Clarke’s performance runs counter to the strained elements of Chappaquiddick. Despite the monumental, life-altering events that occur in the film, Clarke maintains an even keel by committing to a pervasive numbness. Scenery chewing is nowhere to be found, despite the consequential events taking place. Once Ted’s assumed birthright disappears from his grasp, he simply floats through his own life like a disbelieving observer. Clarke, a perennial scene-stealer in films from Zero Dark Thirty to Dawn of the Planet of the Apes as well as this year’s upcoming Mudbound, seizes the spotlight and quickly establishes his typical measured tone.
Biographical films typically do not choose to dwell on the worst period of a public figure’s life, and seldom do they linger in the unsavoriness of their subject to the extent Chappaquiddick does. Taylor Allen and Andrew Logan’s script portrays Ted Kennedy as an impulsive figure who often ignores the sage advice of his closest counsel, even nearing an abusive level with his relative Joe Gargan (a touchingly earnest Ed Helms). The film catches Kennedy in a vicious cycle. He’s perpetually disappointed in others, which leads him to perpetually disappoint everyone around him. The result is a disgusting miasma of spin and deception that evinces the Kennedy instinct to favor their created myths over the truth. By divorcing Ted Kennedy from his accomplishments, Chappaqudick forces a reckoning over the divide between his rhetoric and his actions.
/Film Rating: 7 out of 10
The post ‘Chappaquiddick’ Review: Jason Clarke Plays Ted Kennedy in an Absorbing, Maddening Drama [TIFF] appeared first on /Film.
New Ozark holiday tease featuring Jason Bateman and Laura Linney
Netflix has debuted a holiday teaser for Ozark, the drama series starring Jason Bateman (Arrested Development, The Gift) and Laura Linney (The Truman Show, The Savages). You can watch the new Ozark promo below!
A Chicago financial advisor, who has been quietly laundering money for a drug kingpin, must quickly uproot his family and move the operation to The Ozarks, after his partner is caught cheating the business. There, he bumps heads with both a local drug dealer whose business he inadvertently interrupts, and a clan of ruffians, led by their 19-year-old niece, who want his money, all the while avoiding the eye of a tenacious FBI agent. He must complete his laundering, to save the life of his family, as they struggle to find their own path in this seemingly foreign way of life.
The Netflix original series Ozark stars Jason Bateman, Laura Linney, Sofia Hublitz, Skylar Gaertner, Julia Garner, Jordana Spiro, Jason Butler Harner, Esai Morales, Peter Mullan and Lisa Emery. Ozark is directed by Jason Bateman, Daniel Sackheim, Ellen Kuras and Andrew Bernstein.
The series is produced by Patrick Markey, and executive produced by Jason Bateman, Chris Mundy, Bill Dubuque and Mark Williams. Ozark is a production of Media Rights Capital and Aggregate Films.
Ozark debuts on Netflix on July 21.
The post New Ozark Holiday Tease Featuring Jason Bateman and Laura Linney appeared first on ComingSoon.net.
If you head out to see The Fate of the Furious this weekend, there won’t be a credits scene teasing the next installment of the high-speed franchise. However, there were plans in place for for a credits scene that would have featured Luke Hobbs (Dwayne Johnson) and Deckard Shaw (Jason Statham) as a way of hinting that a spin-off might be coming featuring the adversaries forced to be allies. So what happened to it?
Reportedly, Vin Diesel had the credits scene pulled after it was shot without his knowledge. But there’s another side of the story that indicates there wasn’t really a confrontation reason behind The Fate of the Furious credits scene being axed. Find out more below, but beware of some minor spoilers for the sequel.
Where Did This Credits Scene Come From?
The Wrap has word from “insiders” that a credits scene would have had Hobbs and Shaw appearing, though details on what they were doing in the scene were not provided. In the film, Hobbs and Shaw are initially at each others’ throats when they are locked up in the same prison. When a prison riot breaks out, Hobbs pursues Shaw to give him the Cherokee drum beating that he’s promised, but the chase ends up leading them outside where Mr. Nobody (Kurt Russell) is waiting, having orchestrated the breakout.
When Mr. Nobody (along with his young protege Little Nobody, played by Scott Eastwood) rounds up Dom’s team to help track him down after he’s gone off the grid with the dangerous hacker known as Cipher (Charlize Theron), he surprises the crew by bringing in Deckard Shaw to help them, who we learn also has an axe to grind with Cipher because she coerced his brother Owen Shaw (Luke Evans from Fast and Furious 6) to do her bidding.
Hobbs and Shaw are still taking shots at each other while being forced to work together, which brings a good amount of humor in the movie. Eventually, Hobbs and Shaw become more friendly with each other, and their rapport becomes more playful than vindictive. One of the insiders behind this story says there were “early screenings where Johnson and Statham popped so much on-screen together that they were looking at doing a spinoff.” And that’s what the credits scene was meant to tease. So what happened to it?
The Rage of Vin Diesel
The insiders behind this story indicate that producer Neal Moritz had the credits scene shot, but he didn’t tell producer and star Vin Diesel, which was apparently a big mistake. Executive producer Samantha Vincent found out about the scene, and she just so happens to be Vin Diesel’s sister. So she told the actor, and he “became enraged.”
Following this revelation, Diesel called NBC Universal (the studio behind the film) and unleashed his fury on them. After this, the studio supposedly recalled all the theatrical prints and had the scene taken out of the credits. That implies this issue was something that came up very recently.
However, there’s a chance that Vin Diesel wasn’t actually mad about this situation at all. In fact, another insider explains that the scene in question wasn’t even meant to be included with the theatrical release of the film. The scene was filmed ad bonus content for the home video release, but after studio executives and producers reviewed the sequence and “loved it”, they ultimately decided against including it in theaters because “the sequence would make for a better opportunity somewhere else.”
That sounds like a damage control response to the other side of the story. And considering the rumors of a feud between Dwayne Johnson and Vin Diesel, I wouldn’t be surprised to hear if the latter was behind this credits scene getting thrown out. Lending further weight to this story, we know that Vin Diesel is a very hands-on producer, and all major decisions go through him. So if a spin-off involving Hobbs and Shaw wasn’t discussed with him and a sequence was shot without his knowledge, his anger wouldn’t be surprising.
Diesel has downplayed his supposed feud with Johnson in recent interviews, but it sounds like there was definitely some disagreement between the stars during the production, even if they’ve buried the hatchet since then. I just hope that this scenario doesn’t ruin our chances of seeing a spin-off with Hobbs and Shaw, because they’re one of the best parts of this sequel.
The post Did Vin Diesel Axe a ‘Fate of the Furious’ Credits Scene with Dwayne Johnson and Jason Statham? appeared first on /Film.
A one-armed protagonist sporting a Magnum revolver and smiley face pants, a pack of hungry cannibals, and a cult leader played by Keanu Reeves are the stars of Ana Lily Amirpour‘s sophomore effort as a filmmaker, The Bad Batch. Needless to say, for a whole mess of reasons, we’re excited about her follow-up to her enchanting debut film, A Girl Walks Home Alone at Night. The second trailer for her funky post-apocalyptic-ish tale has arrived, and it teases one bizarre wasteland we can’t wait to visit come June.
Below, watch the new The Bad Batch trailer.
Set in a cruel and unusual desert without law just outside of Texas, Amirpour’s original pic follows Arlen (Suki Waterhouse) trying to figure out her new life as a member of The Bad Batch: folks declared unfit for civilized society who are placed in this fenced off piece of land. Trouble quickly finds Arlen, leaving her without an arm and a leg. She’ll have to figure out what good and bad exactly means in this world, which also features Jason Momoa and a mute Jim Carrey.
Here’s The Batch Batch trailer:
If Keanu Reeves pontificating about “the dream” over some splendid visuals, each one bursting with life, doesn’t get you looking forward to The Bad Batch, then what will? It’s another great, atmospheric trailer for Amirpour’ film, which – not like this is a surprise based on the trailer – was divisive on the festival circuit.
Our former writer and editor Angie Han appreciated and enjoyed Amirpour’s distinct vision of the wasteland, which she described as “Venice Beach by way of Mad Max, with some Burning Man and Electric Daisy Carnival thrown in for good measure.” Unfortunately, she thinks the movie loses its momentum after an hour:
In the end, we’re left with nothing more substantive than a cloud of dust. But if The Bad Batch is an ultimately pointless journey, at least it’s one that takes us through some genuinely new territory — one populated by bodybuilding cannibals and soundtracked by ’90s-style boomboxes. I’d gladly go along on Amirpour’s next ride just to see where she’ll take us next.
As the quotes in the trailer indicate, there’s also a lot of love out there for The Bad Batch, which was one of my most-anticipated films of last year. After the beauty of A Girl Walks Home Alone at Night, I’m looking forward to seeing whatever Amirpour does next. The Bad Batch looks like the kind of trip you want to take with a crowd, not from the couch.
Here’s the synopsis for the film:
The highly anticipated follow-up to Amirpour’s acclaimed directorial debut, A GIRL WALKS HOME ALONE AT NIGHT, THE BAD BATCH follows Arlen (Waterhouse) as she is unceremoniously dumped in a Texas wasteland fenced off from civilized society. While trying to orient her unforgiving environment, she is captured by a savage band of cannibals and quickly realizes she’ll have to fight her way through her new reality. As Arlen adjusts to life in ‘the bad batch’ she discovers that being good or bad mostly depends on who you’re standing next to.
The Bad Batch opens in theaters June 23.
The post ‘The Bad Batch’ Trailer: Keanu Reeves and Jason Momoa Go a Little Mad Max appeared first on /Film.
Tony Revelori and Taissa Farmiga will also star in the film from director Hannah Fidell.