The first rule of social media is you do not fall for extortion scams. The second rule of social media is you do not fall for extortion scams. Maybe the rule needs an addendum that says you should never believe that a celebrity is asking for your help or your money. But that’s just what one French woman found out in the hardest – and most financially crippling – way possible, as AI images led her believe that Brad Pitt was personally requesting her aid, resulting in her throwing away $850,000.

With the images of an AI-generated Brad Pitt going viral, it can no longer be ignored by the star. As such, a rep for Pitt made the following statement: “It’s awful that scammers take advantage of fans’ strong connection with celebrities, but this is an important reminder to not respond to unsolicited online outreach, especially from actors who have no social media presence.”

The 57-year-old woman – who is only being known as “Anne” at this time – was led to believe that Brad Pitt was contacting her to help raise money for cancer treatment. The reason millionaire “Brad Pitt” couldn’t cover his own expenses? His then-ongoing legal battle with ex-wife Angelina Jolie. “Anne” discovered the scam when she saw photos of Pitt out and about with current girlfriend Ines de Ramon. On the scenario, the woman stated, “At first I said to myself that it was fake, that it’s ridiculous…But I’m not used to social media and I didn’t really understand what was happening to me.”

We know that a certain generation can easily get fooled by AI-generated images – and even pictures like these, which look like crappy copy and paste jobs where someone cut out Brad Pitt’s head from Us Weekly and glued them to some stock images – but it is genuinely unfortunate and sad that this woman was duped to such a degree. The harassment, too, has gone too far, as the woman has seen apparently non-stop cyberbullying as a result of the story.

While there’s no evidence that Brad Pitt and his team will seek any legal action against the perpetrators if they are caught, it would seem like they would have a case, as someone used his likeness to make a financial gain.

Brad Pitt can next be seen in F1, in which he plays a retired Formula One driver for Top Gun: Maverick director Joseph Kosinski.

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Season two of Apple TV+’s Severance has been one of the most highly anticipated sophomore seasons in recent memory. With the first being a smash but concluding all the way back in 2022, fans couldn’t wait to hop back on the streaming service to see what was going on at Lumon Industries. As for co-star Christopher Walken, he’s just fine watching Severance on DVD, thankyouverymuch.

With the second season of Severance underway, Christopher Walken was asked on Andy Cohen Live (via The Hollywood Reporter) if he had gotten a chance to watch it in its entirety. “Not all of them. I can’t. I don’t have the equipment. So, they’re good enough to send me DVDs.” That equipment, of course, is Apple TV+, which is common enough to find on pretty much every smart TV on the market. But Walken doesn’t have it…or any streamer, as it seems.

OK, so maybe Christopher Walken isn’t actively or purposely championing physical media here, but that he still relies on discs – especially for a show he’s a part of – is pretty cool. That he also doesn’t bother with streaming services on top of it shows a complete disinterest in learning just what’s going on in that world, letting it sit in some unaccessible corner, so to speak. Hey, he’s 81, why should he bother with Hulu, Fubo, Freevee, Tubi, or any other ridiculous-sounding streamer?

On Severance, Christopher Walken plays Burt Goodman, the head of optics and design who maintains a close relationship with Irving Bailiff (John Turturro, who actually recommended Walken for the role). The strong cast also features Adam Scott, Zach Cherry, Britt Lower, Tramell Tillman, and Jen Tullock. For his performance, Walken received his only Primetime Emmy nomination for a series, also being nominated for the Screen Actors Guild Award as part of the ensemble. (He had previously only ever been nominated for the Emmy for Outstanding Lead Actor in a Limited Series or Movie for Sarah, Plain and Tall.)

Episodes of Severance drop on Fridays on Apple TV+; the season will conclude on March 21st.

What do you think of season two of Severance so far? Let us know in the comments section below.

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Put away the tossed salad and scrambled eggs because the Frasier revival has been canceled after just two seasons. But that doesn’t mean we won’t see more, as even though Paramount+ will no longer produce the show, CBS Studios is still on board for the future of Frasier.

While the future of Frasier is currently uncertain, as you can stream the original Frasier on Amazon Prime Video and Hulu, that could be an indicator that the revival may find a home there as well.

Already a spin-off, Frasier didn’t initially seem worthy of coming back. But the nostalgia wave was strong enough for it to land on Paramount+; it, too, proved to be just what it needed to be: something comfortable for fans of the original to nestle into. Sure, it was missing both the late John Mahoney (who played Frasier Crane’s father Martin) and David Hyde Pierce (who won four Emmys playing brother Niles on the original show), but some familiar characters such as Lilith (Bebe Neuwirth), Roz (Peri Gilpin) and Bob “Bulldog” Briscoe (Dan Butler) helped fill out the void.

Overall, though, the show had been holding its own and we here at JoBlo.com really dug what the revival series had to offer, even giving the second season an 8/10, with our own Alex Maidy noting that the character of Frasier Crane had a strong future ahead of him. The show may not have been getting the Emmy love that the original did, but it had its fans for sure.

Kelsey Grammer had high hopes for the revival, saying he wanted to bring back some Cheers characters, chiefly Diane (Shelley Long) and Sam (Ted Danson). And here’s hoping that both the series and the fans will get the chance to see that happen. But as of now, we’re all a bit disappointed, especially considering the original Frasier ran for 11 seasons and 260+ episodes – almost as long as Cheers – and this continuation has been halted at just 20 episodes.

What do you make of the Frasier revival being canceled? Do you think it will find a home on another streaming service? Let us know below!

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Typically, MLK Day weekend is a box office bonanza, but it seems that a potential, would-be blockbuster in the form of Wolf Man is seriously underperforming, cratering Hollywood’s hopes for a high-grossing weekend. Indeed, some box office forecasters believed the film would open in the $30 million range (we predicted a much more modest $17 million), but in the end, the film will be lucky to pass $12 million this weekend. In fact, at its current rate, the film won’t even come close to topping the weekend, with Mufasa: The Lion King in line for a solid $16 million gross, while the well-reviewed One of Them Days (which our own Tyler Nichols surprisingly loved), will come in second-place with Deadline estimating $14 million.

So what happened? It seems horror audiences were put off by Leigh Whannell’s grounded take on the classic monster, which ditched almost all of the elements people associated with (and loved) about the character – meaning no full moons or silver bullets. The result is a bit of a bore, and the CinemaScore has been a toxic C-minus, which suggests Wolf Man’s word-of-mouth is howlingly bad. Truth be told, Whannell’s movie is derivative of other, better horror films like The Fly. Why bother making a Wolf Man movie if it won’t feature the elements of the character that people love? Whannell’s take emphasizes generational trauma passed down by fathers, but was that a movie anyone needed or wanted right now? The Blumhouse movie simply isn’t scary or particularly entertaining, even if it is well-acted by star Christopher Abbott, who will likely emerge from this relatively unscathed.

Meanwhile, last week’s champ, Den of Thieves 2: Pantera is down about 50% for an $8 million weekend, with it looking like it will be narrowly edged out by Sonic the Hedgehog 3. Thieves is performing nearly identically to the first film, meaning it should turn a nice profit for Lionsgate, who’s badly in need of a win, even if it’s a single or double rather than a home run at this point.

We’ll be back tomorrow with the full box office wrap-up!

The post Box Office Update: Wolf Man lands with a thud; hyped horror flick severely underperforming appeared first on JoBlo.

We all know that those little cymbal-crashing toy monkeys are some of the creepiest items to ever hit the market. They just look evil, so it’s no wonder that Stephen King was drawn to them as a source of terror. Now, Osgood Perkins is hoping to do justice to King and the source, with The Monkey arriving in theaters next month. As it turns out, the movie screened just this week. So, did Perkins deliver on the simian scares?

Fortunately for fans of both Stephen King and Osgood Perkins, it looks like The Monkey is just the level of horror fun that will be a crowd pleaser, with those that caught the screening praising it for combining blood and laughs. Check out some of the first reactions to The Monkey below:

With comparisons to movies like Gremlins and Tales from the Crypt, you can now count The Monkey as one of the more anticipated horror flicks of 2025. I was on the fence at first, but these reviews have spun my expectations for the better. I also didn’t love Longlegs as much as the general consensus, but that holds no bearing on my newfound anticipation for The Monkey.

As mentioned, The Monkey is adapted from Stephen King’s short story of the same name, which was first published in 1980 and later anthologized in his essential collection Skeleton Crew. That collection also featured “The Mist” (turned into a fan favorite Frank Darabont movie in 2007), “The Raft” (used as a segment in Creepshow 2) and “The Jaunt” (which at one point had Andy Muschietti attached to direct).

Here is the synopsis: “When twin brothers Hal and Bill discover their father’s old monkey toy in the attic, a series of gruesome deaths starts occurring all around them. The brothers decide to throw the monkey away and move on with their lives, growing apart over the years. But when the mysterious deaths begin again, the brothers must reunite to find a way to destroy the monkey for good before it takes the lives of everyone close to them.” The Monkey will release on February 21st.

Are you looking forward to The Monkey? Will you be checking it out on opening weekend?

The post First reactions to Oz Perkins’ The Monkey liken it to Gremlins & Creepshow appeared first on JoBlo.

On January 15th, 2025, we lost one of cinema’s most imaginative minds. David Lynch, the man who turned dreams into films and ordinary moments into something extraordinary, passed away at 78. For decades, Lynch showed us the power of storytelling—how it could be raw, emotional, and downright nightmarish, yet still somehow beautiful.

Lynch wasn’t just a filmmaker but an artist and a dreamer—and sometimes just a man reporting the local weather from his office. Born on January 20, 1946, in Missoula, Montana, Lynch originally studied painting before his fascination with moving images pulled him into filmmaking. His work often straddled the line between dream and reality, crafting worlds that felt deeply personal and moving, all the while confusing the hell out of even his most hardcore fans.

As with our Editor-In-Chief, Chris Bumbray, my introduction to his work came through Lost Highway, a movie that fell into my lap at just the right time.  And honestly, it wasn’t the trailers that brought me to it.  It was the soundtrack.  Unlike anything I’d seen, the movie was dark, confusing, sexy, and utterly hypnotic.  And the still amazing soundtrack perfectly captured the film’s eerie, haunting vibe. That first experience made me want to dive deeper into Lynch’s world, where nothing is ever quite as it seems.  Where better to start than with the beginning?

Eraserhead (1977)

Lynch’s first feature film, Eraserhead, is the very definition of cult cinema. Made over five years on a shoestring budget, it’s a surreal, nightmarish tale about anxiety, isolation, and fatherhood. With its haunting imagery and unforgettable sound design, Eraserhead showed the world Lynch’s unique vision and became a blueprint for his later works.  While I will say it’s one of his finest works, it’s one I can only emotionally handle a couple of times.

The Elephant Man (1980)

Without Eraserhead, we wouldn’t have Lynch’s second feature and his first breakthrough into the mainstream. The Elephant Man, based on the life of Joseph Merrick, is a moving exploration of humanity, dignity, and compassion with outstanding performances from William Hurt and Anthony Hopkins. The script for the film was first brought to Mel Brooks, of all people, who fell in love with it and wanted to produce it.  It was after seeing Eraserhead and falling in love with it that he decided Lynch would be a perfect fit.  It was a more conventional film by Lynch’s standards, but his visual style and sensitivity to emotion shone through, earning him an Academy Award nomination for Best Director.

Dune (1984)

I grew up a Star Wars fan.  Having not known of the novels beforehand, I had assumed for several years Dune was just another knock-off film, so it wasn’t until I was in my mid-twenties that I finally checked it out.  Lynch’s adaptation of Frank Herbert’s science fiction epic was his first (and only) foray into blockbuster filmmaking. While the production was plagued by studio interference, Dune still bears the mark of Lynch’s vision. Its sprawling sets, surreal imagery, and inventive world-building showed what he could achieve even in a constrained environment. Though Dune was divisive then, it has since gained a cult following, with fans appreciating its unique take on Herbert’s universe.  While I still appreciate it for what it is, it’s the only one from him i have only seen once.

Blue Velvet (1986)

Technically, my first introduction to Lynch was from the Pauly Shoe movie Bio-Dome, where his character is huffing gas and pretending to be Dennis Hopper from a film I had never heard of, so the reference flew right over my head.  Few films capture Lynch’s genius like Blue Velvet. On the surface, it’s a story about a small-town mystery, but as the layers peel back, it becomes something far darker. Lynch juxtaposes the cheerful façade of suburbia with its seedy underbelly, creating a mesmerizing film that’s as unsettling as it is.  The already mentioned Dennis Hopper is horrifyingly menacing, a perfect counterpart to Lynch’s secret weapon in Kyle McLachlan.  

Wild at Heart (1990)

Wild at Heart is Lynch at his most daring and unhinged. This road movie, starring Nicolas Cage and Laura Dern, blends violent crime, passionate romance, and surreal fantasy into an unforgettable ride. Based on the novel by Barry Gifford, the film is a chaotic yet heartfelt exploration of love and danger.  Of all of his filmography, Wild at Heart has my favorite ending, with Nicolas Cage’s Sailor singing “Love Me Tender” to Laura Dern’s Lula.  It’s such a beautiful moment for a wild ride of a film.   While it has been noted for having disastrous test screenings, it won the Palme d’Or at the Cannes Film Festival, cementing Lynch’s status as one of the most fearless filmmakers of his time.

Twin Peaks (1990–1991)

In 1990, Lynch brought his signature style to television with Twin Peaks, a series that redefined the medium and had audiences asking one question: “Who killed Laura Palmer?”  Well, two questions if you’re asking where you can get a damn fine cup of coffee.  While we eventually found out who killed Ms. Palmer one season later, what started as a simple murder mystery quickly spiraled into something far stranger, blending soap opera drama with supernatural horror.

The story of Laura Palmer didn’t end there. In 1992, Lynch revisited the world of Twin Peaks with Fire Walk with Me, a prequel that explored Laura’s tragic final days. It was polarizing then and still is to this day.  Nevertheless, the film has become a key piece of Lynch’s legacy, offering a harrowing and emotional look at the darkness behind the mystery.

In 2017, Lynch returned to the series with Twin Peaks: The Return, an 18-hour epic that defied expectations and challenged viewers to embrace the unknown. It wasn’t just a continuation; it was a meditation on time, trauma, and the nature of storytelling itself.

Lost Highway (1997)

As the David Bowie song, which opens the film, states: “Funny how secrets travel.”

Lost Highway remains one of Lynch’s most mysterious films. The story shifts and twists, playing with identity and memory in fascinating and unsettling ways.  As I stated previously, this was my first true introduction to what it means for a film to be “Lynchian.”  I was fresh into high school, dressed all in black with the feeling no one truly understood me other than my music.  One afternoon, skating up to the record store to pick up the Spawn soundtrack, I came across this one—a masterful blend of industrial rock, haunting melodies, and eerie ambiance.   I mean, a movie featuring Nine Inch Nails, Marilyn Manson, and Rammstein?  It was totally made for me.  Everyone, and I mean everyone, brings their A-game to this piece, especially the leads Bill Pullman, who I had known from Casper and Independence Day, and Patricia Arquette.   It was the first time I understood what it meant for a film to be considered a work of art, and the first time I felt this was a man who would “get” me.  It’s one that lingers long after the credits roll, leaving you with more questions than answers.

The Straight Story (1999)

Just a couple of years later, Lynch took a break from his surrealistic dark world and showed us what the man could do in the House of Mouse. Based on a remarkable true story, this G-rated film follows World War II veteran Alvin Straight’s 240-mile trek to visit his estranged and ailing brother via a lawnmower.   What’s notable about this film is Lynch shot this in chronological order on the same route the real Alvin Straight had taken four years prior.  It’s a quiet and beautiful picture of family, healing, and forgiveness set against the backdrop of the American Midwest.  While it was originally shot independently, it was picked up by Walt Disney Pictures after being nominated for the Palme d’Or at the 1999 Cannes Film Festival.

Mulholland Drive (2001)

Lynch’s masterpiece, Mulholland Drive is a hell of a puzzle of a film that explores Hollywood’s dark side, while at the same time embracing its past. With its fragmented narrative and dreamlike imagery, it’s a movie that reveals more with every rewatch. While Lost Highway was confusing to me at times, Mulholland Drive would be one I’d often analyze, and the first one I went online to see what others thought was its meaning.  It’s also one that has the most terrifying shot in all of his films with the creepy homeless man behind the diner.  The film earned Lynch an Academy Award nomination for Best Director and firmly cemented his place as one of the most influential filmmakers of his time.  Mulholland Drive will forever be in my top five favorite movies of all time.

Inland Empire (2006)

Lynch’s last feature film, Inland Empire, is arguably his most experimental. Shot on digital video, it’s a sprawling, dreamlike exploration of identity and performance, anchored by an incredible performance from Laura Dern. It’s a challenging film, but for those willing to dive into its mysteries, it’s an unforgettable experience.  I remember seeing it at an art house theater in South Carolina, and while everyone exiting left in both disbelief and disappointment, I was left speechless – not knowing how I felt about it.  But I knew then I was okay to never see it again.  That is until the 4K remaster from Criterion was released, which changed my views and feelings about his final feature.  It’s pure nightmare fuel and a perfect companion to Mulholland Drive.  While there is too much to unpack with the film here, be sure to check out my revisit on our JoBlo Horror Originals channel.  

What set David Lynch apart was his ability to make the strange feel familiar and the familiar feel strange. His films didn’t provide easy answers or tie up their stories in neat little bows. Instead, they left room for interpretation, inviting viewers to engage with the work on a deeper level.

Lynch inspired countless filmmakers and artists to embrace the unconventional. His influence can be seen in everything from the bold storytelling of shows like Breaking Bad to the visual flair of directors like Denis Villeneuve and Guillermo del Toro.

For me, Lynch’s work changed the way I see movies. He didn’t just tell stories—he created worlds, emotions, and experiences that felt alive.  As we say goodbye to David Lynch, we remember a man who dared to dream in ways no one else could. His films, philosophy, and art will live on, inspiring countless others to explore the uncharted territories of their imagination. Rest in peace, David Lynch. The red curtains may have closed, but your influence and vision will ripple through time, forever changing the way we see the world.  We’ll all have coffee and a donut in your honor.

The post David Lynch: A Tribute to Cinema’s Greatest Dreamer (1946-2025) appeared first on JoBlo.

Some cliche somewhere said that ‘a picture is worth a thousand words.’ This has proven to be the case for me and especially when it comes to fan art. I have always sought out great fan art and have wanted to share it with as many people as possible. “Awesome Art We’ve Found Around The Net” is the outlet for that passion. In this column, I will showcase the kick-ass artwork of some great artists, with the hopes that these artists get the attention they deserve. That’s the aim. If you have any questions or comments, or even suggestions of art or other great artists, feel free to contact me at any time at theodorebond@joblo.com.

Captain America: Brave New World by Sean Carlson

Final Fantasy VII by – Darth Leonhart

Game of Thrones by Hazem Asif

Godzilla by John Rooney

The Northman by Angora

Old Boy by Sam Holland

Once Upon A Time In Hollywood by Santiago Bruni

Predator by Jared Boyer

The Substance by Brad Mrock

Superman by Pietro Chiappinelli

The post Awesome Art We’ve Found Around The Net: Captain America, The Northman, Predator, The Substace, Superman appeared first on JoBlo.

The reboot of the classic Universal Monsters property The Wolf Man from Blumhouse Productions and The Invisible Man (2020) director Leigh Whannell is now in theatres – and JoBlo’s own Chris Bumbray wasn’t very impressed with it, giving it a 6/10 review that you can read HERE and describing it as “well-acted, but not very scary.” Now, we want to know, what did you think of Wolf Man? Let us know by leaving a comment below.

The leads of this version of Wolf Man are Christopher Abbott and Julia Garner, both of whom were in the 2011 film Martha Marcy May Marlene. Abbott is taking on the role of a man whose family is being terrorized by a lethal predator. Garner is playing his wife. Sam Jaeger is also in the cast, along with child actress Matilda Firth, playing a character named Ginger: “Female, 10 years old, white. Blake and Charlotte’s daughter. Smart, precocious, and strong. When her family decides to leave the city for a quieter life in a remote area, she faces her biggest fear, the possibility of losing one or both of her parents forever.”

When Wolf Man was first announced in 2020, Ryan Gosling was set to star in it – and in fact, it got rolling when Gosling pitched this take on the concept of The Wolf Man to Universal, and his idea was then fleshed out into a screenplay by Lauren Schuker Blum and Rebecca Angelo, a writing duo that previously worked on Orange Is the New Black. (Blum also happens to be married to Blumhouse founder Jason Blum.) At the time, it was said the story was “believed to be set in present times and in the vein of Jake Gyllenhaal’s thriller Nightcrawler with an obvious supernatural twist.” The final version of the script is credited to Blum and Angelo, as well as Whannell and his wife Corbett Tuck.

Whannell first signed on to direct the film in 2020, but dropped out the following year. That’s when Gosling’s Blue Valentine and Place Beyond the Pines director Derek Cianfrance came on board. Gosling and Cianfrance both stepped away from Wolf Man early last year… and then Whannell came back. A collaboration between Blumhouse and Motel Movies, Wolf Man is being produced by Jason Blum. Gosling receives an executive producer credit alongside Ken Kao, Bea Sequeira, Mel Turner, and Whannell.

The Wolf Man reboot was given an R rating for bloody violent content, grisly images and some language. This isn’t the first time a reboot of The Wolf Man has been given an R rating, as the 2010 reboot that was directed by Joe Johnston and starred Benicio Del Toro, Anthony Hopkins, and Emily Blunt was also rated R, for bloody horror violence and gore.

Now, let us know, what did you think of Wolf Man?

The post What Did You Think of Wolf Man? appeared first on JoBlo.

Before Wolf Man, Leigh Whannell directed The Invisible Man. The horror thriller was a critical and commercial success, grossing $144.5 million on a budget of $7 million and earning rave reviews. That typically spells sequel in any language, but The Invisible Man 2 has yet to materialize. While speaking with THR, Whannell explained why he doesn’t want to develop another Invisible Man movie.

“I can’t imagine gluing more story onto that. Sequels are mostly driven by the economics of Hollywood. ‘We scored, we did well, and let’s do it again. Let’s get them back there.’ And I’ve been a front-row viewer of that,” Whannell said. “I have also written two movies [Saw and Insidious] that have turned into long-running franchises with varying degrees of artistic success. I’m not going to pretend that every movie in the Saw franchise is … That film has become its own beast, and I sit outside of it now.“

Whannell continued, “I was so happy with Invisible Man’s ending that I just don’t feel the artistic need to go forward with it. The financial need is something different. The studio might look at that and say, ‘Well, we feel like it should keep going because we want to make more money.’ But on an artistic level, I’m like, ‘That’s a nice closed door there. Let’s just leave it closed.’” I would agree. Not every film needs a sequel.

Although Whannell isn’t interested in The Invisible Man 2, Elisabeth Moss is down to return and has even been working on developing the project. “We are, I would say – and by we, I mean Blumhouse and my production company [Love & Squalor Pictures] – we are closer than we have ever been to cracking it,” Moss said last year. “And I feel very good about it. We are very much intent on continuing that story, for sure.“

As for Wolf Man, the film hasn’t been received quite as well as The Invisible Man. Our own Chris Bumbray found the film to be well-acted and shot, but it let him down in the fright department. “Wolf Man has one major failing – it’s simply not scary,” he wrote. “Blake’s transformation is played for pathos and drama, and even if we know there’s another wolf around there stalking the family, the attack scenes are limited and shot so darkly that a lot of the werewolf stuff is hard to make out.” You can check out the rest of Bumbray’s review right here.

Would you like to see The Invisible Man 2, or is Whannell right to leave the story alone?

The post Leigh Whannell isn’t interested in The Invisible Man 2: “Let’s just leave it closed” appeared first on JoBlo.

Ke Huy Quan comes across as a very nice dude, exuding delightful positivity both on and off the screen, but he would love to break bad as a James Bond villain. I’m…into it.

“I would love to play a bad guy. Like a Bond villain,” Quan told Empire. “Or the kind of thing Hugh Grant does in Heretic. I want to go out of my comfort zone and just play this diabolical, really bad guy. That would be a lot of fun.“

While Quan may not be showing off his villain chops just yet, his next project will double down on his mastery of martial arts. The actor will soon be seen in Love Hurts, an action comedy in which he plays a seemingly mild-mannered realtor with a dark secret that he is desperate to leave behind. “I don’t want to be perceived as an action star,” Quan explained. “I hope I’m perceived as an actor who does action well. So I’m going to take it one step at a time.“

“Quan stars as Marvin Gable, a realtor working the Milwaukee suburbs, where ‘For Sale’ signs bloom. Gable receives a crimson envelope from Rose (Ariana DeBose), a former partner-in-crime that he had left for dead. She’s not happy,” reads the Love Hurts synopsis. “Now, Marvin is thrust back into a world of ruthless hitmen, filled with double-crosses and open houses turned into deadly warzones. With his brother Knuckles (Daniel Wu), a volatile crime lord, hunting him, Marvin must confront the choices that haunt him and the history he never truly buried.” The film is set to hit theaters on February 7th.

Quan is also set to star alongside Chris Pratt and Millie Bobby Brown in The Electric State. Directed by the Russo brothers, the film is set in an alternate, retro-futuristic version of the 1990s, where sentient robots resembling cartoons and mascots, who once served peacefully among humans, now live in exile following a failed uprising. The film will debut on Netflix on March 14th.

The actor has also signed on to star in Fairytale in New York, a new action thriller from Sisu director Jalmari Helander. The official description reads: “On Christmas Eve in New York City, an unassuming cab driver takes one last ride before going to celebrate the holiday with his estranged son. After a run-in with a gang of criminals, he embarks on a relentless pursuit to retrieve his kid’s priceless Christmas gift.”

Could you see Ke Huy Quan as a Bond villain?

The post Ke Huy Quan really wants to play a “diabolical” James Bond villain appeared first on JoBlo.