Back in 2006, writer/director Jonathan King brought us the “nature run amok” horror comedy Black Sheep, about killer, genetically altered sheep. That movie surpassed Peter Jackson‘s early works to become New Zealand’s most successful horror movie ever. Now, Deadline reports that the killer sheep are coming back for Black Sheep 2! King is returning to the helm for the sequel, working from a script he crafted with Matthew Grainger and Rosie Howells.
Black Sheep had the following synopsis: Sheep-fearing Henry (Nathan Meister) returns to his brother’s (Peter Feeney) New Zealand farm, hoping his sibling will buy out his share of the property. However, what he finds are genetically altered sheep that prey on humans and turn their victims into undead, woolly killers. Shear madness ensues as Henry, an animal-rights activist (Danielle Mason) and a farmhand (Tammy Davis) set out to stop the rampaging animals. Meister will be reprising the role of Henry for the new film, which will follow a young scientist who is convinced that a dangerous new pathogen threatens the population and tracks it back to her hometown – which is located in the shadow of the remote sheep station where the macabre events of the original Black Sheep unfolded. The Deadline article notes that more Black Sheep cast members will be showing up in the new movie, but their names haven’t been revealed just yet.
Wētā Workshop created the killer sheep for the first movie and will be doing the same for Black Sheep 2. King and Grainger are producing the sequel with James Partridge and Samantha Braun of Terror-Fi Films. Executive producers include Richard Fletcher of Libertine Pictures, Philippa Campbell, and Ari Harrison and Jasmin McSweeney from Umbrella Entertainment. Umbrella Entertainment will be distributing Black Sheep 2 in Australia and New Zealand, and they’re also planning a 4K re-release of Black Sheep.
Filming on Black Sheep 2 is expected to start in March or April of next year.
Are you a fan of Black Sheep, and are you glad to hear we’re getting a Black Sheep 2? Let us know by leaving a comment below.
Billy Zane has displayed an uncanny resemblance to Marlon Brando, going all the way back to Dead Calm, where he looked like him in his On the Waterfront days. Zane is now able to capitalize on doppleganging the star of The Godfather and Apocalypse Now in Waltzing with Brando. Zane was first cast as Marlon Brando all the way back in 2019 – and things have been pretty much silent for the bulk of the five years that followed. The movie hit the Cannes market and now, VMI Worldwide has released the first trailer.
Billy Zane’s Marlon Brando is from a pivotal era in the legendary actor’s career, with Waltzing with Brando taking place in the late ‘60s into the early ‘70s, when his work shifted dramatically and he reinvented himself. Appropriately, Zane has entirely reinvented his look to portray Brando. Photos made available courtesy of Deadline fresh out of Cannes show Zane on the island of Tetiaroa, which Brando purchased in the 1960s when he had that “private island money.” Brando took to the region while filming 1962’s Mutiny on the Bounty; other key movies that will also be covered are The Godfather and Last Tango in Paris. One image shows Zane as Brando during this time, complete with longer hair, turtleneck and blazer.
There wasn’t a specific tone conveyed with the descriptions and leaked set photos, but the recreations looked to be second to none. It could easily be assumed that it would be a biopic of some sort, but the trailer would surprisingly have a lighter comedic tone than expected. Waltzing with Brando stars Billy Zane, Jon Heder, Richard Dreyfuss and Tia Carrere. Bill Fishman helms the film as the director.
Billy Zane may seem like an oddball choice to play Marlon Brando but he does have a fascination with the two-time Oscar winner, telling Entertainment Weekly, “The man was a recluse who moved to an island, yet is up all night on shortwave radio [and] can’t sleep alone. He had many children. It’s like, what led to that? He’s full of contradictions. That was touching to me.”
PLOT: On a deep undercover assignment in Taipei, DEA agent John Lawlor was doing everything right… until he fell in love with his informant, beautiful Josephine “Joey” Kwang, one of the Asian underworld’s best transport drivers. Compromised and cover blown, John was forced to flee. Now, years later, John is back in Taipei for the weekend. But is he here to finish the job? Or to win back Joey’s love?
REVIEW: Luke Evans is one of those actors who I always thought deserved to star in an action franchise. His James Bond-esque good looks and debonair stature made him a natural in The Hobbit franchise and The Fast Saga. Having appeared in supporting roles over the last few years, his last significant lead being 2017’s Professor Marston and the Wonder Women, Evans makes a case for headlining more action vehicles with Weekend in Taipei. Co-written by The Transporter and Taken creator Luc Besson, Weekend in Taipei is a propulsive action flick that harkens back to the pulpy 90s-era films of Jean Claude Van Damme and Steven Seagal. With some creative action sequences and a sense of humor, Weekend in Taipei is a fun little diversion that may not tread new ground but has some fun revisiting familiar territory.
Weekend in Taipei opens with the trial for Korean cartel leader Kwang (Sung Kang) whose legitimate business is threatened by legal action. The wealthy executive lives in Taipei with his wife, Joey (Gwei Lun-mei), and her son, Raymond (Wyatt Yang). Wyatt does not trust Kwang, and Joey longs for her former lover and Wyatt’s biological father, DEA agent John Lawlor (Luke Evans). When Lawlor takes it upon himself to head to Taipei to collect evidence on Kwang from an anonymous informant, he is thrown together with Joey after fifteen years apart. John, Joey, and Raymond must escape from Kwang and his henchmen with the evidence to take the villain down while also trying to figure out their complex familial situation.
Filmed on location in Taiwan, Weekend in Taipei boasts some pretty exciting action sequences, including an early one set in a kitchen that gives Luke Evans a solidly choreographed scene straight out of a Jackie Chan movie. Evans holds his own in the action department and even reunites with his Fast and Furious co-star Sung Kang, this time with the two actors playing inverse hero and villain roles. Evans dons a convincing American accent as he partners with Gwei Lun-mei as the two former lovers are now reunited. The entirety of Weekend in Taipei is performed in English despite being filmed with an entirely Taiwanese cast. It works to make the film more accessible for Western audiences while feeling a bit inauthentic, especially during the blatantly dubbed over profanity moments used to get Weekend in Taipei a PG-13 rating.
The film is fairly violent, with some creative gun fights that echo the European style of Luc Besson’s directorial efforts, namely The Professional. There is a blend of Asian influence beyond the geographic setting, and the cast and crew as the balletic action reminded me of John Woo’s early output. The stuntwork is impressive, including some of the car chase sequences through the streets of urban and rural Taipei, showcasing a view of the scenic island of Taiwan. Filming on location also affords the film an authentic feel, which is accented by some pretty jaw-dropping locales, especially Kwang’s penthouse, which boasts an elevator specifically for cars. There is no doubt in watching this movie that the Taiwan production efforts helped make the budget look loftier than it actually is.
Weekend in Taipei is George Huang’s first feature directorial outing since 2001’s How to Make a Monster. Huang’s resume boasts the masterpiece black comedy Swimming with Sharks and the underrated teen sexy comedy Trojan War starring Jennifer Love Hewitt. Since then, Huang has honed his skills working as a producer and consultant for Robert Rodriguez, which shows in his ability to stretch a budget for maximum benefit. Partnering with Luc Besson, Huang wrote the screenplay for Weekend in Taipei alongside the man responsible for The Fifth Element and La Femme Nikita. Besson has shepherded numerous filmmakers over the years, and his mentorship jives with George Huang’s visual sensibility. Even though Huang has not directed an action movie like this before, he definitely shows an aptitude that should afford him more opportunities like this in the future.
While it mines the action formula of countless movies that came before it, Weekend in Taipei works thanks to having a solid antagonist from Sung Kang, a great lead in Luke Evans, and a talented leading lady in Gwei Lun-mei. As an introduction to these characters, Weekend in Taipei checks the requisite boxes for a fun action romp, even if it is a little light on the originality. This movie is good enough that I would not be opposed to seeing this turn into an ongoing series with Evans, Gwei, and Wyatt Yang traversing the globe for future weekend excursions that find them fighting like a family of ass-kicking transporters. Don’t expect Weekend in Taipei to be on par with movies like John Wick, but it is not far behind.
PLOT: On a deep undercover assignment in Taipei, DEA agent John Lawlor was doing everything right… until he fell in love with his informant, beautiful Josephine “Joey” Kwang, one of the Asian underworld’s best transport drivers. Compromised and cover blown, John was forced to flee. Now, years later, John is back in Taipei for the weekend. But is he here to finish the job? Or to win back Joey’s love?
REVIEW: Luke Evans is one of those actors who I always thought deserved to star in an action franchise. His James Bond-esque good looks and debonair stature made him a natural in The Hobbit franchise and The Fast Saga. Having appeared in supporting roles over the last few years, his last significant lead being 2017’s Professor Marston and the Wonder Women, Evans makes a case for headlining more action vehicles with Weekend in Taipei. Co-written by The Transporter and Taken creator Luc Besson, Weekend in Taipei is a propulsive action flick that harkens back to the pulpy 90s-era films of Jean Claude Van Damme and Steven Seagal. With some creative action sequences and a sense of humor, Weekend in Taipei is a fun little diversion that may not tread new ground but has some fun revisiting familiar territory.
Weekend in Taipei opens with the trial for Korean cartel leader Kwang (Sung Kang) whose legitimate business is threatened by legal action. The wealthy executive lives in Taipei with his wife, Joey (Gwei Lun-mei), and her son, Raymond (Wyatt Yang). Wyatt does not trust Kwang, and Joey longs for her former lover and Wyatt’s biological father, DEA agent John Lawlor (Luke Evans). When Lawlor takes it upon himself to head to Taipei to collect evidence on Kwang from an anonymous informant, he is thrown together with Joey after fifteen years apart. John, Joey, and Raymond must escape from Kwang and his henchmen with the evidence to take the villain down while also trying to figure out their complex familial situation.
Filmed on location in Taiwan, Weekend in Taipei boasts some pretty exciting action sequences, including an early one set in a kitchen that gives Luke Evans a solidly choreographed scene straight out of a Jackie Chan movie. Evans holds his own in the action department and even reunites with his Fast and Furious co-star Sung Kang, this time with the two actors playing inverse hero and villain roles. Evans dons a convincing American accent as he partners with Gwei Lun-mei as the two former lovers are now reunited. The entirety of Weekend in Taipei is performed in English despite being filmed with an entirely Taiwanese cast. It works to make the film more accessible for Western audiences while feeling a bit inauthentic, especially during the blatantly dubbed over profanity moments used to get Weekend in Taipei a PG-13 rating.
The film is fairly violent, with some creative gun fights that echo the European style of Luc Besson’s directorial efforts, namely The Professional. There is a blend of Asian influence beyond the geographic setting, and the cast and crew as the balletic action reminded me of John Woo’s early output. The stuntwork is impressive, including some of the car chase sequences through the streets of urban and rural Taipei, showcasing a view of the scenic island of Taiwan. Filming on location also affords the film an authentic feel, which is accented by some pretty jaw-dropping locales, especially Kwang’s penthouse, which boasts an elevator specifically for cars. There is no doubt in watching this movie that the Taiwan production efforts helped make the budget look loftier than it actually is.
Weekend in Taipei is George Huang’s first feature directorial outing since 2001’s How to Make a Monster. Huang’s resume boasts the masterpiece black comedy Swimming with Sharks and the underrated teen sexy comedy Trojan War starring Jennifer Love Hewitt. Since then, Huang has honed his skills working as a producer and consultant for Robert Rodriguez, which shows in his ability to stretch a budget for maximum benefit. Partnering with Luc Besson, Huang wrote the screenplay for Weekend in Taipei alongside the man responsible for The Fifth Element and La Femme Nikita. Besson has shepherded numerous filmmakers over the years, and his mentorship jives with George Huang’s visual sensibility. Even though Huang has not directed an action movie like this before, he definitely shows an aptitude that should afford him more opportunities like this in the future.
While it mines the action formula of countless movies that came before it, Weekend in Taipei works thanks to having a solid antagonist from Sung Kang, a great lead in Luke Evans, and a talented leading lady in Gwei Lun-mei. As an introduction to these characters, Weekend in Taipei checks the requisite boxes for a fun action romp, even if it is a little light on the originality. This movie is good enough that I would not be opposed to seeing this turn into an ongoing series with Evans, Gwei, and Wyatt Yang traversing the globe for future weekend excursions that find them fighting like a family of ass-kicking transporters. Don’t expect Weekend in Taipei to be on par with movies like John Wick, but it is not far behind.
Writer/director Parker Finn’s sequel to his 2022 horror film Smile (read our review HERE, watch the movie HERE) reached theatres last month, with JoBlo’s own Chris Bumbray praising the film as “one of the year’s best horror movies” in his 9/10 review. The movie has been doing well at the box office, pulling in $110 million worldwide so far, and now Paramount has decided to pull a new marketing stunt: as reported by Deadline, Paramount will let you watch the first 7 minutes of Smile 2 on this website – but to do so, you’ll have to smile into your webcam for the duration. As Deadline notes, “anywhere between a light smile to a full-out Cheshire Cat leer” will do. “If you’re thinking that you can somehow outsmart the tech, think again: The webpage, which flashes your image green upon smiling, expeditiously changes to flash a red outline at the drop of the smile. The screen then goes black, prompting a message that says — rather ominously — Keep Smiling.”
Smile was based on Finn’s short film Laura Hasn’t Slept (watch it HERE), which won the Special Jury Recognition Prize in SXSW’s Midnight Short category. Caitlin Stasey (Neighbours) played the title character in that short, and reprises the role in Smile, making it a follow-up of sorts. Smile has the following synopsis: After witnessing a bizarre, traumatic incident involving a patient, Dr. Rose Cotter (Sosie Bacon) starts experiencing frightening occurrences that she can’t explain. As an overwhelming terror begins taking over her life, Rose must confront her troubling past in order to survive and escape her horrifying new reality.
Here’s the Smile 2 synopsis: About to embark on a new world tour, global pop sensation Skye Riley (Naomi Scott) begins experiencing increasingly terrifying and inexplicable events. Overwhelmed by the escalating horrors and the pressures of fame, Skye is forced to face her dark past to regain control of her life before it spirals out of control.
Naomi Scott of Aladdin and Charlie’s Angels takes on the role of Skye Riley and is joined in the cast by Lukas Gage of The White Lotus and You, Rosemarie DeWitt of La La Land and the Poltergeist remake, Dylan Gelula of Unbreakable Kimmy Schmidt and Dream Scenario, Raúl Castillo of Army of the Dead and Knives Out, Miles Gutierrez-Riley of The Wilds and On The Come Up, and Kyle Gallner (Red State), reprising the role he played in the first movie. A featurette revealed that Drew Barrymore (Scream) also makes an appearance, playing herself and interviewing Skye Riley on her talk show.
Smile was produced by Temple Hill, and they produced Smile 2 as well.
Will you be smiling into your webcam to watch the first 7 minutes of Smile 2? Let us know by leaving a comment below.
This year marks the 25th anniversary of the release of the 1999 hit The Blair Witch Project (watch it HERE) and to mark the occasion, Lionsgate announced that they’re developing a reimagining of the film with Blumhouse Productions. Lionsgate and Blumhouse have made a multi-picture pact that will see Blumhouse producing new takes on horror classics from the Lionsgate library, and The Blair Witch Project is the first project on that slate. That announcement was made several months ago, and now, during a conversation with Film Stories, Blair Witch creators Eduardo Sanchez and Daniel Myrick let it be known that no one at Lionsgate or Blumhouse has consulted them about the reimagining.
Sanchez and Myrick had their own ideas for how to expand the world of The Blair Witch Project, but Joe Berlinger’s Book of Shadows: Blair Witch 2 was made without their participation. They later spent years trying to develop a third film in the franchise, but their script was set aside and the 2016 Blair Witch was based on a concept Lionsgate had in place before director Adam Wingard and writer Simon Barrett got involved.
Myrick told Film Stories that seeing the franchise go on without them is “always a little bittersweet. I mean, Ed and I have always had subsequent ideas that expand on the universe and the world that was created for Blair. We’ve always thought that there’s a lot to mine in that whole universe.“
Sanchez added, “Like Dan said, it is bittersweet. We still love the IP and we’ve been thinking about it for more than 25 years now. And again, we don’t expect to write and direct these movies. We understand how Hollywood works and they’re always looking for the shiny new object, the new filmmaker. And there’s a lot of super talented people out there that can make a great Blair Witch movie. To be included again would be nice. Even if they don’t listen to us. Just to pick our brains – and again, like Dan was saying, we have a little bit of a fan base that’s dedicated to the original movie and it would be good press for them to bring us back in. But, we’ll see what happens.“
Blumhouse founder Jason Blum will be producing the new Blair Witch with Roy Lee, who previously produced the 2016 Blair Witch. The idea is that this reimagining could kick off a series of Blair Witch movies, taking the franchise into a new era.
Do you think Eduardo Sanchez and Daniel Myrick should be consulted about the new The Blair Witch Project? Share your thoughts on this one by leaving a comment below.
While Nobody 2 was recently confirmed to be wrapped, Bob Odenkirk continues his action career with the upcoming film, Normal. The movie is written by John Wick and Nobody screenwriter Derek Kolstad, and Ben Wheatley takes up the directing duties with this one. Now, Variety is reporting that Happy Days and Barry star Henry Winkler is set to join the cast along with 300 and Game of Thrones star Lena Headey. It is yet to be announced on what roles that they will be playing.
The film finds Odenkirk playing Ulysses, a lawman “who is thrust into the temporary role of the sheriff for the small sleepy town Normal after the previous one’s untimely death. When the town’s bank is robbed by an out-of-town couple, Ulysses arrives on the scene to find that the town is hiding much more sinister deep-seated secrets under its surface and everyone – from the bartender to the priest – is in on it. And now Ulysses, who’s up-till-now focused only on running away from the demons of his past, must uncover the full extent of this criminal conspiracy.“
Odenkirk recently conveyed that he was equally impressed with the concept behind Normal as he was with Nobody. “It just had this quality to it I don’t think I’ve seen in an action movie in forever. I’m going to call it suspense mystery,” he said. “You could argue that the Bourne films, especially the early ones, have that element, where he’s trying to explore and solve a mystery, the mystery of his own past. There’s that sort of dimension in this story, something that Derek expanded on, which I think was the reason Ben Wheatley came on board.”
He would also explain why he thinks an against-type of actor like him is an ideal candidate for these type of action roles. “A lot of action movies, where the guys are too handsome and built, it’s hard for the audience to buy into the idea that they’re in danger. I don’t have that problem,” Odenkirk said. “Audiences genuinely see me and go, ‘Oh, jeez, this guy is screwed. He’s going to get his ass handed to him.’ He doesn’t get to win by sheer muscle because he doesn’t have that. He gets to win through tenacity and cleverness.“
Back in 2021, Universal Pictures, Blumhouse Productions, and director Scott Derrickson brought us an adaptation of the Joe Hill short story The Black Phone (check out our review HERE) that appeared to tell a complete story that would stand on its own… but the film was made on a budget of around $16 million and earned over $160 million at the global box office. So, on October 17, 2025, we’ll be getting The Black Phone 2 – and with the release date eleven months away, Derrickson has now confirmed on social media that Black Phone 2 has started filming!
— N O S ⋊ Ɔ I ᴚ ᴚ Ǝ ᗡ ⊥ ⊥ O Ɔ S (@scottderrickson) November 4, 2024
Based on a short story by Joe Hill, The Black Phone centered on Finney Shaw, a shy but clever 13-year-old boy, who is abducted by a sadistic killer and trapped in a soundproof basement where screaming is of little use. When a disconnected phone on the wall begins to ring, Finney discovers that he can hear the voices of the killer’s previous victims. And they are dead set on making sure that what happened to them doesn’t happen to Finney. If you’d like to read the short story that The Black Phone is based on, it can be found in Hill’s collection 20th Century Ghosts, which you can buy HERE.
Derrickson wrote the screenplay for the first film with C. Robert Cargill, and Derrickson and Cargill have written the screenplay for The Black Phone 2 as well. They’re also producing the sequel with Blumhouse’s Jason Blum and Ryan Turek. The sequel will see the return of Mason Thames (How to Train Your Dragon) as Finney Shaw, Madeleine McGraw (Secrets of Sulphur Springs) as Finney’s sister Gwen, Jeremy Davies (Justified) as their dad Terrence, and Miguel Mora, whose only previous credit is The Black Phone, as Robin, a friend of Finney’s who was killed in the first movie. Ethan Hawke (Moon Knight) will be reprising the role of the child-killer known as The Grabber. One new addition to the cast is Demián Bichir of The Hateful Eight.
Derrickson recently told New York Comic Con attendees, “I didn’t really feel any obligation to do a sequel to The Black Phone, but I got excited by an idea that [author] Joe Hill sent me shortly after the release of the first film. And what I can also tell you is that in the same way that The Black Phone was a middle school coming-of-age film, this is a high school coming-of-age film.” He added that, “I’m hoping to make a film as good as, if not better than, the first one.“
Are you looking forward to finding out what’s going to happen in The Black Phone 2, and are you glad to hear that filming has begun? Let us know by leaving a comment below.
Back in 1986, David Cronenberg directed a remake of Kurt Neumann’s 1958 sci-fi horror classic The Fly (which was based on George Langelaan’s short story) – and the result is considered to be one of the best remakes of all time. 20th Century Fox, now the Disney subsidiary 20th Century Studios, has been wanting to replicate that success with another remake for a couple of decades now… but the project has never managed to escape from development hell. Cronenberg wanted to come back and make another Fly movie, but it fell apart over budgetary issues. Screenwriter Todd Lincoln wrote a remake of The Fly that he described as a “dark, twisted, grounded re- imagining… Part Val-Lewton, part J.G. Ballard, part Neal Stephenson with some Horror Manga touches.” The studio wasn’t into it. J.D. Dillard was attached to direct a new version of The Fly for years, then stepped away from it. Now, Deadline reports that Nikyatu Jusu – who recently made her feature directorial debut with the horror filmNanny – is set to write and direct a new version of The Fly for 20th Century Studios and Chernin Entertainment, but sources say that this isn’t a straightforward remake. Instead, it’s a story that’s “set in the universe of Cronenberg’s film.” So it seems this is some kind of sequel or spin-off.
The Fly told the story of a brilliant scientist who becomes obsessed with perfecting a device that can transmit matter from one location to another. Successful in his initial tests, he experiments with a human guinea pig – himself. But an ordinary housefly makes the journey with him, and when they merge both creatures have been extraordinarily changed. This is the chilling story of a man fighting to retain his humanity, and a desperate woman’s attempt to save the man she loves.
The 1958 film received two sequels, Return of the Fly and Curse of the Fly. Cronenberg’s film got a sequel as well, The Fly II, before the franchise sputtered out again. The Fly ’86 co-star Geena Davis was going to star in and produce a sequel called Flies, but that’s another Fly project that never made it into production.
Nikyatu Jusu’s The Fly is set to be produced by Chernin Entertainment’s Peter Chernin and Jenno Topping. Jusu is also developing a project for Universal Pictures and Jordan Peele’s company Monkeypaw that’s said to be based on her short film Suicide by Sunlight, about day-walking Black vampires who are protected from the sun by their melanin, and she’s attached to direct a sequel to the George A. Romero classic Night of the Living Dead for MGM. For that film, she’ll be working from a screenplay by LaToya Morgan, whose credits include episodes of Shameless, Parenthood, Into the Badlands, and The Walking Dead. Details on the plot are being kept under wraps.
Are you glad to hear there’s a new The Fly back in the works? Share your thoughts on this one by leaving a comment below.
Terminator: Dark Fate seemed to have the cards in its favor to return the franchise to the right track. It had the return of James Cameron in a creative role to contribute ideas, plus, not only would Arnold return, but Linda Hamilton would once again become Sarah Connor. It was shooting for an R-rating and the director of the recently successful Deadpool was at the helm. Alas, audiences would not respond to the film that attempted to be the true follow-up to one of the greatest action movies of all-time.
A large amount of the criticism came from the killing of John Connor, who was an important figure of the franchise. Director Tim Miller recently spoke with Variety and talked about how James Cameron wanted this subversive element to happen in the movie. Miller explained, “I’m a nerd, so I’m trying to do what I would want to see as a nerd. Now, my Terminator movie didn’t exactly set the world on fire, even though I approached it with that principle, which goes to show…” He continues, “Nobody sets out to disregard someone’s closely held childhood dreams. It’s no cause for vitriol. A lot of people didn’t like Terminator: Dark Fate for reasons I had nothing to do with. One, because it was the sixth film and another because we killed John Connor at the start, but if Jim Cameron wants that to happen – which I agree with by the way – then that’s what you do.”
Cameron would recently hold firm on his stance on the film, “We achieved our goal. We made a legit sequel to a movie where the people that were actually going to theatres at the time that movie came out are all either dead, retired, crippled, or have dementia. It was a non-starter. There was nothing in the movie for a new audience.” As such, the box office numbers were a disappointment, at least compared to what James Cameron is used to. “Our problem was not that the film didn’t work. The problem was, people didn’t show up. I’ve owned this to [director] Tim Miller many times. I said, ‘I torpedoed that movie before we ever wrote a word or shot a foot of film.’”
