When a filmmaker directs a documentary of a living subject, no doubt they want their stamp of approval. It’s not only good publicity, but shows you did a good job in your work. For R.J. Cutler, both couldn’t be further from his reach with his new doc on Martha Stewart. As it turns out, pissing off Stewart was a bad move.
While Martha Stewart admitted she liked the first half of the documentary, as a whole she has major problems with it, calling out R.J. Cutler for his misuse of resources and leaning too heavy on easy headlines. “R.J. had total access, and he really used very little. It was just shocking.” She added that Cutler constantly removed fun stories that Stewart shared and instead chose to put a major spotlight on her infamous 2004 trial which revolved around her involvement in a stock trading scandal, resulting in her spending five months in prison. As she put it, “It was not that important. The trial and the actual incarceration was less than two years out of an 83-year life. I considered it a vacation, to tell you the truth. he trial itself was extremely boring. Even the judge fell asleep. R.J. didn’t even put that in. The judge was asleep at the bench. I wrote it in my diary every day.”
Martha Stewart also claimed that Cutler misled the audience into suggesting that she is in poor health at age of 83. “Those last scenes with me looking like a lonely old lady walking hunched over in the garden? Boy, I told him to get rid of those. And he refused. I hate those last scenes. Hate them.” He, too, used unflattering camera angles, which he insisted on using despite Stewart’s request. Something like Martha, as with so many of celeb-driven docs, is no doubt going to drum up a ton of viewers based on the subject’s prominence alone. With that, it too could drive undeserved speculation as to Stewart’s condition (she actually had a damaged Achilles’ tendon and isn’t suffering from age-driven frailty). That said, it is ultimately R.J. Cutler’s film and he doesn’t really have to adhere to her requests.
Cutler has gone on to defend Martha (the film, that is), saying, “I am really proud of this film, and I admire Martha’s courage in entrusting me to make it. I’m not surprised that it’s hard for her to see aspects of it…It’s a movie, not a Wikipedia page. It’s the story of an incredibly interesting human being who is complicated and visionary and brilliant.”
But perhaps the most damning move on Cutler’s part came down to the music: Martha Stewart wanted either Dr. Dre or her BFF Snoop Dogg to score the doc, which we must say would have been dope.
Do you think the director should have followed Martha Stewart’s requests? Or does he have the final say?
Going to the movies can be a hit-or-miss experience. In addition to possible visual and audio issues, your good time can also be ruined by unruly patrons, overpriced food and beverages, and filthy seats. Even if everything goes well, one more element has become increasingly overbearing in recent years: commercials. There’s nothing like going to the movies and having to sit through nearly 10-20 minutes worth of commercials (and that’s not counting the previews), and Joker: Folie à Deux director Todd Phillips has had enough.
As more people turn to streaming services instead of the theater, Phillips told Empire that one simple fix could help make the theatrical experience more enjoyable. “Stop showing commercials before the movies,” he said. “We’ve paid for our tickets. We’re excited to be there. The commercials tend to take the air out of the room.” I mean, he’s not wrong. I still remember the days when commercials were rare in my local theaters. There might have been one or even none at all. Now it feels like the actual movie doesn’t start until a good 30 minutes after the advertised showtime. I get that theaters need to make money, but there’s got to be some middle ground.
Phillips’ Joker: Folie à Deux is still playing in theaters, but unlike the first movie, which earned over $1 billion worldwide and scored Joaquin Phoenix an Academy Award for Best Actor, the sequel is bombing. In fact, there have been reports that it could lose the studio at least $150 million to $200 million. The sequel has grossed $201 million worldwide on a budget of $200 million.
Our own Chris Bumbray wasn’t a fan of the sequel, feeling that it only exists because the first movie made so much money. “Perhaps Joker was too big of a hit not to get a sequel, but watching Joker: Folie à Deux, you get the distinct feeling that this was an exercise in style for Phillips rather than a sequel that HAD to be made,” Bumbray wrote. “As it is, though, this Joker sequel spins its wheels and winds up being an often dull courtroom movie livened up by occasional flights of fancy into musical numbers. Those sequences are the best in the film, as without them, this would feel like a wholly unnecessary epilogue to what was originally a pretty powerful film.” You can check out the rest of Bumbray’s review right here, and be sure to let us know what you think of the film as well. Joker: Folie à Deux will be released on 4K Ultra HD/Blu-ray on December 17th.
Would you like to see fewer commercials played in theaters or does it not bother you?
Sasha Calle played Supergirl in The Flash. It was meant to be the first appearance of a character who would go on to play a major role in the DCEU. However, by the time the film was released, the DCEU was in its death throes. This was especially frustrating for Calle, who had signed on for multiple movies and called the whole experience “heartbreaking.“
“I was so deeply in love with that role. I had a conversation about her future many times,” Calle told THR. “When I signed onto that, it was for a multiple picture deal. That’s a common thing when you sign onto a franchise. So it was very heartbreaking for me, and it was very confusing. Ultimately, I know that I did my best, and wherever it ended up going, it wasn’t … (Calle ponders for a few moments.)“
Although Calle obviously wished she would be able to return as Supergirl, she looks back on the experience fondly. “I look back at it as something super beautiful. It’s been said that a queer Latina girl like me couldn’t be Supergirl. But I was, and no one can take that away from me,” Calle said. “That is the most important thing for me; I did something that mattered. And whether you saw yourself represented in me or not, a lot of people really connected with her and loved her.“
Given the controversy surrounding The Flash star Ezra Miller, Calle was the only actor who did press for the film. Considering this was Calle’s very first movie, the experience of being the public face of the project was a little overwhelming. “It was very hard, I have to say. I had bittersweet feelings as I was maneuvering everything. I was very excited, but there were a lot of unanswered questions for me, so it was very bittersweet,” Calle said. “I then got really sick, too. I lost my voice. So I was kind of in robot mode just to make sure that I was even able to speak, but my team was awesome. My makeup artist would knock on my door at 4 in the morning, and she would throw a bucket of ice in a sink to put my face into it. (Laughs.) I know it sounds treacherous, but to be very honest with you, it was really sweet. She would then make sure that I didn’t look sick.“
Resident Evil star Milla Jovovich is preparing to battle the undead once again as Deadline reports that she’s set to star in Twilight of the Dead, which is being billed as the seventh and final installment of George A. Romero’s iconic zombie franchise. Betty Gabriel (Get Out) will also star in the movie, which is set to be directed by Brad Anderson (Session 9).
Twilight of the Dead is set on a tropical island and will “delve into the dark nature of humanity from the perspective of the last humans on earth who are caught between factions of the undead.” Romero had been working on the project before he died in 2017, and his wife, Suzanne Desrocher-Romero, made sure it would live on. Greg Nicotero, who got his star on Romero’s Day of the Dead, will create the makeup effects, so the undead are in very good hands. The George A. Romero estate is teaming up with Roundtable Entertainment on the project.
In a statement, director Brad Anderson said, “I see this film in the same way as successful post-apocalyptic thrillers such as I Am Legend, A Quiet Place, The Road, and The Last of Us — genre stories that are as emotional as they are intense. When I first read Twilight of The Dead I teared up at the end. Which is weird for a film of this type. But it has that kind of pull, that combo of horror and heartbreak that I love.“
Suzanne Desrocher-Romero added: “It is with great pleasure to work with my partners at Roundtable to finally get the last of George A Romero’s the Dead canon out to the fans. It’s what the fans have longed for and with Brad Anderson at the helm it will be sensational!“
Roundtable Entertainment’s Sarah Donnelly said, “We’re thrilled to share Milla Jovovich’s return to the zombie genre in this fresh and original way with Twilight of the Dead. With Brad’s masterful, visionary direction and Milla’s unique ability to command the screen as a Bona fide action star with emotional depth and resiliency, there’s no doubt this film will be a riveting, compelling standout in the genre.“
After the massive success of Top Gun: Maverick, Tom Cruise may be looking to make a sequel to Days of Thunder, the NASCAR racing film directed by the late Tony Scott. THR reports that the actor has been talking to Paramount about the potential project in addition to Top Gun 3. The studio is reaching out to writers, but it’s still early days.
“He’s talking [to Paramount] about Top Gun and Days of Thunder,” a studio insider familiar with the discussions told the outlet. “It’s going to be what comes together first in terms of a script. It depends on the idea and, ultimately, the script… I don’t think a [Days of Thunder sequel] is a terrible idea. You might have said that revisiting Top Gun was a terrible idea. I wouldn’t discount it.“
Cruise played Cole Trickle in Days of Thunder, a young hot-shot stock car driver who gets his chance to compete at the top level. The film also starred Nicole Kidman, Robert Duvall, Randy Quaid, Cary Elwes, Caroline Williams, and Michael Rooker. However, unlike Top Gun, Days of Thunder wasn’t considered a major box office hit. It grossed $157 million against a budget of $60 million. It also received mixed reviews from critics at the time but has grown a passionate following, which includes director Quentin Tarantino. “Hands down my favorite [racing movie] is Days of Thunder,” Tarantino said in 2013. “Yeah, yeah, you laugh, but seriously, I’m a big fan. Sure, it had a big budget, big stars and a big director in Tony Scott, but it had the fun of those early [American International Picture racing] movies. I just don’t think [the genre] works if you take the whole thing too seriously.“
Before any potential Days of Thunder sequel, Cruise has several projects on his slate. He’s set to start filming a new movie directed by Alejandro G. Iñárritu, which will be the director’s first English-language movie since The Revenant. He’s also set to reunite with director Doug Liman for a movie which will see him travel into outer space for real.
Would you like to see a sequel to Days of Thunder?
Based on a best-selling novel by Judith Rossner (which itself was inspired by a true crime case), the 1977 sexual thriller Looking for Mr. Goodbar was a box office success and earned two Academy Award nominations: Best Supporting Actress for Tuesday Weld and Best Cinematography for William A. Fraker. Star Diane Keaton also earned a Golden Globe Award nomination for Best Actress in a Motion Picture – Drama. And yet, for a film, this was a film lost to time, as it never made it past the VHS and LaserDisc age of home video – apparently due to music licensing issues. Thankfully, it looks like the folks at Vinegar Syndrome have finally solved the problem, as Looking for Mr. Goodbar has leap-frogged over DVD and received a 4K UHD and Blu-ray release! Limited to 8,000 units, this Vinegar Syndrome release can be ordered at THIS LINK.
The 2-disc 4K UHD/Blu-ray set comes with a spot gloss hard slipcase + slipcover combo (designed by Dylan Haley) and includes a 40-page perfect bound book.
Written and directed by Richard Brooks, Looking for Mr. Goodbar has the following synopsis: Theresa Dunn’s mild demeanor and job as an inner-city school teacher for deaf children masks her rebellious nightlife of frequenting dance clubs and dive bars, searching for easy men and one-night stands. At odds with her older sister Katherine, whose seemingly idyllic life is itself a cover for infidelity and heartbreak, Theresa finds joy in her self-styled form of liberation, in part to overcompensate for the trauma of a disfiguring scar from childhood scoliosis and her repressive Catholic upbringing. When two wildly different men, the square but grounded James and fun but unhinged Tony, enter her life, Theresa is forced to confront her demons as never before, forcing her on a path of increased self-destruction.
The cast includes Diane Keaton, Tuesday Weld, William Atherton, Richard Kiley, and Richard Gere.
Here’s the information on the 4K UHD and Blu-ray release: – 2-disc Set: 4K Ultra HD (High Bitrate UHD100) / Region A Blu-ray – 4K UHD presented in Dolby Vision High-Dynamic-Range – Newly scanned & restored in 4K from its 35mm original camera negative – Commentary track with filmmaker/film scholar Gillian Wallace Horvat – First Comes the Word: Richard Brooks and the making of Looking for Mr. Goodbar (23 min) – an interview with Douglass K. Daniel, author of Tough as Nails: The Life and Films of Richard Brooks – Studs Terkel interview from 1976 with Looking for Mr. Goodbar author Judith Rossner (13 min) – Defining Autonomy: The Trial of Looking for Mr. Goodbar (30 min) – a visual essay by Brent Cowley on the obscenity trial following the film’s theatrical release in Utah – Original trailer – Radio spots – 40-page perfect bound book with essays by Marya E. Gates, Marc Edward Heuck, Elizabeth Purchell, and Jourdain Searles (exclusive to the limited deluxe case edition) – Reversible sleeve artwork – English SDH subtitles
Will you be buying this 4K UHD and Blu-ray release of Looking for Mr. Goodbar? Let us know by leaving a comment below.
Deadline reports that Garret Dillahunt (Fear the Walking Dead) has joined Lanterns in what will be a major recurring role. In my opinion, Dillahunt can do anything. The man is so good. He will be a welcome addition to the Green Lantern series.
It’s said that Dillahunt will play William Macon, a modern cowboy who is described as “a self-righteous, conspiracy-minded man who masks his ruthless ambition behind a charming and calculated facade.” As far as I know, this doesn’t sound like anyone from the comics. Kyle Chandler (Friday Night Lights) is set to star in Lanterns as Hal Jordan alongside Aaron Pierre (Rebel Ridge) as John Stewart. Kelly MacDonald (Boardwalk Empire) also recently boarded the series as Sheriff Kerry, a “no-nonsense woman deeply devoted to her family and close-knit town.“
The live-action Green Lantern series is said to have a True Detective vibe as it “follows new recruit John Stewart and Lantern legend Hal Jordan, two intergalactic cops drawn into a dark, earth-based mystery as they investigate a murder in the American heartland.” Chris Mundy (Ozark) will serve as showrunner and executive producer and will co-write the series alongside Damon Lindelof (The Leftovers) and Tom King (Supergirl), who will also executive produce. James Hawes, a prolific TV director best known for Black Mirror and Slow Horses, will helm the first two episodes.
Josh Brolin was originally in talks to play Hal Jordan, but he recently said it didn’t work out. “You know what? Green Lantern didn’t work out, but that’s okay,” Brolin said. “It’s working out. Who is it going to be, Kyle Chandler? I love him as an actor, I think he’s wonderful, actually. And, you know, we’ll see what’s down the line, man.”
Lanterns was given an eight-episode straight-to-series order earlier this summer. Casey Bloys, chairman and CEO of HBO and Max content, said: “We are elated to be reuniting with both Chris Mundy and Damon Lindelof as they partner with Tom for this fresh take on DC’s ‘Green Lantern.’ As part of James and Peter’s vision for the DC Universe, this first new live action series will mark an exciting new era.“
In a joint statement, James Gunn and Peter Safran, co-chairmen and co-CEOs of DC Studios, added: “We’re thrilled to bring this seminal DC title to HBO with Chris, Damon and Tom at the helm. John Stewart and Hal Jordan are two of DC’s most compelling characters, and LANTERNS brings them to life in an original detective story that is a foundational part of the unified DCU we’re launching next summer with ‘Superman.’“
Plot: Silo is the story of the last ten thousand people on earth, their mile-deep home protecting them from the toxic and deadly world outside. However, no one knows when or why the silo was built and those who try to find out face fatal consequences. Rebecca Ferguson stars as Juliette, an engineer who seeks answers about a loved one’s murder and tumbles onto a mystery that goes far deeper than she could have ever imagined, leading her to discover that if the lies don’t kill you, the truth will.
Review: Last year, Apple TV+ debuted the first season of their ambitious dystopian series Silo, based on the novels by Hugh Howey. Contained to an underground silo where classes are separated by levels distinguishing leadership from the working class, Silo‘s first season echoed the same themes as the similar series Snowpiercer. The difference between them is that Silo‘s budgetary backing from Apple resulted in a powerfully cast drama that will only broaden in scope and ambition in subsequent seasons. The sophomore season of Silo is shaping up to take all of the world-building foundations from the first run of episodes into an even more sprawling narrative arc. With the residents of the titular facility on the brink of civil war, the second season of Silo brings back Rebecca Ferguson, Tim Robbins, Common, and more, along with new characters as we begin to explore the outside world and what that means for the beliefs of those still safely below ground.
The second season of Silo opens directly following the first season finale, which found Juliette Nichols (Rebecca Ferguson) banished outside to “cleaning duty.” Prepared for a death sentence, Juliette discovers the truth that there is more beyond their silo than they have all been led to believe. Making a brief trek to another structure, Juliette finds out more than she anticipated, including additional survivors of the toxic air that decimated mankind. With the denizens of her silo viewing her as a martyr, Juliette’s legacy develops into a burgeoning rebellion. This forces Bernard Holland (Tim Robbins), the elected leader of the Silo and head of the IT Department, and his head of security for Judicial, Robert Sims (Common), to cover up the truth about Juliette’s survival to protect their control over the citizen of their silo. This causes a further disruption amongst the masses as Juliette’s mentor Martha (Harriet Walter), Lukas (Avi Nash), and Juliette’s replacement as sheriff, Paul Billings (Chinaza Uche), draw new alliances amongst the uneasy populace.
While the first season was good at separating different characters from one another, notably Rashida Jones and David Oyelowo’s Allison and Holston Becker, who didn’t make it out of the first episodes, the second season of Silo keeps Juliette completely distanced for the majority of the season. Rebecca Ferguson is one of the few cast members this season who gets to interact with new characters in unfamiliar territory, including Steve Zahn’s important new character. How and what Juliette experiences in her journey this season is best left for you to discover as you watch the series, especially for those who have not read the source novels. Rest assured that it follows the books closely and gives us many answers posed in the first season. It also manages to echo some of the same narrative arcs as the first season of Prime Video’s Fallout series but without replicating twists and reveals.
What this season does improve is the intensity and maturity of the storytelling. As the first season began, I was unsure if the series would be targeted at a younger demographic, but as this season opens, it is apparent that there are no longer as many safeties built around this story. The new additions to the cast tend to skew younger, but there is an intentional use of profanity, violence, and similar subject matter to drive the bubbling rebellion. This allows the political and societal themes of the story to come to the surface more than they did in the mystery-centric first season. This gives both Tim Robbins and Common additional space to explore the idea of control and power within a confined space as they try to head off a threat to the existing regime of the Silo. While the split narrative between the original population and Juliette’s journey does slow things down, there is a stronger sense of urgency through this season that helps the entire cast find more immediacy in how this run of episodes is poised to set up what comes next.
Directed by Michael Dinner, Amber Templemore, and Aric Avelino, the second season wraps up the plot of the first book in Hugh Howey’s trilogy, Wool. The second book, Shift, is a prequel that leads directly into the third and final novel, Dust, which continues the narrative we see develop in this adaptation. By the end of the second season, showrunner Graham Yost has set up the end of the story, which will likely finish in the fourth season. Some references and hints tease what will come that only those who have read the books will catch, but it is enough to see where this tale is headed. The comparisons between the current state of world politics and what happens in this series are not blatant, nor are they invisible. The fact that dystopian stories feel prescient to our current election cycles and conflicts worldwide is scary enough on its own. Still, it is also a testament to Yost and his writing team being aware of what the source material was trying to convey while using the power of long-form storytelling to transform it into engaging television.
While the first season of Silo was a solid mystery set within a post-apocalyptic setting, season two expands the scope to a dystopian thriller full of political intrigue and escalating tensions involving rebellion and war. Silo does not hit you over the head with references to the real world, but it does not have to, as the grounded nature of this science fiction tale is eerily realistic and foreseeable. I found the expanded scope of this season to be as entertaining as it is sinisterly thrilling. Thanks to a finite endgame in sight for where this story will lead, fans can enjoy this middle chapter as the saga of Silo builds the tension to a breaking point. I expect that by the time everyone reaches this season’s finale, they will eagerly await what comes next. Packed with great turns from Rebecca Ferguson, Tim Robbins, Common, and the entire cast, this sophomore season of Silo is a solid continuation.
Kemp Powers is adding serious star power to his upcoming feature film Lunik Heist, which will star Jared Leto (Gucci, Morbius, Tron: Ares), Lupita Nyong’o (Us, The Wild Robot, Little Monsters), and John Mulaney (Big Mouth, Spider-Man: Into the Spider-Verse, Chip’ n Dale: Rescue Rangers). Powers directs LunikHeist from his own script based on actual events. The story orbits around the American government’s plot to steal a Soviet spacecraft during a 1959 exposition in Mexico City. Jeff Maysh’s MIT Technology Review article inspires the screenplay, with Maysh executive producing. In addition to his starring role, Jared Leto produces alongside Emma Ludbrook via the duo’s Paradox studio with Mark Johnson for Gran Via Productions.
“We’re so thrilled to bring together such an exceptional team,” said Matthew Greenfield, the President of Searchlight Pictures. “With the extraordinary talents of Jared, Lupita, and John, led by the visionary Kemp, Lunik Heist is a wild, roller-coaster ride filled with subterfuge and unlikely heroes.”
After directing one of my Top 10 animated films, Spider-Man: Across the Spider-Verse, Kemp Powers is a force to be reckoned with. Beyond shooting Miles Morales’ sophomore animated feature, Kemp wrote Pixar’s underrated 2020 animated film Soul, starring Jamie Foxx as Joe, a middle-school band teacher whose life hasn’t quite gone the way he expected. His true passion is jazz. But when he travels to another realm to help someone find their passion, he soon discovers what it means to have soul.
In the live-action arena, Kemp Powers wrote One Night in Miami…, a fictional account of one incredible night when icons Muhammad Ali, Malcolm X, Sam Cooke, and Jim Brown gathered to discuss their roles in the Civil Rights Movement and cultural upheaval of the 1960s. The powerful drama stars Kingsley Ben-Adir as Malcolm X, Aldis Hodge as Jim Brown, Leslie Odom Jr. as Sam Cooke, Eli Goree as Cassius Clay, and the late and great Lance Reddick as Kareem X.
For more details about Lunik Heist, check out Maysh’s MIT Technology Review article. What do you think about pairing Jared Leto, Lupita Nyong’o, and John Mulaney for this tale of deception and one-upmanship? Let us know in the comments below.
List of targets? Check. Bullets? Check. Diapers? Check? You heard me. Lionsgate is loading up on formula and onesies for the action comedy spec Three Hitmen and a Baby. The newly-announced project comes from Dave Matalon (Totally Killer) and Matt Altman (Red Widow). While the title is obviously a play on the 1987 comedy Three Men and Baby, plot details remain elusive. However, the talent behind the film is not. Kelly McCormack and David Leitch (The Fall Guy, John Wick, Bullet Train) will produce through their 87North studio, which bodes well for this curious production.
In Three Men and a Baby, three bachelors (Tom Selleck, Steve Guttenberg, and Ted Danson)have their worlds rocked when a mysterious baby arrives on their doorstep. With almost no experience, the trio must put their one-night-stand lifestyle on hold to ensure the child’s safety, learning valuable lessons about parenthood and themselves. The laugh-out-loud comedy got a sequel in 1990 called Three Men and a Little Lady, which finds the fatherly trio hoping to reclaim their daughter, played by a young Robin Weisman. Both films have their place in the annuls of kooky comedies, with Selleck, Guttenberg, and Danson delivering endearingly comedic performances.
Matt Altman and Dave Matalon are developing a sci-fi script titled Level Up with The Hideaway and Vandal Entertainment. With Kelly McCormack and action extraordinaire David Leitch in their corner, Three Hitmen and a Baby could become another smash in 87North’s library of cinematic bangers.
While the plot is unknown, I imagine three hitmen caught in a trifecta of trouble when a child enters their crosshairs. It’s generic, I know, but I don’t have any other clues. Will the hitmen be forced to work together? Are they in competition with one another, and is the baby a prize to be won? Where’s the mother? Did they eliminate a target and discover an infant crying in the next room? Your guess is as good as mine, and hopefully, it won’t be too long until we find out. Let us know your thoughts about the plot for Three Hitmen and a Baby in the comments section below.
