In 2017, Netflix will spend $6 billion on original content (up $1 billion from 2016), including 20 new TV shows and, pending negotiations, Martin Scorsese’s long-awaited mob drama The Irishman — which could finally earn Netflix a spot at the Oscars. That’s certainly a goal, but according to Reed Hastings, it’s not the only goal for the streaming giant, which has struggled to find balance between quantity and quality despite massive spending. The CEO and co-founder of Netflix recently offered some insight into their plans for original content and threw some shade at theater chains for good measure.
Sylvester Stallone’s role in Guardians of the Galaxy Vol. 2 went from rumor to fact with some early set photos, but we still have no idea who the iconic action star is actually playing in James Gunn’s upcoming sequel. With less than two months before the film hits theaters, Gunn has finally commented on the nature of Stallone’s role while revealing that his old pal and Smallville alum Michael Rosenbaum also has a part in the Guardians’ next adventure.
When news broke earlier this week that Warner Bros. is developing a reboot of The Matrix, the only appropriate response was one that Keanu Reeves would approve of: Whoa. And that’s not necessarily a good “whoa,” especially since the Wachowskis reportedly aren’t involved. But Matrix fans can relax a bit because, according to the writer of the new project, this isn’t a reboot or a remake after all.
With the recent creative changes behind the scenes of The Batman, Ben Affleck’s solo film probably won’t begin filming until 2018, which leaves a bit of a gap in Warner Bros.’ superhero schedule. Earlier this week, the studio pushed Aquaman back two months, pitting it against Sony’s animated Spider-Man movie in December 2018 — and with nothing else on the docket for the rest of the year, that leaves a sizable gap on the DC schedule.
Sharlto Copley is the kind of guy you want on your side when the shots start flying, though you might not think that’s the case after seeing Free Fire. The first full-fledged American production from UK director Ben Wheatley is a wild warehouse free-for-all featuring an absolute murderer’s row of actors, including Copley, Armie Hammer and Brie Larson (among many others). In a film where every man (and woman) is out for himself, perhaps no one is more self-serving than Copley’s Vernon, a narcissistic gun-pusher who is, for lack of a better adjective, kind of a weenie. But on a stunt ranch just outside Austin during SXSW, Copley was far from cowardly on the frontlines of the paintball battle field.
Joe Swanberg’s filmography is a fascinating evolutionary timeline; with each new film, the former mumblecore pioneer (and occasional agitator) has showcased increasing maturity. Win It All is his most grown-up film to date — despite the fact that it centers on the all-too-familiar man-child archetype. For his latest effort, Swanberg reunites with Digging for Fire star and co-writer Jake Johnson, who pulls double duty once again, this time with much more consistent results.
While we wait for the first teaser trailer for Star Wars: The Last Jedi, which should be arriving in the next couple of months (more on that in a minute), some footage was recently screened for Disney shareholders. That footage won’t be released online, but one reporter in attendance was kind enough to share a few interesting details — it’s not much, but it should keep your spirits up until the first trailer debuts.
There are approximately 82 Robin Hood movies (OK, more like five) in development at various studios right now, including the gritty Robin Hood: Origins starring Taron Egerton and Jamie Foxx. Should all those projects make their way to the big screen, we’re going to be experiencing a bit of Robin Hood fatigue, to say the least — that’s where Margot Robbie comes in.
To say that the first trailer for Beauty and the Beast was evocative of the 1991 animated classic would be an understatement; it was a live-action carbon copy, and if Disney’s remake of Cinderella was any indication, we were in for yet another tedious — if visually stunning, well-acted and beautifully-designed — exercise in nostalgia-based capitalism. But Bill Condon’s live-action update of Beauty and the Beast is more reimagining than remake, a lavish and lovely take on a familiar tale (as old as time, no doubt) that enriches its source material without betraying it, embellishing a cherished antique with modern ideas.
It took a few days, but the Academy of Motion Pictures Arts and Sciences has finally come to a decision: The two PricewaterhouseCooper accountants involved in this year’s Best Picture snafu, dubbed “Envelopegate,” will not be allowed to work at the Oscars again. In what instantly became the most memorable Oscar moment in recent memory (and perhaps all-time), La La Land was erroneously announced as Best Picture; it took two whole minutes (or more) for the PwC accountants to rectify the error and announce Moonlight as the correct winner.
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