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MacGyver Is Getting A Movie, Get The Details
Richard Dean Anderson (pictured here on set "back in the day") was the original MacGyver (image courtesy Cinema Blend / ABC)
By Dirk Libbey
In the world of modern media, everything that's old is new again, and that means that if you're a fan of a classic TV series or movie that's over 10 years old, just hang out, and eventually it will get rebooted. While some classic TV series are simply getting a new series, others get to make the jump to the big screen. If you're a fan of the 1980's action series MacGyver, you just won the reboot lottery, as he's getting both.
A day after it was announced that CBS has ordered a pilot for a new MacGyver TV series, Lionsgate has now announced that they’ve partnered with the network to bring the new character into the movies as well. According to The Hollywood Reporter the movie will be produced by 21 Jump Street's Neal Moritz as well as Lee David Zlotoff, who was the creator of the original series. The specifics of the agreement are a little vague, so whether this movie would bring the new TV MacGyver on the big screen as well or would be an independent project with a separate character, aren't entirely clear. It would seem a little strange to bring two new characters out so close together, but it wouldn't be the first time something like that has happened.
The original series ran from 1985 to 1992, and then spun off a pair of made-for-TV movies, all starring Richard Dean Anderson as the titular character. The series focused on MacGyver's ability to think his way out of dangerous situations by building a solution out of his surroundings often using everyday items in very unusual ways.
Star Wars: The Force Awakens About To Cross Two New Box Office Milestones
By Dirk Libbey
While much of the hype surrounding Star Wars: The Force Awakens has now died down, as it's been out for nearly two months, the movie isn't quite done breaking records yet. Today The Walt Disney Company announced that the movie has hit another movie milestone, and is expected to hit another before the weekend is out. The Force Awakens has now become the first movie to gross $900 million at the U.S. box office. The Mouse House also expects the film to crack the $2 billion global box office mark sometime on Saturday.
The Force Awakens became the number one domestic movie quite a while ago when it bypassed Avatar's $760 million total. Since then the film has just been piling on and increasing its lead, making it that much harder for any future film to bypass its success. Even future Star Wars movies will likely have difficulty competing. While the film has lost its spot at the top of the box office chart, it still hasn't fallen below the number two spot, even two months later.
While Star Wars: The Force Awakens has been a global success as well, it has not been able to become the clear leader there nearly as easily. Only two movies have ever broken the $2 billion mark previously, James Cameron's Titanic and Avatar. While The Force Awakens will be joining that elite club this weekend, even surpassing Titanic's $2.186 billion box office will be a long shot at this point. Catching up to Avatar at $2.7 billion is essentially impossible.
While the numbers that The Force Awakens have put up globally are nothing to ignore, they're nothing compared to what Avatar was able to do. Cameron's films did over $200 million in China, and that was in 2009 when the nation was not nearly the box office powerhouse that they are today. By comparison Star Wars is sitting at $120 million due to the movie seeing a significant drop in business in only its second week of release in the country. Star Wars has never built the fan base in China than it has in other parts of the world, mostly due to the communist government keeping western pop culture out of the nation in the late 1970's when Star Wars was first getting a toehold in the rest of the world.
'Deadpool' Marketing Hides The Movie With Viral Content
Movie poster for Fox's 'Deadpool' (image courtesy Forbes / 20th Century Fox)
by Scott Mendelson
20th Century Fox deserves and has received all the credit in the world for its genuinely creative and openly unconventional Deadpool marketing campaign. Their campaign, with a week left to go, has been a clear case of a studio having fun with the marketing process and embracing the offbeat nature of their property as an excuse to both play around with conventions and openly acknowledge the tropes. But there is something else for which they should receive credit as well: I am seeing the film tonight and, thanks to the marketing campaign thus far, I have very little idea of what I'm about to see. The viral videos and self-aware teasers has successfully hidden the fact that 20th Century Fox has actually revealed very little of the film itself.
They began the campaign in a somewhat traditional fashion back in August, with a self-aware "teaser for a trailer" that served as a stand-alone piece of promotional art and then an actual theatrical trailer attached to Fantastic Four. And then they went into overdrive in the week leading up to Christmas, beginning their so-called "12 Days of Deadpool" with a daily series of viral-friendly marketing tidbits that led up to the reveal of the second theatrical trailer on Christmas Day.
Said marketing deluge, which ran right through the two-week chunk when Walt Disney's Star Wars: The Force Awakens was otherwise dominating the news cycle, included a couple new posters, an "annotated" script page, a Christmas card detailing the year in review, a totally spoiler-free IMAX trailer that played on some prints of Star Wars, and other such silliness. And the last six weeks or so has followed suit, with Ryan Reynolds's wise-cracking anti-hero taking the spotlight with (among other things) satirical posters selling the film as a romantic drama, public service announcements for testicular cancer and breast cancer, a Super Bowl ad for Hyundai featuring a deluge of Ryan Reynolds clones for female-gaze consumption.
'Fast & Furious': 10 Films, 20 Years, A Franchise Unlike Any Other In Modern Cinematic History
The gang in 'Furious 7' (image courtesy Universal)
by Scott Mendelson
Per Universal and Vin Diesel, we are officially getting not one, but three more Fast and the Furious movies. The notion at this point is that the last three films, Fast 8 plus two more untitled entries, will basically close out the saga in 2017, 2019, and 2021 respectively. As Mr. Diesel put it on his social media announcement, that's ten films over two decades for one saga. And by racing past an eighth chapter, the Fast and the Furious franchise, which started back in 2001 as a would-be knock off of Point Break set in the Los Angeles world of street racing, will become something unique unto itself. It will be the first non-horror franchise in modern cinematic history to offer more than seven explicitly connected tales in one long cinematic saga. It will have more installments that almost any other explicitly serialized cinematic franchise in modern history.
Even among horror franchises, the only one that made it to ten theatrical installments remains Friday the 13th. Saw closed out at seven films, the Nightmare on Elm Street pictures have eight but the last two weren't inherently connected to the rest, while the original Halloween franchise has eight installments yet the last two may or may not discard the continuity of the middle chapters. And among non-horror installments, Warner Bros./Time Warner Inc.'s Harry Potter films closed out at eight, there were six Hobbit/Lord of the Rings films for New Line Cinema and the newly revived Star Wars franchise will indeed be racing to that tenth chapter right alongside Toretto, Letty, Hobbs, and the rest of the gang. Yes, we have the Marvel Cinematic Universe which will wrap up its first long-form 22-movie arc with Avengers: Infinity War part II in 2019, but even that is more a handful of stand-alone franchises sowing the seeds for periodic team-up movies. That's no less remarkable, but it's not quite the same.
Paramount/Viacom Inc.'s Star Trek franchise has thirteen features but the last three (counting Star Trek Beyond) exist in their own parallel continuity while the seventh (Star Trek Generations) was literally a passing of the torch from one group of heroes to another. Yes, we now have 25 James Bond films (the tenth was the franchise-saving The Spy Who Loved Me which arrived just 15 years after Dr. No) but those films tended to exist in a stand-alone universe with only the loosest of continuities. Ditto (to varying degrees) the likes of The Pink Panther, The Muppets, and (to my memory) those Basil Rathbone Sherlock Holmes films from the 1940's. It's not that there has never been a film franchise that made it past eight entries or even past ten, but rather that The Fast and the Furious franchise stands unique in basically telling one long-form story with the same core group of actors over what now will be a ten-film saga stretched over twenty years without any significant breaks. Try as I might, but I can't think of anything comparable.
'Kung Fu Panda 3' Tops Box Office, 'Finest Hours' Flounders
Jack Black voices Po in 'Kung Fu Panda 3' (image courtesy Dreamworks / Rex Features)
by The Associated Press
"Kung Fu Panda 3" has kicked its way to the top of the North American box office with a respectable $41 million, according to Rentrak estimates Sunday.
The animated sequel fared much better than the weekend's other new openers, like Disney's Coast Guard adventure "The Finest Hours," which debuted in fourth place with $10.3 million.
The "Fifty Shades of Grey" parody "Fifty Shades of Black" earned around $6.2 million, but it only cost a reported $5 million to produce, while The Weinstein Company's Natalie Portman-led Western "Jane Got a Gun" misfired out of the gates, bringing in less than $1 million on a $25 million budget.
Holdovers "The Revenant" and "Star Wars: The Force Awakens" took second and third place with $12.4 million and $10.8 million, respectively.
While the Academy Awards remain enveloped in a crisis over the diversity of its nominees, the 22nd annual SAG Awards on Saturday presented a stark antidote to the rancour that has overwhelmed Hollywood's awards season. Awards were handed out to Queen Latifah, Uzo Aduba, Viola Davis and Idris Elba (twice), as the actors guild cast a loud vote in favour of diversity on big and small screens.
"Ladies and gentlemen, welcome to diverse TV," said Elba in his third trip on stage as a presenter. His first two were to accept awards for his supporting performance in the Netflix child soldier drama "Beasts of No Nation" and for his lead performance in the BBC miniseries "Luther."
The night's top honour, best ensemble in a film, went to the newspaper drama "Spotlight," which came into Saturday badly in need of some momentum. The ensemble award had seemingly come down to "Spotlight" or -- the film with the wind at its back -- Adam McKay's high finance tale "The Big Short," which last week took the Producers Guild's top award.
"No way," said Mark Ruffalo, one of the film's stars.
He praised the writer-director Tom McCarthy and co-writer Josh Singer for their purposeful accuracy in penning the journalistic procedural about the Boston Globe's reporting on sexual abuse by Catholic priests. The two, he said, "took every single opportunity to tell the truth. They didn't take any cheap way. It was always the truth."
Elba made no direct reference to the crisis that has swept through Hollywood in the last two weeks -- which might have been far less severe had he been nominated by the Academy Awards, as many expected. But it was on the minds and tongues of seemingly everyone in Los Angeles' Shrine Auditorium on Saturday night.
Deadpool: 'I don't think my mom is going to be able to watch it'
Ryan Reynolds all decked out and getting cozy as 'Deadpool' (image courtesy 20th Century Fox)
by Graeme Virtue
Deadpool was the hottest superhero movie of 2012, right up until it wasn't. A toned-down version of the cult Marvel character had appeared in the stodgy X-Men Origins: Wolverine, played by Ryan Reynolds, but the proposed standalone movie, scripted by the writers of Zombieland, promised to be faithful to the source material: violent, sexy, nutty. Who wouldn't want to see the adventures of a motormouth mercenary who gets aroused by chimichangas, katanas and Bea Arthur? No envelope would go unpushed, or unlicked. The in-demand Reynolds was signed up and visual effects specialist Tim Miller was announced as director.
Then: ring sting. Green Lantern, Martin Campbell's 2011 blockbuster that was supposed to rubber-stamp Reynolds as a franchise-leading superhero, flopped hard. The strapping RyRey was suddenly comic-book Kryptonite. Panicky studio executives pulled the plug. Deadpool was dead.
For Miller, preparing to make his transition to feature directing after years running his own successful VFX studio, watching his dream project implode was some majorly bad juju. "I was so disappointed when we couldn't do it five years ago," he says. "I was thinking: 'These people don’t know what the fuck they're talking about.' I was angry and traumatised. But with hindsight, I can see why now is a much better time. Back then it perhaps hadn't reached the point where audiences were familiar enough with the genre that we could riff on it. The public wasn't really ready."
Click the Continue Reading at link to read more of the conversation with director Tim Miller and actress Gina Carano.
Jessica Chastain Back For Mama 2? Here's What We Know
Jessica Chastain in a scene from the small budget horror 'Mama' (image courtesy Cinema Blend / Universal Pictures)
By Brent McKnight
When your movie only cost $15 million to produce, but it goes on to earn ten times that worldwide, that's the kind of thing that makes studios drool. Such is the case with 2013's horror outing Mama, which was made on the cheap and raked in $146 million from the global marketplace. Universal recently green lit a sequel, but one question that remains is whether or not star Jessica Chastain will be back for more. Stranger things have happened, but at the moment it doesn't look like the actress will be return for Mama 2.
An inside source at her agency recently told The Wrap that Jessica Chastain is not expected to return to the spectral series. I can't imagine that comes as much of a surprise to anyone. In the intervening years, the 38-year-old actress has become one of the most sought after performers in Hollywood, so the idea of her coming back for what will likely be a low-budget sequel to a low-budget horror flick is pretty far fetched to begin with. But why not aim high?
Jessica Chastain isn't the only one who won’t be back for Mama 2. Director Andy Muschietti, who helmed the Guillermo del Toro-produced original, isn't going to return either. But he has said since almost day one that he had no interest. Once Mama became a hit, sequel talk began percolating almost immediately, and just as quickly, he revealed that he had no interest in making another and that he wanted to move on to other projects. That track seems to have worked out well for him, as he is now set to direct the upcoming adaptation of Stephen King's It, taking over the job vacated by Cary Fukunaga.
Kim Basinger joins cast of next 'Fifty Shades' instalment
Kim Basinger attends the premiere of the film, "Black November" at the UN Headquarters on Sept 26, 2012 (image courtesy AP)
Kim Basinger will play Christian Grey's business partner and former lover in the next cinematic installment of the "Fifty Shades of Grey" franchise.
The screen siren of the 80s and 90s is the first new cast member to join Dakota Johnson and Jamie Dornan, who will reprise their roles of Anastasia Steele and Grey in "Fifty Shades Darker," reports Variety.
Basinger will take on the role of Elena Lincoln, who was introduced in the first film.
Production is slated to start this spring, with the final film "Fifty Shades Freed" set to follow right after.
Netflix and Amazon Offer Indie Filmmakers Hope (And Lots of Money)
by Julia Greenberg
The biggest players at the Sundance Film Festival are Hollywood outsiders. Amazon and Netflix, with their deep pockets and big ambitions, have picked up several films and have driven up the bidding for others. Backed by the might of their massive audiences, superior technology, and business models unfettered by the typical constraints of Hollywood, these tech giants provide a new hope for independent filmmakers.
Amazon's bought five independent films so far, including the well-received Manchester by the Sea for a reported $10 million. Netflix, meanwhile, has picked up streaming rights for three films, including Tallulah starring Ellen Page, and announced it will produce a slate of indie features. And the film festival isn't over until the end of this week.
This isn't the first year Netflix and Amazon have attended Sundance. But their presence looms larger than ever over the festival and the film industry. As major studios have been slower to pick up films, the two tech titans have aggressively offered top dollar, rattling the nerves of those at established studios.