Disney's latest live action remake, if it can even call itself that given it will be 100 per cent computer generated, is making waves today after rumours began mounting that the studio has found its big, bad feline villain. As casting continues to heat up on The Lion King (2019), the latest whispers suggest that Doctor Strange (2016) alum and Love Actually (2003) star Chiwetel Ejiofor is in talks to play Scar. If the reports are true, it would see him take over the role from the legendary actor and voice artist Jeremy Irons, whose performance as Mufasa's evil brother remains among his best. And with his upcoming slate of films including Mary Magdalene (2017), Come Sunday (2017) and Tonight At Noon all shifting into post-production, he certainly seems to have the time to film...
The House of Mouse's maestro Jon Favreau has been chosen to direct the piece, on the back of his success helming the hit remake The Jungle Book (2016). Casting on the film has been underway for months, with Donald Glover signed to star as the adult Simba and the incredible James Earl Jones returning to reprise his role as Mufasa. Ernie Sabella and Nathan Lane's classic twosome Pumbaa and Timon will now be played by Seth Rogen and Billy Eichner, while Rowan Atkinson's horned-bill bird favourite Zazu is now in the hands of the very capable John Oliver. Several roles still remain uncast, or at the very least unrevealed however, including Nala, Rafiki, Ed Shenzi, Banzai and Sarabi. Other rumours swirling around the production have Beyonce pegged as signing on to a role - thought to be Simba's partner, meaning we could see her belt out Can You Feel The Love Tonight.
The Lion King is - unlike the upcoming Mulan (2018) remake - thankfully remaining a musical at heart, meaning everyone's favourite numbers like Hakuna Matata and The Circle of Life will be present in all their glory. Worldwide, the original film has made more than a billion dollars to its name, claiming back its entire budget in its opening weekend alone. As one of Disney's most critically acclaimed and beloved films, it's potential today could be even bigger, provided the film retain its magic, visuals and incredible soundtrack. Currently slated for release on July 19, 2019, it joins a raft of other Disney flicks currently in production, including Dumbo (2019) and Cruella (2018), as well as Aladdin, The Little Mermaid and Tinker Bell, whose release dates are unknown.
Hold on to your butts because Jeff Goldblum is rumoured to be returning to the "Jurassic Park" Universe
He played one of the most annoying, handsome and downright hilarious chaos theory specialists in filmic history. And now, reports are emerging that Jeff Goldblum is set to reprise his role as the legendary Dr. Ian Malcolm in J.A. Bayona's Jurassic World 2 (2018). The news comes from The Hollywood Reporter, and alleges that he will return for the fifth instalment in the dinosaur universe, currently untitled, which is scheduled for a June 22, 2018 release. If the news is true, he will join other actors already announced for the follow-up film, including Chris Pratt, Bryce Dallas Howard, Justice Smith, Rafe Spall, Ted Levine, James Cromwell and Toby Jones.
Goldblum first brought the character to life in the original classic Jurassic Park (1993), before returning for its sequel The Lost World: Jurassic Park (1997) four years later. With his addition in the latest film, he will become the only person besides B.D. Wong to have starred in three of the dino films. The actor is familiar with reprising his role form throwback nineties flicks too, after starring in the Independence Day Resurgence (2016) last year. While starring in television series and cameos seems to have become his thing since his big budget early years, Goldblum has been making somewhat of a resurgence himself lately (literal in some cases), as he is set to star in the latest Marvel movie Thor: Ragnarok (2017). But his character from Jurassic Park remains one of his most iconic, after he delivered infamous speeches about God creating man and man creating dinosaurs, as well as showing off his shirtless body.
The new film will be written by Jurassic World (2015) helmer Colin Trevorrow, who penned the script alongside Derek Connolly. On the producing front, Frank Marshall, Pat Crowley, Steven Speilberg and Trevorrow will all return, with Belen Atienza and Universal VP Production Sara Scott joining them. While the storyline is being kept strictly under-wraps, it is believed that it will delve into the proliferation of dinosaurs, the use of them as weapons and how the technology of their creation is being warped across the world to suit different purposes. And while there has been no confirmation over which species may be the focus of this film, as the Indominus Rex was for the last, we're thinking it's got to be something big and bad enough to rival it in some way. And something threatening enough that Malcolm will come back preaching about looking at things rather than touching them.
It's the Christmas film that brought smiles to faces with its goofy comedy and touched people's hearts with its selfless theme. So it seemed somewhat inevitable that Love, Actually (2003) would one day get a sequel. And while the 15 minute short produced for Red Nose Day is no major motion picture, it is a touching look-back at the 2003 ensemble-piece, and where everyone's favourite couples, singles, and Prime Minister's have ended up. Of all the moments the clip touches upon though, perhaps there is one greater than the rest. When Hugh Grant reminded the British people that despite the fear and tragedy we see, there is still a whole lot of good out there. And while he could never have known he would be delivering the speech onscreen just days after the terrible terrorist attack in his nation's capital, there could have been no better time to remember that love, actually is all around.
The sequel picks up fourteen years after the original, beginning with a similarly sweet montage of people embracing one another. We then travel to Juliet and Peter's living room, the two still happily married and watching television. A knock at the door brings back Mark, the friend with the flashcards. Despite his still mixed feelings for Keira Knightley's character, he tells her he has since wed one of the models he joked he would married, and has grown a rather characteristic beard. He ask her if she would like to see what their friends were up to, and we flash to Number 10 Downing Street, the Prime Minister busting out a move to Drake's Hotline Bling. Returning to his office after five years away, he hasn't got any less dorky, falling down the stairs as he goes. The day wouldn't be complete without appearances from two of the funniest stars either, as we catch up with Billy Mack, whose singing career is still in full flight, and Rowan Atkinson's very, very slow cashier. Jamie and Aurelia prove love can last with their marriage, even if he still hasn't learnt Portuguese properly, sharing three children and a fourth on the way. And then there was the youngest love of all - Sam and Joanna - who found each other in New York and are preparing to get hitched. Once they tell his dad of course...
But the real momentum of the piece, after all the laughs, is the ability for it to still tug at the heart strings. It comes in the final speech, which is an homage to the last moments of the original. Asked if he still thought the power of good could win and if he felt as upbeat, he replied that despite the hard, fearful times, where Harry Potter had finished and Piers Morgan was still alive, there was still positives. Metallica's album for instance. But digging deeper, he mentioned the bravery of extraordinary ordinary people, who want to help. Most people, still, everyday, everywhere have enough love in their heart to help people in trouble. He's sure of it. And if that isn't all you need to hear, or has switched you off the film for good, then maybe you better go watch what he thinks is the best Christmas movie ever made - Elf (2003). Or maybe it was just a sneakily sly nod to the other holiday themed film that was released the same year. At least with this one, we now finally have some closure. You can check out the full video below.
Love, Actually (2003) is all around it seems, with the news that everyone’s favourite Christmas movie is set for a short-film sequel. Writer and Director Richard Curtis has announced he will be teaming up with majority of the star-studded cast for a new ten-minute film that will air as part of Comic Relief’s Red Nose Day Special. So, which of your favourite celebrities will return you ask? Well, the list includes Colin Firth, Keira Knightley, Hugh Grant, Liam Neeson, Andrew Lincoln, Bill Nighy, Rowan Atkinson, Thomas Brodie-Sangster, Martine McCutcheon, Olivia Olson and Marcus Brigstocke. Notably absent will be Chiwetel Ejiofor, Emma Thompson, Martin Freeman and Laura Linney. Tragically Alan Rickman’s nefarious Harry will also be missing after the actor’s passing last year, with Curtis perhaps feeling it best to leave his character’s storyline untouched.
While we must wait-and-see regarding the character’s fates, many are already eagerly speculating about what could have happened in those missing 14 years. The first photos from the London set certainly seem to be giving something away about drum-playing Sam’s life. The pictures show him reuniting with his stepdad on the same bench where he confessed he was ‘in total agony’ over a girl, this time though it is hand-in-hand with the girl in question – Joanna. Similarly, with Ejiolfor not reprising his role, perhaps that inappropriate card-message stunt paid off for Lincoln and he and Knightley will swan off into the sunset? If there is one thing we can hope for though, it will be that Atkinson will likely be up to no good and if his scene is half as good as his ‘wrapping’ one from the original film, it will be worth the watch. The short film will air on May 24th on BBC1 and will likely make its way online shortly after.
The Red Nose Day Special is a charity event that helps to raise money for children living in poverty around the world. Held every two-years, since its launch in 1988 it has become somewhat of a British Institution, providing a night of comedy and entertainment that aims to inspire people to give generously and help those living tough. Throughout the years, several mock-shorts have been filmed including for The Vicar of Dibley (1994), Doctor Who (2005), Call the Midwife (2012) and The Apprentice (2005). The last Red Nose Day, held in 2015, raised nearly $100 million and pushed the events total fundraising total to more than $1 billion. Speaking about his choice to make Red Nose Day Actually, Curtis said: ‘Over the years I’ve enjoyed doing Red Nose Day specials of TV things I’ve worked on – Blackadder, The Vicar of Dibley and Mr Bean. It seemed like a fun idea this year to do a special sketch based on one of my films. I would never have dreamt of writing a sequel to Love, Actually, but I thought it might be fun to do 10 minutes to see what everyone is now up to. Who has aged the best? I guess that’s the big question… or is it so obviously Liam? We’ve been delighted and grateful that so many of the cast are around and able to take part – and it’ll certainly be a nostalgic moment getting back together and recreating their characters 14 years later. We hope to make something that’ll be fun – very much in the spirit of the original film and of Red Nose Day.’
While the Golden Globes are renowned for their glamour and the BAFTAs for their prestige, the awards season’s night of nights is reserved for just one event: The Oscars. But before the champagne is put on ice, the last sequins sewn on gowns and the red-carpet Instagram poses perfected, the nominees must be announced. So after months of guessing, potential racial prejudice churning and hilarious ad campaigns from the Deadpool (2016) camp we finally have our list. There may be no #OscarsSoWhite backlash this year, but there have been plenty of snubs, surprises and shocks worthy of a mention.
Leading the pack with an incredible 14 nominations was Damien Chazelle’s modern musical La La Land (2016). The Emma Stone and Ryan Gosling-led vehicle managed to put its name in the record books early, tying with Titanic (1997) and All About Eve (1950) for the most nominations of all time. Barry Jenkins arresting self-discovery piece Moonlight (2016) came in second overall, with eight nominations including Best Picture, Best Director and Best Adapted Screenplay. Despite failing to secure a Best Actress nominee, Arrival (2016) put its mark on this year’s awards too, picking up eight nominations, while Manchester By the Sea (2016) and Hacksaw Ridge (2016) stayed close behind with six nominations apiece.
As for the surprises, they included Mel Gibson’s directing nod for WWII drama Hacksaw Ridge (2016), marking his first nomination since Braveheart (1995). Similarly, 20-year-old actor Lucas Hedges got his name into the Best Supporting Actor category for his brilliant turn in festival-favourite Manchester By the Sea (2016). Nocturnal Animals (2016) standout Aaron Taylor Johnson was overlooked for fellow cast mate Michael Shannon in the Best Supporting Actor category, while the ‘Miracle on the Hudson’ piece Sully (2016) was hardly given an opportunity, nabbing only one nomination for Sound Editing. Other major snubs included Amy Adams in the Best Actress category for Arrival (2016). Despite universal praise from critics she lost the spot to the likes of Isabelle Huppert, Natalie Portman and veteran performer Meryl Streep. Perhaps the best moment though was the diversity that is beginning to be acknowledged in film, with Hidden Figures (2016), Fences (2016) and Moonlight (2016) earning their rightful place among the Best Picture and acting categories. But with such fierce competition, it’s anyone’s game as to who’ll win. You can check out a selection of the nominees below, or see the full list here before the ceremony on February 26.
Best Supporting Actor
Best Supporting Actress
Best Original Screenplay
Best Adapted Screenplay
Best Animated Feature
Cinematicism is officially going on standby from today until after Christmas, due to a leave of absence by its editor.
Posts, reviews and trailers will return to normal after the holiday period.
As 2016 draws to a close, we here at Cinematicism would like to thank all our devoted fans and followers for sticking with us, especially as we celebrated our fantastic first anniversary.
While we are away, we hope you get a chance to crack the champagne, put on your favourite flicks and kick back and relax. There's plenty of film to get back to next year!
And for those distressed about what 2016 brought, remember the wise words of our animated friend Rafiki:
"Oh yes, the past can hurt. But, you can either run from it or learn from it."
It’s one of the most iconic opening sequences of all time, but it seems the famed Star Wars title crawl has been given the flick when it comes to this year’s standalone picture Rogue One: A Star Wars Story (2016). Lucasfilm head-honcho Kathleen Kennedy teased in a recent interview with Variety that the film will indeed ditch the popular info-bite, for something more in-line with the genre’s traditions. It comes off the back of rumours that the studio had their main Skywalker Saga. The universe is certainly heating up too, with an announcement just days ago that Game of Thrones (2011) alumni Emilia Clarke will be taking on the female lead in the upcoming Untitled Han Solo Star Wars Anthology Film (2018). The force is strong with women this time around as well, with Kennedy following the information with a tease that a female director could soon be headed to the blockbuster franchise.
First seen on screen in George Lucas’ Star Wars: A New Hope (1977), accompanied by John Williams’ incredible score, the crawl has since come to be known as an integral part of the series. So much so, it has been included in all seven feature films to date, as well as a number of the tie-in video games. While Star Wars: Episode VIII (2017) and Star Wars: Episode IX (2019) will therefore presumably carry on the tradition, Kennedy spoke on how Gareth Edwards spin-off will not follow suit, stating; “We felt that it is so indicative of what those saga film are. Initially, we probably will begin the film in a way that is traditional, with just the title.” So for now, the two universes will be separate in both style and substance, despite the strong connections we have already garnered from the trailers. While it will exist in the larger framework of the Star Wars universe, Rogue One is trying very hard to stay separate from the Skywalker saga.
Expanding her teasers into Star Wars future, Kennedy also spoke on the tone of the Untitled Han Solo Star Wars Anthology Film and the likelihood of securing a female director for future spin-offs or series’. She said that “[The Han Solo Spin-Off] moves closer to a heist or Western type feel. We’ve talked about Remington and those primary colours that are used in his paintings defining the look and feel of the film,” before following it up by stating, “We want to make sure that when we bring a female director in to do Star Wars they’re set up for success. They’re gigantic films and you can’t come into them with essentially no experience. We want to really start to focus in on people we would love to work with and see what kinds of things they’re doing to progress up that ladder now, and pull them in when the time is right.” They needn’t worry about such dramas with their cast though, with a number of top-notch actors have already been confirmed for future films, including Alden Ehrenreich as the young Han Solo, Donald Glover as a young Lando Calrissian and more recently, Emilia Clarke, in an as-yet unknown role. Rogue One: A Star Wars Story will hit theatres on December 16.
It’s the meeting Game of Thrones (2011) fans have been waiting seven seasons for and finally we have conclusive proof of its existence. The Targaryen’s are uniting! While filming for the show’s seventh season has been delayed to take advantage of the colder weather and wintery settings, this week we received our first-look at two fan favourite characters as they shot scenes in summery Spain. The footage, which is currently making its way around the internet, seems to show the man who knows nothing, Jon Snow, and the mother of dragons, Daenerys Targaryen, officially meeting on the steps of a hillside, overlooking the sea. From the landscape fans are speculating that this is just after Daenerys finally lands back in Westeros, ready to lead her army to war.
After the revelation of Jon Snow’s parentage last season, when the show all but confirmed his father as Rhaegar Targaryen and his mother as Lyanna Stark, it is safe to say the moment the two dragons would meet has been a long time coming. While it has not been verbally confirmed that Jon is Lyanna’s son, or that Rhaegar is indeed the father of the child seen in Bran’s Three Eyed Raven vision, it strongly suggests that he is, indeed, Daenery’s nephew. For those not following closely, in the complicated line of intersecting families, Rhaegar was Daenerys much older brother, who died before the young white-haired queen was born. If it does prove accurate, then it dashes the hopes of those looking for Jon and Daenerys to become a power couple, as the family bloodlines would be a mess, if not venturing on Lannister territory.
As opposed to the high levels of secrecy surrounding Jon’s revival last season, the show seems to have become more lax with being photographed. That, or paparazzi are becoming more rampant than ever and have better access thanks to well-known exterior locations for filming. All in all though it seems to be shaping up for a stellar season, with the Mother of Dragons, her fire-breathing babies, the Dothraki and Unsullied armies, the House of Stark and all those loyal to Winterfell ready to team up. The only question now is whether they will defeat the Lannisters at King’s Landing first, or face off against the fearsome White Walkers from north of the wall. You can check out the first footage below, and see a blurry, if not conclusive picture of the meeting above.
There was a resurgence of sorts from Warner Bros. at the box office last weekend, when their latest film The Accountant (2016) blasted past expectations to secure the top spot. The Ben Affleck led action-drama more than doubled the draw of its closest competition, while two titles duked it out for the runner-up crown. Meanwhile other newcomer Max Steel (2016) from Open Road finished well outside the top ten, with one of the worst openings ever for a film debuting in 2,000 or more theatres. Overall, despite The Accountant’s strong performance, the weekend finished 7.4% down when compared to last weekend and 21% lower than the same time last year, netting just $88.5 million between the Top 12.
Taking out the title crown, The Accountant managed a respectable $24.7 million debut, well above critics’ $15 - $20 million projections. No one to stop there, the film also earned an ‘A-’ CinemaScore, although critics couldn’t seem to reach a consensus on the film, with its Rotten Tomatoes score standing at just 51%. Last week’s winner The Girl on the Train (2016) dropped just more than 50% to bring in just $12.24 million, albeit claiming the second spot above comedian Kevin Hart’s concert feature Kevin Hart: What Now? (2016). Opening to 2,567 theatres the film finished with $11.7 million and a third place spot, shaping up as somewhat of a let-down from his previous recorded show Kevin Hart: Let Me Explain (2013), which brought in $17.3 million over a five-day run in 876 theatres. Softening the blow somewhat was the fact the film was the best-reviewed of his three concert pieces, with a 78% rating on Rotten Tomatoes and an ‘A-’ CinemaScore. With a production budget of $10 million, the film might not be a runout success, but should hold over well.
Rounding out the top five was 20th Century Fox’s Miss Peregrine’s Home for Peculiar Children (2016), which added another $8.9 million to bring its domestic cume to $65.89 million. Then there was Lionsgate’s Deepwater Horizon (2016), which netted $6.35 million to bring its total to just under $50 million. Internationally Miss Peregrine’s Home for Peculiar Children is faring much better than Deepwater Horizon, closing in on $200 million worldwide, while the latter is scraping to get $77 million. Smaller new release Priceless (2016) brought in an estimated $703,200, while STX’s Desierto (2016) delivered $450,000. The per-theatre average winner went to The Orchard’s Christine (2016), which opened with $14,046 from one theatre.
One final notable mention must go to The Secret Life of Pets (2016), which added another $5.7 million, bringing its worldwide cume to $857.7 million and moving it ahead of Inside Out (2015) to become one of the top 50 all-time world releases. Next weekend will see the debut of four big-budget new releases, including Tom Cruise’s Jack Reacher: Never Go Back (2016), Tyler Perry’s Boo! A Madea Halloween (2016), Fox’s Keeping Up with the Joneses (2016) and Universal’s horror flick Ouija: Origin of Evil (2016). Stay tuned to find out how they fare.
It was the weekend of hardy holdovers at the box office, as just one new release fought its way into a top five spot. Universal and DreamWorks’s amnesiac thriller The Girl on the Train (2016) took out the title honour, while The Birth of a Nation (2016) and Middle School: The Worst Years of My Life (2016) battled amongst themselves for sixth place on the leader-board. Overall the weekend performed 8.7% worse than this time last year, but did net itself a milestone moment as Disney’s swimming sequel Finding Dory (2016) became the 27th film ever to cross $1 billion dollars worldwide. It tops off a stellar year for the House of Mouse studio, which has notched up three billion dollar films already, even before the release of its upcoming big blockbusters Moana (2016) and Rogue One: A Star Wars Story (2016).
Claiming victory atop the chart was the adaptation of Paula Hawkin’s bestselling novel The Girl on the Train, which came up just short of expectations to finish with $24.5 million. Backed up by mostly negative reviews, a 44% rating on Rotten Tomatoes and a lacklustre ‘B-’ CinemaScore the film’s buzz certainly dropped as the weekend progressed and is expected to continue falling in the coming weeks. The film secured a strong international opening though, with $16.5 million from 34 territories and a release in Spain, France, Germany, Italy, Denmark and Hong Kong soon to follow. Runner-up was last week’s number one film, Fox’s Miss Peregrine’s Home for Peculiar Children (2016), which added another $15.1 million to its now $51 million domestic cume.
Rounding out the remainder of the top five was Lionsgate’s destructive disaster film Deepwater Horizon (2016), which fell 42% in its second weekend for a $11.5 million haul. Sony’s The Magnificent Seven (2016) managed to top $75 million domestically this week too, after adding an estimated $9 million in its third weekend. Finally, falling into fifth place was Warner Bros’ animation sensation Storks (2016), which scooped another $8.3 million under its wings for a domestic cume of $50.1 million. Nate Parker’s heavily criticised and controversial newcomer The Birth of a Nation (2016) scored $7 million from 2,105 theatres as well as sixth place, while Lionsgate and CBS’s collaborative adaptation Middle School: Worst Years of My Life brought in $6.87 million from 2,822 theatres.
Standouts of the weekend were Warner Bros’ Sully (2016), which added another $5.27 million but remains the only spring release so far to top $100 million domestically. The per theatre best went to Theo Who Lives (2016), which claimed $5,539 from one theatre, closely followed behind by Blue Jay (2016), which took $5,235. Finding Dory also became Pixar’s second billion-dollar-release after Toy Story 3 (2009). Next weekend will see the release of Ben Affleck and Anna Kendrick’s crime-caper The Accountant (2016), which will open in 3,200 theatres, as well as Open Road’s Max Steel (2016), which will debut in 2,000 theatres. On a smaller scale Desierto (2016) takes to 74 theatres and Roadside’s Priceless (2016) opens in 300 theatres. Tune back in next time to see how they go.
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