Looks so good i cannot wait to see.Here is the link to see it.
Looks so good i cannot wait to see.Here is the link to see it.
Grace Fulton is in negotiations to join New Line’s DC superhero film “Shazam!” starring Zachary Levi, sources tell Variety.
The film follows a boy named Billy Batson who can transform into an adult superhero by uttering the magic word “Shazam!” The name is an acronym of the ancient gods and historical figures Solomon, Hercules, Atlas, Zeus, Achilles, and Mercury, who Batson derives his heroic attributes from when in adult form.
Fulton will play one of Batson’s friends. The Wrap also reports that Mark Strongis in talks for the role of the villain.
David F. Sandberg is directing from a screenplay by Henry Gayden and Darren Lemke. “Annabelle: Creation’s” Peter Safran will produce. The project will mark a reunion for Sandberg, Safran, and Fulton, who worked together on “Annabelle: Creation,” which has grossed over $300 million worldwide.
So excited to announce this if you havent heard as you know i am a fan of Zachary Levi
The Chuck star is set to play the title character in Shazam, Warner Bros. and New Line’s big-screen adaptation of the DC comic, EW has confirmed.
Lights Out and Annabelle: Creation filmmaker David F. Sandberg is on board to direct, working from a script by Henry Gayden and Darren Lemke. The story follows a young boy named Billy Batson, who upon saying “Shazam!” transforms into a grown-up superhero, whose powers are represented by Solomon, Hercules, Atlas, Zeus, Achilles, and Mercury, the mythological figures that make up the character’s acronym name.
Dwayne Johnson was previously cast as Shazam villain Black Adam, but he’ll no longer appear in Shazam, instead landing his own solo film.
Levi’s casting returns the actor to the world of superheroes. In addition to his role in 2015’s Heroes: Reborn, he once again portrays Fandral in next month’s Thor: Ragnarok. But Levi is most known for his five-season stint as super spy Chuck Bartowski on the cult NBC series Chuck. Last month, speaking to EW, he discussed his struggle to find roles unlike his memorable character.
“As with anyone, you play someone who becomes iconic and then everyone wants to keep hiring you for that character, and that’s been tough,” admitted Levi. “I don’t want to turn down work, but I also don’t want to just keep playing the nerd every single time, because there’s more to me — at least I hope there’s more to me — than just that.”
Star Wars: The Force Awakens hits DVD shelves in less than a month, which will undoubtedly prompt diehard fans to comb the film for mistakes and easter eggs they hadn’t noticed in theaters. But there’s one gripe that’s been eating away at fans for months: a random exchange and awkward snub involving Leia, Chewbacca, and Rey that takes place near the end of the film. (In other words, there are major spoilers ahead, so please proceed with caution if you’re one of the three or so people in the world who somehow hasn’t seen this movie.)
The scene in question comes just after Han Solo’s death at the hands of his own, weirdly emo spawn, Kylo Ren. The crew of resistance fighters return to Starkiller base with the bad news and with the injured Finn in tow, and Leia seems to sense what happened to her estranged husband. She looks to her friends for comfort, but for whatever reason, she brushes off Chewbacca and hugs Rey instead. This was weird because Leia’s known Rey for all of, like, two seconds, but mostly because Chewbacca was Han’s partner-in-crime, and a lifelong friend of both Han and Leia. So why would she snub him like that?
Director J.J. Abrams recently caught up with Slashfilm, where this very topic was discussed at length. And while Abrams admits it was a “mistake,” he chalks it up to an unfortunate matter of positioning and blocking.
“That was probably one of the mistakes I made in that,” Abrams said. “My thinking at the time was that Chewbacca, despite the pain he was feeling, was focused on trying to save Finn and getting him taken care of. So I tried to have Chewbacca go off with him and focus on Rey, and then have Rey find Leia and Leia find Rey. The idea being that both of them being strong with the Force and never having met, would know about each other — that Leia would have been told about her beyond what we saw on-screen and Rey of course would have learned about Leia. And that reunion would be a meeting and a reunion all in one, and a sort of commiseration of their mutual loss.
“Had Chewbacca not been where he was,” Abrams continued, “You probably wouldn’t have thought of it. But because he was right there, passed by Leia, it felt almost like a slight, which was definitely not the intention.”
Some fans have taken Leia and Rey’s embrace as a hint at Rey’s lineage — was Leia drawn to her because Rey’s part of the Skywalker bloodline as well? Whatever the case may be, we can only hope Leia and Chewbacca kiss and make up in Rian Johnson’s Star Wars: Episode VIII, which hits theaters on Dec. 17, 2017. Patience, friends.
Just saw this movie and thought it deserves a review
Body language and emotions – If you are autistic like me you might find this movie hard to get the emotions as this movie deals with themes of isolation, loneliness, survival, mental well-being, putting the lives of others first, keeping cheerful in the face of adversity, and looking for the greater good.
So long, our views of space and what the cosmos held were what we knew from Star Wars and Star Trek. Today, we have on-planet pictures of Mars and finely detailed photos from a fly-by of Pluto. With so much current data regarding space from the technologies available to us, it was only a matter of time before a detailed, very plausible film emerged regarding life in space. Recent films such as Interstellar and Sunshine have touched on the subject. Now, director Ridley Scott brings us one of the great films of 2015 to look at human life on Mars in The Martian.
A group of astronauts are taking part in NASA’s Ares III mission where they are living and doing research on the red planet: Mars. When an unexpected storm threatens the team of astronauts, Commander Melissa Lewis (Jessica Chastain) makes the decision to leave the planet. However, in the chaos of the storm, astronaut/botanist Mark Watney (Matt Damon) is blown away and apparently killed, with the others boarding the ship and leaving. What they don’t know is that Watney is alive, and being the scientist and fighter he is, decides to fight to live, using science to survive on a planet not made for human life. Another mission will be there in over a year, so he must “science the $%^&” out of it and find a way to survive until then. But on a planet where food does not grow, and without communication capabilities, will the botanist be able to find a way to overcome all odds and live to tell the story?
The Martian is science fiction – with a large dose of reality – that is not dumbed down but, instead, made easy to understand and enjoyable to digest. Much of the understanding comes from Damon’s character, basically making video blogs of his days and explaining what he’s doing so that anyone can understand. If there was extensive science talk and themes we just weren’t quite grasping, we’d be referring to Interstellar. This varies in that it is much more audience friendly and, in turn, enjoyable. Ridley Scott has found a way to balance the science with the humanity of a person being left behind and still finds the humor in the situation, mainly through the dialogue of Damon’s character. Credit must be given to Dariusz Wolski for his job on the cinematography, bringing Mars to life and putting us front and center of a planet we only see pictures of from rovers. Nothing feels out of place and you actually feel you’re there on the red planet based on everything you’ve seen from media past and present.
For about the first half of the film, you may have déjà vu of an older film, Cast Away, as Damon’s character is all alone. But instead of talking to a volleyball named Wilson, he talks to a camera, to our humorous delight. Damon is front and center in this film and, while it is an ensemble cast in many ways, Damon more or less carries the load for half of the film. We are there with him daily through his highs and lows, from him naming himself the “smartest man on the planet” to the pain of losing valuable resources and, possibly, his life. At no point does his performance come off as unbelievable, which keeps us entrenched on Mars with him as he fights to survive. Kristen Wiig has plenty of good, small moments, and Sean Bean is great as the NASA guy in charge of the crew’s welfare. Plus, he has a great little Lord of the Rings joke that will give you a nice chuckle. Chewitel Ejiofor has a strong performance as the mission leader and the rest of the cast including Jessica Chastain, Michael Pena, Jeff Daniels, and Mackenzie Davis, all have their moments to shine. A strong cast with strong performances, given a great script, all yields great success for a finished product.
The Martian is one of the best films you’ll see this year. You’ll laugh, you’ll cry, you’ll be on edge and you’ll exhale with relief. You’ll buy into everything each actor is selling and you’ll be full engrossed with the story and the plot as it unfolds. You’ll learn about humanity, the limits the human body can take, and all the things we can accomplish when we put our mind to something and fight with the thought that there is no giving up. The absolute best thing about the film is how inspiring it really is. So even if you’re burnt out on space movies, please take this trip to Mars, as it will be well worth the journey.
‘The Martian’ is a fun, beautiful, practical movie which never outstays its welcome. The supporting characters have enough personality to make them engaging so that when the plot is not with Watney it can still be just as entertaining, and Damon leads the film with confidence. However with the constant bad language and themes of isolation and survival, this is not a movie made for children and thus how much a child will enjoy it, or it be appropriate for them to watch, will depend on their attitude towards such a set up and parents feelings on swearing. We therefore feel that ‘The Martian’ would be appropriate for children aged 12 and over only.
One never knows what they are capable of until they are put into situations where they have to be successful in order to continue on. And no such situations are more prevalent than when dealing with Mother Nature. Of the most powerful forces, and the most unpredictable, are those resonating in nature and our environment. So many stories can be recounted from the tsunamis in Thailand, tornadoes in the Midwest, and the Mount Vesuvius eruption of ancient Rome. Another more recent example is that of the 1996 expedition up Mount Everest. Director Baltasar Kormakur details this expedition with his latest feature film, Everest.
Rob Hall (Jason Clarke) is the lead tour guide of Adventure Consultants. He takes groups of people up to the top of Everest and has never lost anyone in his years of traversing the mountain. He works closely with fellow tour guide Guy (Sam Worthington) and logistics coordinator Helen (Emily Watson). In his group are big-talking Texan Beck (Josh Brolin); Doug (John Hawkes), who failed to summit the previous year; and Yasuko (Naoko Mori), a Japanese woman who has summited the largest mountains in every country except Everest. There are two other competing groups trying to make it up the mountain: one led by free-spirited American Scott Fischer (Jake Gyllenhaal) and another led by hard-nosed Russian Anatoli Boukreev (Ingvar Sigordsson). As the groups ascend the mountain, there is a good weather pattern for them to summit on May 10th. So it is a race for the groups to summit first and create enough space for others, not clogging the one road up. Will the groups be able to work together or will rivalry and animosity cause deaths on one of the toughest mountains known to man?
If anyone were to Google, or just remember, what happened on the 1996 Everest expedition, you’d find the results. Everest is a survival thriller, but that is just part of the film. The film Is also an in-depth look at humanity, what makes humans tick, what pushes us to attempt endeavors that seem insurmountable and life threatening. And the film is also a look at the men and women who were involved in this tragic event, the character they displayed and the goodness that can also be found amongst us humans. One man climbs the mountain because it’s there, because it is a challenge and seen as something that humans cannot accomplish. Another does it to prove to the children that he teaches that you can accomplish anything should you put your heart to it. We see men and women risking their lives to go and help people who they hardly know. Watching people 28,000 feet above sea level, with limited oxygen and completely fatigued, attempt to scale higher to assist a member who can no longer continue on. We see the resolve of men and women, understanding they have reached their limit that their physical and physiological bodies can take, make that choice to be left on the mountain and for other to continue on, saving themselves. There is so much good, and so much sadness, so much bravery, and so much to admire in these people who made this ascent, we can all, as humans, take note of these men and women and learn something about what it means to be a human and a person.
The acting across the film is as solid as an ensemble cast can be. What tends to hurt the story, and my only real gripe (if there is one), is that there are so many characters. Kormakur attempts to give ample time to each character in order to flesh them out, allowing the audience to fully grasp on to these characters and truly experience everything they go through, and while he is able to achieve his goal, this does lead to more time dedicated to exposition and the story slowing down. For me, this really wasn’t too big of a problem as I prefer well-rounded characters, but for some audiences, this may be a detractor with them wanting more action and adventure and less talking. Without this character development, we wouldn’t develop the attachments to the characters that we do. We wouldn’t care about Jan Hall’s (Kiera Knightley) satellite phone call plea to her husband to keep working to get down the mountain. We wouldn’t care about Doug’s plea to Rob Hall to help him make that final ascent, despite Rob telling him it’s over and too late. We wouldn’t care about Rob’s passion to make sure everyone who goes up the mountain comes back down safe and sound. It’s the fine performances of these actors that make us care, and the direction of Kormakur that puts it all together.
Everest is a well-rounded, well thought out, and intense motion picture. All of the elements needed to be a success are in place, and the fact that the story is based on an actual event only helps it hit home with people even more. The cinematography is gorgeous and vastly demonstrates the beauty and sheer challenge that is Mount Everest. You’ll laugh, you’ll sit completely still with intensity, you’ll have your heart race with adrenaline, and you’ll cry. Everest will take you on a gambit of emotions over the course of the film and you’ll walk out of the theater feeling rewarded with the experience and, hopefully, have a new perspective on life, what it means to be human, and a desire to try and be a little better as a human in this big world we live in.
BBC Culture polled film critics from around the world to determine the best American movies ever made. The results my be surprising to you
100. Ace in the Hole (Billy Wilder, 1951)
99. 12 Years a Slave (Steve McQueen, 2013)
98. Heaven’s Gate (Michael Cimino, 1980)
97. Gone With the Wind (Victor Fleming, 1939)
96. The Dark Knight (Christopher Nolan, 2008)
95. Duck Soup (Leo McCarey, 1933)
94. 25th Hour (Spike Lee, 2002)
93. Mean Streets (Martin Scorsese, 1973)
92. The Night of the Hunter (Charles Laughton, 1955)
91. ET: The Extra-Terrestrial (Steven Spielberg, 1982)
90. Apocalypse Now (Francis Ford Coppola, 1979)
89. In a Lonely Place (Nicholas Ray, 1950)
88. West Side Story (Robert Wise and Jerome Robbins, 1961)
87. Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)
86. The Lion King (Roger Allers and Rob Minkoff, 1994)
85. Night of the Living Dead (George A Romero, 1968)
84. Deliverance (John Boorman, 1972)
83. Bringing Up Baby (Howard Hawks, 1938)
82. Raiders of the Lost Ark (Steven Spielberg, 1981)
81. Thelma & Louise (Ridley Scott, 1991)
80. Meet Me in St Louis (Vincente Minnelli, 1944)
79. The Tree of Life (Terrence Malick, 2011)
78. Schindler’s List (Steven Spielberg, 1993)
77. Stagecoach (John Ford, 1939)
76. The Empire Strikes Back (Irvin Kershner, 1980)
75. Close Encounters of the Third Kind (Steven Spielberg, 1977)
74. Forrest Gump (Robert Zemeckis, 1994)
73. Network (Sidney Lumet, 1976)
72. The Shanghai Gesture (Josef von Sternberg, 1941)
71. Groundhog Day (Harold Ramis, 1993)
70. The Band Wagon (Vincente Minnelli, 1953)
69. Koyaanisqatsi (Godfrey Reggio, 1982)
68. Notorious (Alfred Hitchcock, 1946)
67. Modern Times (Charlie Chaplin, 1936)
66. Red River (Howard Hawks, 1948)
65. The Right Stuff (Philip Kaufman, 1983)
64. Johnny Guitar (Nicholas Ray, 1954)
63. Love Streams (John Cassavetes, 1984)
62. The Shining (Stanley Kubrick, 1980)
61. Eyes Wide Shut (Stanley Kubrick, 1999)
60. Blue Velvet (David Lynch, 1986)
59. One Flew Over the Cuckoo’s Nest (Miloš Forman, 1975)
58. The Shop Around the Corner (Ernst Lubitsch, 1940)
57. Crimes and Misdemeanors (Woody Allen, 1989)
56. Back to the Future (Robert Zemeckis, 1985)
55. The Graduate (Mike Nichols, 1967)
54. Sunset Boulevard (Billy Wilder, 1950)
53. Grey Gardens (Albert and David Maysles, Ellen Hovde and Muffie Meyer, 1975)
52. The Wild Bunch (Sam Peckinpah, 1969)
51. Touch of Evil (Orson Welles, 1958)
50. His Girl Friday (Howard Hawks, 1940)
49. Days of Heaven (Terrence Malick, 1978)
48. A Place in the Sun (George Stevens, 1951)
47. Marnie (Alfred Hitchcock, 1964)
46. It’s a Wonderful Life (Frank Capra, 1946)
45. The Man Who Shot Liberty Valance (John Ford, 1962)
44. Sherlock Jr (Buster Keaton, 1924)
43. Letter from an Unknown Woman (Max Ophüls, 1948)
42. Dr Strangelove (Stanley Kubrick, 1964)
41. Rio Bravo (Howard Hawks, 1959)
40. Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943)
39. The Birth of a Nation (DW Griffith, 1915)
38. Jaws (Steven Spielberg, 1975)
37. Imitation of Life (Douglas Sirk, 1959)
36. Star Wars (George Lucas, 1977)
35. Double Indemnity (Billy Wilder, 1944)
34. The Wizard of Oz (Victor Fleming, 1939)
33. The Conversation (Francis Ford Coppola, 1974)
32. The Lady Eve (Preston Sturges, 1941)
31. A Woman Under the Influence (John Cassavetes, 1974)
30. Some Like It Hot (Billy Wilder, 1959)
29. Raging Bull (Martin Scorsese, 1980)
28. Pulp Fiction (Quentin Tarantino, 1994)
27. Barry Lyndon (Stanley Kubrick, 1975)
26. Killer of Sheep (Charles Burnett, 1978)
25. Do the Right Thing (Spike Lee, 1989)
24. The Apartment (Billy Wilder, 1960)
23. Annie Hall (Woody Allen, 1977)
22. Greed (Erich von Stroheim, 1924)
21. Mulholland Drive (David Lynch, 2001)
20. Goodfellas (Martin Scorsese, 1990)
19. Taxi Driver (Martin Scorsese, 1976)
18. City Lights (Charlie Chaplin, 1931)
17. The Gold Rush (Charlie Chaplin, 1925)
16. McCabe & Mrs Miller (Robert Altman, 1971)
15. The Best Years of Our Lives (William Wyler, 1946)
14. Nashville (Robert Altman, 1975)
13. North by Northwest (Alfred Hitchcock, 1959)
12. Chinatown (Roman Polanski, 1974)
11. The Magnificent Ambersons (Orson Welles, 1942)
10. The Godfather Part II (Francis Ford Coppola, 1974)
9. Casablanca (Michael Curtiz, 1942)
8. Psycho (Alfred Hitchcock, 1960)
7. Singin’ in the Rain (Stanley Donen and Gene Kelly, 1952)
6. Sunrise (FW Murnau, 1927)
5. The Searchers (John Ford, 1956)
4. 2001: A Space Odyssey (Stanley Kubrick, 1968)
3. Vertigo (Alfred Hitchcock, 1958)
2. The Godfather (Francis Ford Coppola, 1972)
1. Citizen Kane (Orson Welles, 1941)