The Toy Box is a weekly feature at /Film that will round up some of the newest and coolest collectibles, decorations, gadgets and other memorabilia that you nerds might want for your shelves.
This week we have some cool new collectibles statues for Jurassic Park, The Legend of Zelda and Space Ghost. Plus, there are new Funko POP Vinyls for Star Trek Beyond, some Star Trek: The Next Generation swimsuits, some upcoming San Diego Comic-Con 2016 exclusives for Ghostbusters and Masters of the Universe, and much more.
See what’s in The Toy Box this week after the jump. Read More »
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Most of the Pixar films have a co-director, yet most everyone who watches a Pixar movie probably has no idea what the co-director does. So while I was doing a long-lead press day for Pixar’s upcoming sequel Finding Dory, I decided to ask director Andrew Stanton to help explain how his co-director Angus MacLane contributes to the overall film.
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As a magic fanatic, I consider the Seth Gordon-produced Make Believe to be one of my favorite documentaries of the last decade. The film followed six of the world’s best young magicians own their road to the Teen World Championship in Las Vegas. If you haven’t seen the film, you should (here is the trailer).
One of the many things that is interesting about documentaries is that the stories continue even after the credits end. And I often wonder what happened to the subjects of some of my favorite documentaries. In the case of Make Believe, did these teen magicians ever make it to the big time? Last night I saw the star of Make Believe on national network television and thought it was worth sharing, alongside some brief details about where the other subjects of the documentary have ended up.
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Here’s a sentence I never thought I would write: X-Men: Apocalypse may be a worse movie than Batman v Superman: Dawn of Justice, a film that I haven’t been shy about disliking in a public setting. And yet, the latest film in the increasingly convoluted X-Men series forced me to consider a big question – do I prefer the awful movie that shoots for big ideas and belly flops on the pavement or the awful movie that tries nothing, risks nothing, and is content to just exist without even trying to try something special? I have an answer.
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We were due for a table-setting episode of Game of Thrones. The previous two hours were so full of vital revelations and so jam-packed with action that a little bit of wheel-spinning was inevitable. “The Door” and “Book of the Stranger” were all about pulling off a series of complicated maneuvers that had already been carefully set up. “Blood of My Blood” is all about setting up the dominoes that will come crashing down in the home stretch of season six.
And while nothing huge happened, there’s still a great deal to talk about.
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As the third film in the most recent trilogy in the X-Men franchise, it’s pretty bold to have a joke in X-Men: Apocalypse that mentions the third film in a trilogy is usually the worst. The line is meant to take a shot at the almost universally hated X-Men: The Last Stand, and while X-Men: Apocalypse is nowhere near as bad as Brett Ratner’s film from 2006, it’s not without some shortcomings of its own.
X-Men: Apocalypse has a simple, hollow story, spinning a wheel that also treads water. However, it also does a great job of bringing the young versions of familiar X-Men into this modified timeline and delivers some thoroughly entertaining action. In short, X-Men: Apocalypse feels like an extended episode of X-Men: The Animated Series, for better and worse.
Read our full X-Men Apocalypse review after the jump. Read More »
If you’re heading off to see X-Men: Apocalypse at your local multiplex this weekend, be sure to stick around until all the credits have rolled by because there’s a special scene at the end of the movie that hints at what’s next for the X-Men franchise. However, unless you’re a fan of the comics, there’s a chance you might not know what the scene means at all. After the jump, we explain the meaning of the X-Men Apocalypse credits scene and what it might mean for future X-Men movies.
Beware of spoilers for X-Men: Apocalypse from here on out. Read More »
In June 1987, in an interview for The New York Times, Stanley Kubrick spoke glowingly about a series of Michelob beer commercials.
“They’re just boy-girl, night-fun,” Kubrick praised, “leading up to pouring the beer, all in 30 seconds, beautifully edited and photographed. Economy of statement is not something that films are noted for.”
That piece published on a Sunday. The following day—after interested parties tracked down who was responsible for these spots—the phone of fashion photographer turned commercial director Jeremiah Chechik started rining off the hook.
Living up to that hype, Jeremiah Chechik’s first feature, Christmas Vacation, dazzled at the box office. Over the next decade, Chechik continued to rise up the ranks, establishing himself as a profitable director and, perhaps as importantly, a director known to work well with actors and the studios. Which is why, in the mid-‘90s, he was tapped by Warner Bros. to direct a $60 million summer action film based on a popular ‘60’s British TV show called The Avengers. With a stellar cast (Ralph Fiennes, Uma Thurman and Sean Connery) a legendary producer (Jerry Weintraub) and a top-tier British screenwriter (Don Macpherson), The Avengers seemed like a can’t miss film.
Unfortunately though, it missed the mark by a wide margin and drastically changed the trajectory of Jeremiah Chechik’s career. But what, at first, may have looked like a fall from grace wound up leading Chechik to terrific success in another medium. To find out what went wrong and then, ultimately, what went right, we spoke with the talented filmmaker and took a stroll down memory lane…
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From Blazing Saddles and Young Frankenstein to Spaceballs and The Producers, legendary filmmaker Mel Brooks has been responsible for some of the most beloved movies ever made. And unsurprisingly, at various points in his career, he has discussed the making of almost all his films. Except for one—the lone dud in his canon—a film so bad The New York Times declared it “an embarrassment,” and which Brooks has never publicly discussed: Solarbabies. Well, at least not until now. Because last week, on behalf of the How Did This Get Made? podcast, I spoke with Brooks at length to try and figure out how (the hell) did this get made?
Going into the interview, I expected to hear tales of unforeseen calamity and production run amok. But what I didn’t expect—and what became the prevailing thread of our conversation—was the enormous personal toll that Solarbabies had on Brooks.
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