bright sequel

2018 is just getting Bright-er by the minute.

A sequel to the critically maligned, inexplicably popular Bright has officially been greenlit by Netflix, which will bring back director David Ayer and stars Will Smith and Joel Edgerton. The one upside is that polarizing screenwriter Max Landis will not be returning for the Bright sequel.

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Bright ratings

Netflix is notoriously protective of its membership’s viewing numbers for specific shows and movies, unless the streaming service is bragging about binge statistics and dunking on a user or two for their viewing choices. So we don’t know exactly how many people have watched Bright, David Ayer‘s new orc cop fantasy thriller starring Will Smith and Joel Edgerton, but a new report which cites Nielsen metrics says that eleven million Netflix subscribers decided to click “play” on the movie in only its first three days of release. I bet Netflix is feeling pretty good about its decision to make Bright 2 right about now.

Grab your magic elf wand and read more about the Bright ratings below.
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‘Bright’ Sequel Already Ordered At Netflix

Bright Sequel

Audiences haven’t seen Bright yet, but no matter: Netflix is already committed to a Bright sequel. The streaming giant already has plans to make a follow-up to their upcoming Will Smith fantasy-action flick, a cop drama set in a world of orcs, fairies and other magical creatures. Does anyone really want this?

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Bright clip

Bright! It’s definitely a real movie from the director of Suicide Squad and the writer of Victor Frankenstein! Will Smith and Joel Edgerton are mismatched cops in a world of magic. Smith is the tough, no-nonsense human cop, and Edgerton is his Orc partner. Can these two cops from opposite worlds learn to get along? Maybe this new Bright clip will answer that question.

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American Werewolf remake

Whether we like or not (we don’t), there’s going to be a remake of John Landis‘ horror-comedy classic An American Werewolf in London. But unlike most other remakes, this one is going to stay in the family: John Landis’ son Max Landis is penning the screenplay. The younger Landis took to his Twitter account to provide a a brief update on his American Werewolf remake, and reveal how it differs from his father’s original.

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Cool Posts From Around the Web:

max landis Space Mountain script

With the success of the Pirates of the Caribbean franchise, it’s a wonder that Disney hasn’t forced movie adaptations of every single one of their theme park rides into existence. On the other hand, 2015’s Tomorrowland (not to mention 2003’s The Haunted Mansion) was a sign that not every theme park adaptation is a guaranteed hit, so it’s unsurprising that Disney would tread cautiously.

Enter: Space Mountain, one of Disney’s most popular and long-running rides and the subject of a screenplay by Max Landis. Unfortunately, Landis never got his movie off the ground, and the Max Landis Space Mountain script remains unseen. Well, for the most part — Landis is still pretty chatty about his long-dead project.

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a scar no one else can see analysis

Max Landis is a writer’s writer. While his subject matter is thoroughly accessible, he isn’t the type of guy you hire for your standard studio fare. The screenwriter behind films like Chronicle, American Ultra, and Bright is obsessed with structure, with word play, with the subversion of tropes and clichés. He’s exactly the type of writer that other writers study, marvel at – scratching their heads at how deftly he manages to turn genre on its ear or how he crafts entire acts of films that play radically different upon second viewings. And he’s also a writer’s writer in the Hemingway sense, insomuch as you’re probably as accustomed to hearing his name in reference to his afterhours shenanigans as you are hearing about his work. As a critic, I’ve tried to avoid writing sentences like that last one as, more often than not, a subject’s personal life has little bearing on their work – but bear with me, because in Landis’s case, who he is publicly is as important to his work, and A Scar No One Else Can See, his 150-page “living document” on the work of pop star Carly Rae Jepsen, as anything else.

Landis has been candid about his own personal demons, and even more candid about his use of drugs and alcohol to self-medicate. And those demons are on display in almost every single piece of produced fiction he’s written. If there’s one prevailing theme that links nearly all of his work together, it is that of truly broken individuals finding respite, and ultimately deliverance, in the arms of another person. Evocative of Paul Thomas Anderson’s Punch-Drunk Love, Landis’s work is often about people who want to be loved, are far too damaged to find love orthodoxly, and then find it in the most unexpected, unconventional ways. And it is through that love that the protagonist can begin to become whole. Whether the character is a warped MK Ultra experiment, an undiagnosed sociopath, a pathological liar lying about an illness for money and sympathy, or a broken-hearted lesbian who dabbles in bi-sexuality after a break-up, the theme remains – it is always when the characters find someone who accepts them for who they are, unconditionally, warts and all, that they can find some sense of normalcy and begin to be healed. It is as if Landis is constantly arguing with Jean-Paul Sartre, whose thesis of No Exit is that “Hell is other people,” with Max yelling from across the table “No JP, Hell is the absence of other people! Other people are our salvation, not our punishment!”

Yes. You just read a Sartre reference in a piece on Max Landis’s take on Carly Rae Jepsen. If that threw you for a loop, strap the fuck in buttercup, because you’re in for a bumpy fucking ride.

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an american werewolf in london remake

An American Werewolf in London is a horror classic that hit a chord with audiences that couldn’t be struck twice. It spawned the abysmally received An American Werewolf in Paris nearly 16 years later, and it seemed like the franchise was dead in the ground.

But in the age of remakes and cinematic universes, it was inevitable that we’d get a remake. Possibly an An American Werewolf in London remake by the son of the first director, no less. But rather than a case of classic Hollywood nepotism, it seems like John Landis, the director of the original film, has strongly advised his son Max Landis against tackling the remake.

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Bright Comic-Con Panel: Everything You Need to Know

Training Day meets Lord of the Rings is how Will Smith describes Bright, his next collaboration with director David Ayer. Ayer, who wrote Training Day, is making a movie that resembles his early work far more than his DCEU film, Suicide Squad. His new movie is a genre mash-up, a cop film featuring orcs, fairies, elves, and a powerful magic wand.

Below, check out our reaction to a clip from Bright, some quotes from Ayer about the film, and more.

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Bright trailer

David Ayer is no stranger to depicting cops on film. He’s made some good, gritty and dirty crime thrillers with End of Watch and Street Kings. Cops and Los Angeles fit comfortably in the filmmaker’s wheelhouse. It’s a world and genre he knows well. Ayer has now made another cop movie, Bright, which stars Will Smith and Joel Edgerton. They’re playing partners, but they’re a little different from the partners from Ayer’s previous movies: one of these is an orc. A hard-edged David Ayer movie with Will Smith, orcs, and fairies sounds like a blast, and it looks like one, too.

Below, watch the Bright trailer.

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