Hugh Grant and Josh Hartnett are set to join the cast of the new Guy Ritchie spy thriller formerly titled Five Eyes. This reunites Grant with his Man From U.N.C.L.E. and The Gentlemen director, and brings Hartnett back into the Ritchie fold after they collaborated on the upcoming action thriller Wrath of Man.
Read More »
New remakes are pouring out of Hollywood all the time, and one of the latest is reaching back into 1999 with a remake of teenage romantic comedy She’s All That. But this time, we’re getting an update of the story with a gender-flipped approach called He’s All That, one that will attempt to make a movie star out of TikTok sensation Addison Rae. She’ll be tasked with transforming a nerdy high school student into prom king, and that nerd will be played by Cobra Kai star Tanner Buchanan. Read More »
Remember when Guy Ritchie made his long-awaited return to the gangster flick with The Gentlemen earlier this year? Yes, that was this year, back in January 2020. And in the decade that passed in the 9 months since The Gentlemen came out, it has earned enough of a following for Miramax TV to commission a TV series adaptation, written and directed by Ritchie himself. It curiously brings the project full circle, as The Gentlemen started off as a TV series pitch before it became a feature.
Read More »
Mattson Tomlin, who’s slowly becoming a recognizable name in Hollywood thanks to his scripts for films like Netflix’s Project Power and Warner Bros./DC’s upcoming The Batman, is about to get behind the camera as a director.
A new report says Miramax has hired him to direct a feature film called Mother/Android, a sci-fi thriller which will be produced by The Batman director Matt Reeves and star Neighbors 2 and Kick-Ass actress Chloë Grace Moretz.
Read More »
(Welcome to The Quarantine Stream, a new series where the /Film team shares what they’ve been watching while social distancing during the COVID-19 pandemic.)
The Movie: Master and Commander: The Far Side of the World
Where You Can Stream It: Hulu
The Pitch: The film opens with a piece of text that succinctly and evocatively sets the stage for the action to come. “April, 1805. Napoleon is master of Europe. Only the British fleet stands before him. Oceans are now battlefields.” Gotta love a great opening text. We’re only ten seconds in, and I’m already leaning forward in my seat.
Why It’s Essential Viewing: An exciting cat-and-mouse adventure, Master and Commander earned heaps of critical acclaim upon its release (including ten Academy Award nominations), but failed to perform well enough to justify a sequel. I would love to live in a parallel universe where this sparked several follow-up movies, but as it stands, we’re left with only this lone adaptation of Patrick O’Brian’s twenty-book novel series. But what a spectacular adaptation it is. Read More »
At long last, the worlds of Guillermo del Toro and Paul WS Anderson will collide! Mimic, del Toro’s American debut film, is now being turned into a TV series, with Anderson directing the pilot. As for del Toro, he has absolutely nothing to do with the TV show, which makes sense, since the experience of making the film was a constant battle, leading the filmmaker to disown the theatrical cut (a director’s cut was eventually released on Blu-ray). In the film, mutated insects prey upon hapless humans. It’s pretty gross.
Read More »
Jon Hamm is stepping into the shoes of Chevy Chase for a Fletch reboot. Hamm will star in a modernized take on the character, created first in novels by Gregory Mcdonald, and made even more famous by two films starring Chase. For a long period of time, Kevin Smith was trying to mount a remake starring Jason Lee. Later, Smith was replaced with Scrubs creator Bill Lawrence. Now, Superbad helmer Greg Mottola will helm the project.
Read More »
Snowpiercer. A History of Violence. Oldboy. Road to Perdition. There are any number of top-notch comic book movies that don’t revolve around costumed superheroes. One of the best of these is Frank Miller and Robert Rodriguez’s Sin City, a film that pushed the genre forward fifteen years ago with trailblazing black-and-white visuals ripped straight from the comics.
On April 1, 2005, Sin City ushered theatergoers into a world unlike anything they had ever seen before on the big screen. Lurid yet literate, with voiceovers like thought bubbles, the film was something new and remarkable: neo-noir with a heap of violence and the look of a live-action motion comic. With cinemas now closed and most people’s travel plans on pause due to the global coronavirus pandemic, it’s as good a time as any for pulp-lovers who are stuck at home to take a trip back to Sin City.
Read More »
Cool Posts From Around the Web:
Director Guy Ritchie is returning to his London gangster roots next year with the ensemble crime film The Gentlemen, but he’s not done scratching that crime thriller itch just yet. Ritchie is already lining up his next film, Cash Truck, and he’s hired Jason Statham and Scott Eastwood to star, reuniting those actors after they worked together on 2017’s The Fate of the Furious. Learn the film’s plot details below. Read More »
Pulp Fiction is a profanity-laden crime drama with drugs, sodomy, and exploding brains, but when it hit theaters in mid-October 1994, it was technically a Disney movie. After Disney acquired the independent film studio Miramax in 1993, Pulp Fiction was the first project to receive a greenlight. The 2010s would commence with Disney shuttering Miramax, then selling it as it shifted focus to more lucrative in-house brands with theme park and merchandise potential, like Pixar and Marvel. Now, we’re reaching the end of the decade and the end of a peak-geek year when, among other things, Disney has set a new studio box office record, with five of its tentpole features grossing over a billion dollars worldwide.
Meanwhile, at a ‘50s-themed restaurant in L.A. called Jack Rabbit Slim’s, two people dominate the dance floor. It’s a human moment, no special effects involved, just twisting legs, scissored fingers, and movie magic. When Vincent Vega and Mia Wallace (John Travolta and Uma Thurman) accept their dance trophy for the night, there’s a part of them that might stand in for the whole ‘90s film scene, with its upswell of great indie dramas from new and exciting young filmmakers. Amid the current flood of remakes, reboots, sequels, and spin-offs, even the brain of an avowed comic book movie fan like yours truly might go hurtling back to the time when writer-director Quentin Tarantino and his contemporaries emerged on the scene in Hollywood. Back then, mid-budget dramas targeting adult theatergoers still seemed like the norm, as opposed to the exception.
Quotable dialogue and memorable characters come in all forms, including quippy, world-saving superheroes (which, again, I like more than Martin Scorsese); but with its down-to-earth lowlives and street-based plot turns, Pulp Fiction is a reminder of an all but bygone cinema era. Indelible music, cineliterate stylings, and a novelistic format help round out the perfection that is Tarantino’s sophomore feature. A quarter-century ago, Pulp Fiction shook up what critic Gene Siskel called “the ossification of American movies.” For its sheer innovation and cultural impact, this remains the most important American film of the last twenty-five years.
Read More »