Batman has seen a wide variety of big screen takes from directors Tim Burton, Joel Schumacher, and Christopher Nolan. Now it’s time for Matt Reeves to take the Batmobile for a spin, and even though we’re getting a reboot of The Dark Knight franchise with Robert Pattinson stepping up to put on the cape and cowl, the director says The Batman isn’t an origin story. But the movie will still acknowledge Bruce Wayne’s origins, especially since we find him at a time when he’s “majorly struggling.” Read More »
Claire Denis and Robert Pattinson, the duo that brought us the Fuck Box in A24’s High Life, are getting the band back together. Denis will direct Pattinson in The Stars at Noon – and A24 just picked up the North American rights. The movie is based on the Denis Johnson novel of the same name, and follows an English businessman and an American journalist who fall for each other against the backdrop of the Nicaraguan Revolution. Once Upon a Time in Hollywood‘s Margaret Qualley is set to star alongside Pattinson.
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Hey, want to see Robert Pattinson‘s The Batman costume? Matt Reeves is here to help. The filmmaker just posted a camera test for his upcoming take on the Dark Knight, and it reveals Pattinson in full Bat-costume. It’s very dark, and very red, but it’s enough to get people talking. It also looks much different than any onscreen Batman we’ve seen before. Check it out.
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Robert Pattinson’s Batman won’t be showering in Matt Reeves’ upcoming take on the Caped Crusader. Well, he will metaphorically won’t be showering. Peter Sarsgaard, who stars in the film as new character Gotham District Attorney Gil Colso, teased The Batman tone, which the actor said will be “raw” and “not sanitized.”
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UPDATE: Warner Bros. has announced character details for Peter Sarsgaard and Jayme Lawson. You can find them within our original story below.
On the evening of January 27, 2020, director Matt Reeves announced the start of production on The Batman with the slate for the first day of shooting. That means we’re just a year and a half away from seeing the return of The Dark Knight on the big screen. Read More »
Production on The Batman is underway right now over in London. So far, all we know is director Matt Reeves has assembled an exceptional cast to surround Robert Pattinson as the new Dark Knight. There’s Colin Farrell, who was recently confirmed to play The Penguin, Zoe Kravitz as the sneaky Catwoman, and Jeffrey Wright as Commissioner Gordon. However, we don’t yet know who Peter Sarsgaard will play in the movie. But that hasn’t stopped the actor from discussing what making The Batman feels like, which he compares to see The Pixies in concert when he was in college. Wait, what? Read More »
It’s been nearly three years since Zack Snyder’s Justice League gave us the most recent live-action version of Batman on the big screen. (Young Bruce Wayne in Joker doesn’t count). But today, the countdown to seeing a new version of The Dark Knight officially begins: Matt Reeves‘ The Batman has begun filming in London.
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Christopher Nolan‘s Tenet has remained shrouded in secrecy, as most upcoming Nolan films do. But a trailer is imminent, along with an IMAX-only prologue. As a result, Nolan is finally opening up a little bit about his latest, which stars John David Washington, Robert Pattinson, Elizabeth Debicki, Dimple Kapadia, Aaron Taylor-Johnson, Clémence Poésy, Michael Caine, and Kenneth Branagh. There’s a new Tenet first look that offers an image from the film, and it comes accompanied by a quote from Nolan talking about how this might be his most ambitious work to date.
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(This article is part of our Best of the Decade series.)
A lot can change in a lifetime, so said the meme-able tagline for The Irishman this year. But it doesn’t even take a full life to observe a radical change in the trajectory of a life, as shown by the many artists who changed the course of their careers during the 2010s. It’s one thing to stage a comeback when you’re down and out in the public eye – after all, who doesn’t love an underdog story? – and another to successfully execute a 180-degree shift when things are going fairly smoothly.
This list pays tribute to those in the industry who pulled off pivots that caught us off-guard but did their job of redefining an already established star image. You might notice a running theme in this list: it’s disproportionately male, white and straight, unfortunately. This indicates that there is still room for the industry to improve in the 2020s and allow more opportunities for women, people of color and LGBTQ+ artists to spread their wings and avoid becoming pigeonholed into a single identity. But given the breadth of artists reshaping a well-known persona in this decade, they have many great playbooks to run.
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Netflix’s The King is a reverse Hobbit: instead of adapting one book into three movies, it adapts three plays into one film. Shorn of Shakespearean dialogue, this loose retelling of Henry IV, Parts 1 & 2 and Henry V gets by on character and plot. Timothée Chalamet brings a brooding intensity to the Henry V role, which sees him following in the footsteps of classically trained luminaries like Sir Laurence Olivier and Sir Kenneth Branagh. That he can hold his own as a screen presence, even in comparison to thespians such as those, bodes well for his starring role in next year’s Dune.
The King also reunites director David Michôd with Joel Edgerton and Ben Mendolsohn, two actors who broke out internationally after appearing in Michôd’s 2010 Australian crime drama, Animal Kingdom. Edgerton serves as Michôd’s co-writer here, just as he did for the 2014 dystopian outback Western, The Rover, starring Guy Pearce. Michôd brings back Robert Pattinson from that movie; like Chalamet, Pattinson is no stranger to heartthrob status, and he’s set to headline a future tentpole (just a little movie called The Batman).
The King arrives in a post-Game of Thrones landscape where at-home audiences have become inured to watching court intrigue play out in medieval settings. Yet its source material predates Game of Thrones by centuries. Writer George R.R. Martin drew from the same period of history as Shakespeare’s Henriad, the cycle of plays that this movie partially adapts. Among other things, The King depicts the muddy hell of the Battle of Agincourt, the original inspiration for the Battle of the Bastards. This may not be Westeros, but war is still bloody and mud underfoot is an apt symbol for the innocence-to-experience arc that Chalamet’s conflicted prince undergoes as he dons his father’s crown and enters the moral quagmire of adulthood.
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