Why, hello there, here are two trailers for a movie that'll probably triple your electric bill. Based on David F. Sandberg's two-minute short film, the supernatural-horror Lights Out centers on a demon that summons its power from darkness to haunt one particular family. The only way to escape it, presumably, would be to find a place where the light never goes out, like Las Vegas, or the surface of the sun — though neither is that hospitable to human life. Starring Teresa Paler and Gabriel Bateman, Lights Out premieres July 22, and you can watch the new (scary) trailer above and original (scarier) trailer below.
He's portrayed everyone from the dignified Tony Blair to the affable David Frost, but now Michael Sheen is ready to explore his sinister American side. Sheen will be writing, directing, and starring in the crime thriller Green River Killer, his directorial debut, adapted from the graphic novel Green River Killer: A True Detective Story by Jeff Jensen and artist Jonathan Case. He will play necrophiliac serial killer Gary Ridgway, who pleaded guilty in 2003 to 49 charges of first-degree murder of women in the state of Washington during the 1980s and 1990s. The film's central narrative will revolve around police detective Tom Jensen — Jeff Jensen's son — who spent 20 years tracking and building a case against Ridgway, who's currently serving life in prison with no chance of parole.
Half an hour into Roland Emmerich’s un-eagerly anticipated sequel Independence Day: Resurgence, an underling informs a general (William Fichtner) that an alien vessel is about to displace much of the Atlantic Ocean: “Sir, the ship is over 3000 miles in diameter!” The general is incensed. “How the hell did we miss this?” he snarls. How the hell did we? We’ve barely seen that ship, let alone gotten a sense of its scale. It’s as if someone hacked the effects budget a week before shooting and all the connecting tissue went into the bin.
Back in 2011, a little movie called Drive changed the way we felt about a few things:
a) Ryan Gosling
c) White jackets with scorpions on the back
It married a noir framework to the world of a getaway driver in Los Angeles, featuring the likes of Carey Mulligan, Bryan Cranston, Albert Brooks, Christina Hendricks, and Oscar Isaac — a cast that, in retrospect, seems almost curiously good for a film put out by the mid-level distributor FilmDistrict. The movie was a minor hit, grossing $35 million domestically and another $41 million overseas on a slim $15 million budget, while also earning a 92 percent score on Rotten Tomatoes — even if, in an almost too-perfect commentary on the current cultural climate, it suffered a C- CinemaScore, cratered by audiences expecting a Fast and the Furious–esque thrill ride rather than a moody drama in which the violence doesn’t start until halfway in, then ratchets up to hysterical intensity.
As 16-year-old model Jesse in The Neon Demon, Elle Fanning possesses the kind of magnetic beauty you can’t take your eyes off. You want to photograph her, plaster her face on sky-high billboards, drape her in couture gowns, and then maybe — just maybe — devour her flesh and drink her blood like an iron-rich smoothie.
Over time, we can acclimate ourselves to the strange inner lives of most artists, but the 56-year-old Todd Solondz’s vision is likely to be strange forever. His storytelling is brusque, and his ironies are brusquer. His cruelty is cold and contained, although that might be in the service of a larger compassion, meant to jolt his audience out of complacency. Is there a humanist alive deep inside him, trampled into something unrecognizable? My shrinky feelers tell me that at an early age, he suffered a primal injury that he has never gotten past, though that injury might simply have been life itself in the suburbs of New Jersey among upper-middle-class Jews bent on insulating themselves from the “real” world — i.e., the one defined by social injustice, which turns up in his films on TV screens. One way or another, violence creeps in.
Is Rogue One in trouble? Not according to the people spending millions of dollars to make it! After rumors about reshoots giving the film a lighter vibe went around earlier this month, raising skepticism about whether the Star Wars franchise was giving filmmakers as much control as it claimed, the people behind the spinoff have taken to Entertainment Weekly to do some damage control. While they admit they the film did undergo reshoots — a common practice on big-budget blockbusters these days — they swear the film has not lost the darker tone fans were promised.
You've probably surmised from the trailers that The Shallows gives you a hell of a battle between the bikini-clad Blake Lively and one royally pissed-off shark, but what isn't clear until you see the movie is how much a third character comes to the fore ... and it's a bird buddy. There is no more important character in The Shallows — nay, there may be no more important character of the entire summer-movie season — than Steven Seagull, the charming, injured bird who hangs out on a rock with Lively's imperiled Nancy and becomes the necessary Wilson to her Tom Hanks. The bird is a goddamn natural, nailing every single reaction shot as Lively natters on, and the rapport with his leading lady is a wonder to behold: This is the most chemistry Blake Lively has had with a co-star since she stared at pictures of herself in Age of Adaline. We simply had to call up The Shallows director Jaume Collet-Serra in order to get the scoop on the movie's breakout star.
An ongoing question in the presidential campaign of Donald Trump is whether, in fact, he would make a good president. His questionable temperament, lack of rudimentary organizational skills, sketchy grasp of policy, and feeble fundraising efforts have all raised understandable concerns on that front. But there is one situation in which Trump would inarguably make an excellent, top-notch, really great, first-rate president: an alien invasion.
It's typically the case that when a young director gets pulled into Marvel's orbit, we don't hear from them again until their blockbuster is ready to storm the box office years later. That could have been expected of What We Do in the Shadows filmmaker Taika Waititi, who signed on last fall to direct Thor: Ragnarok. But fortunately, the New Zealander had already shot another movie, Hunt for the Wilderpeople, which comes out this Friday, almost a year and a half ahead of Thor's November 2017 release date.
It's not hard to see how Waititi made the leap from indie fare to tights-and-capes duty. In Hunt for the Wilderpeople, a gleefully mismatched old man and young boy (played by Kiwi royalty Sam Neill and new talent Julian Dennison) take off into the bush and become the object of a national manhunt. Waititi handles comedy and action with equal élan, making this low-budget indie look like a well-financed studio film. After Hunt became the highest-grossing local production in New Zealand history (breaking Waititi's own record, established in 2010 with Boy), Vulture caught up with him to talk buddy movies, tackling Thor, and why acting is a horrible life.
The Trailer For Ouija: Origin of Evil Will Permanently Ruin Spooky Sleepover Activities For Teens Across the CountryBy Devon Ivie
Despite the amusement that comes from the idea of a séance scam business — you scare those people senseless into giving you money, ladies! — Ouija: Origin of Evil Official is bringing anything but the giggles. As a prequel to the successful 2014 film Ouija, the film opens in 1965 Los Angeles as a widowed mother and her two daughters operate their clever scam out of their home, only for a mercilessly evil and scary spirit to awaken and overtake the youngest daughter. If the film's first trailer conveys a sole message, it's that you'll never want to look at that damn spirit board ever again. Starring Elizabeth Reaser, Annalise Basso, and Lulu Wilson, the horror extravaganza will paranormally ascend into theaters on October 21 — just in time for Halloween.
This new Paul Feig Ghostbusters remake is making people act weird, from dudes who are upset that producers hired an airtight all-women cast instead of men to guys like Queens rapper Nas, who this spring unveiled a batshit (but shockingly cool) line of Ghostbusters–inspired hats, shirts, and shoes. This morning the official update to the ’80s classic’s Ray Parker Jr.–penned hit theme song is out, and it’s … strange. The new cut, “Ghostbusters (I’m Not Afraid)” stars Fall Out Boy — who jumped the shark tinkering with too many genres at once on last year’s cleverly titled but poorly executed rap-remixes LP, Make America Psycho Again — and a nobly sharp guest spot from Missy Elliott.
On Thursday, the Kennedy Center announced this year's class for the prestigious Kennedy Center Honors, which is a fancy lifetime-achievement award for American artists. The lucky honorees are the Eagles, Al Pacino, Mavis Staples, James Taylor, and pianist Martha Argerich, continuing the Kennedy Center tradition of honoring a lot of people you've heard of, and one person you haven't. Best of luck to all of them in completing the KEGOT, an awards grand slam held by legends like Richard Rodgers and Rita Moreno.
In 2014, artist and filmmaker Elisabeth Subrin started a Tumblr called “Who Cares About Actresses?” as a way to drum up early support for A Woman, a Part, her screenplay about a female TV star going through a midlife crisis. As Subrin writes, "actresses matter profoundly," not just for their impeccable post-baby bodies or their ability to provide excellent advice about vaginal steaming, but because they show us what it means to be a woman in the world.
Update: Apparently the interview was faked, which is what we get for trusting audio of dubious origin. No one is more embarrassed than we are right now. Thank you to the Hiddlestoners for their encyclopedic knowledge of Tom Hiddleston interview quotes. Our original post is below:
Tom Hiddleston, the man who really wants to be James Bond, called into Belgian radio station Qmusic this week to promote his latest project, which he claims is a "roller-coaster ride of action and spectacle and lots of laughs." As befits an actor of his stature, Hiddleston has been doing heavy publicity for the part, and he can't stop gushing about his new co-star."She is an absolute delight," he alleges. "She’s got such a wicked sense of humor and she’s a really fun person to have around. She’s really great." Hiddleston is the latest actor to step into the iconic role, which has also been played by Calvin Harris, Harry Styles, and, briefly, Jake Gyllenhaal.
Perhaps inspired by Beyoncé's Lemonade, Stonewall director Roland Emmerich is here to say he ain't sorry. Last year, the German-born director of big popcorn fare like Independence Day and The Patriot was roundly pilloried for his passion project, Stonewall. The film told the history of the Stonewall riots, the LGBT uprising against police crackdowns in New York in 1969, through the eyes of a fictional character named Danny Winters, played by British actor Jeremy Irvine. From the film's first trailer to its subsequent release, the film was criticized for centering queer history on a white, cisgender man, prompting a boycott of the film before it was savaged by critics. Emmerich, however, doesn't see it that way. He sighs to The Guardian:
Last weekend, seven of the ten highest-grossing movies in the country were sequels. Of course they were, you say. It’s summer. That’s what summer’s all about! But one of the most insidious things about how Hollywood sells its product is the ease with which it passes off a lowering of the bar as a maintenance of the status quo, so let’s do a reality check: No, it has not always been this way — not even during summer movie season. On the same weekend in 2008 and 2009, there were only two sequels in the top ten. In 2010, there were three. For each of the four years after that, there were four. And last year, there were five. Seven is new; seven, as the latest data point in a decade-long trendline, suggests that something fundamental has changed. It says that sequels have gone from being what summer movies mostly are not to what they mostly are.
Pack an extra sweater to cover your eyes, because there's a 60 percent chance this film will scare you senseless. (And movie theaters are pretty chilly these days, anyway.) Horror maestro Eli Roth is teaming with with giggle maestro Jim Carrey to adapt Aleister Arcane, a comic book written by Steve Niles, for the big screen. Carrey will headline and executive produce the project, which has already been picked up by DreamWorks, with Jon Croker (The Woman in Black 2: Angel of Death) expected to write the script. Released in 2004, Aleister Arcane chronicles a Los Angeles weatherman named Aleister Green who excitedly returns to his hometown in Oklahoma to host a late-night horror show under a pseudonym. However, the establishment proceeds to revolt against his gory skits, which soon leads to a trial, forced retirement, and his early death. But shortly after Aleister's death, a curse is put upon the town, and only the local kids can figure out how to stop the curse's gruesome repercussions. It should be a spooky, scary time.
Kate Winslet Signs On for Woody Allen’s Latest Film, Going to Be Asked a Lot of Uncomfortable Questions at Cannes Next YearBy Nate Jones
Kate Winslet saw Kristen Stewart's Cannes experience and thought, I'll have what she's having. According to Variety, Winslet is in "final negotiations" to star in the next film by Woody Allen, whose Stewart-led Café Society opens July 15. As always, little is known about Allen's next project at this early date, except that it will apparently come out in 2017, and that a lot of people are going to have complicated internal debates about whether they should go see it.
Todd Solondz’s Wiener-Dog Is 4 Pitch-Dark Comedies Co-starring One Canine
It could be called Welcome to the Doghouse.By David Edelstein
Finding Dory Finds New Delights in a Familiar Setting
The silliness escalates — the jokes build and build and pay off — until you’re slaphappy, punch-drunk, primed for anything.By David Edelstein
Even at Its Most Dynamic, Genius Is Still a Movie About Book Editing
Watching Genius, you might have the nagging sense that the most vivid stuff is occurring offscreen.By David Edelstein