After being shelved in the midst of the Relativity bankruptcy, Masterminds, the Zach Galifianakis–Kristen Wiig buddy-robber film based on a somehow-real heist that happened in the late 1990s, has gotten a new release date, September 30, and a shiny new trailer. Though the film was shot back in 2014, the trailer emphasizes the presence of Leslie Jones and Kate McKinnon, probably to get some of that Ghostbusters shine. Yes, we're getting the film a year later than originally planned, but we can all rest easy in the certainty that silly hair is timeless.
Nick Jonas may soon join the Rock, Kevin Hart, and Jack Black in the new Jumanji movie. Deadline reports that the shirt-doffing pop star is in talks to appear in the "reimagining" of the 1995 family film, as long as he can make it work alongside his musical commitments. There's no indication of what sort of character Jonas would be playing, but in May the Rock hinted that one of the major roles left to be filled was "one semi-sorta bad-ass dude." The other part was "one bad-ass girl," which is certainly a fitting phrase for Hollywood in 2016.
Leicester City’s Historic Premier League Win to Be Adapted Into a Film; It’s Pronounced Less-Ter, Thanks for AskingBy Devon Ivie
Gather around. Let's talk about the other football for a second, shall we? You know the English Premier League, with the big names you've heard of like Manchester United (Rooney!), Arsenal (Giroud!), and Liverpool (Balotelli!)? Well, all of those well-endowed teams lost this year's EPL season to the little-known Leicester City, which clinched the title with 5,000 to 1 odds stacked against them. It was a historic win for the ages, folks! And Hollywood knows it: Deadline reports that the Foxes' 2015–2016 season will be the subject of a new screenplay written by The Fighter's Paul Tamasy and Eric Johnson, along with Adrian Butchart (Goal: The Dream Begins). It's obviously very early in the project, but Deadline says the film will likely focus on striker Jamie Vardy, a former factory worker who, in four years, worked his way up to become the club's top player. Robert De Niro, start familiarizing yourself with Claudio Ranieri.
Somebody needs to figure out what to do with Jeremy Renner. By which I mean, something to do with him in addition to temporarily substituting him into existing film franchises as a feint toward replacing the franchise’s existing star. When Matt Damon, along with director Paul Greengrass, walked away from the Bourne franchise over creative disagreements, the producers looked to reboot with Renner as their new Jason Bourne. Except he wasn’t Jason Bourne, he was — what was his name again? (Aaron Cross — to paraphrase the current Bourne posters: You Don’t Know His Name.) Similarly, back in 2011, Renner was plugged into Tom Cruise’s Mission: Impossible franchise for film number four, Ghost Protocol, with the implication being that he’d be inheriting the mantle. (“That’s certainly the idea,” Renner told MTV News.) But by the time Mission: Impossible — Rogue Nation rolled around in 2015, Cruise was still front and center, shirtless as ever, with Renner relegated to the Greek Chorus along with Ving Rhames and Simon Pegg. Renner’s also, of course, featured in those semi-successful Avenger movies you may have heard about — as Hawkeye, the Avenger who’s apparently least likely to ever get his own standalone film.
Mel Gibson got his start in a war movie, and now he's decided to make another one: Hacksaw Ridge, Gibson's latest directorial effort, tells the story of Desmond Doss, a conscientious objector in World War II who refused to carry a weapon because of his religious beliefs. Thursday brings the first trailer for the film, which stars Andrew Garfield as Doss, and guys like Vince Vaughn and Sam Worthington as the mean soldiers who eventually come to appreciate him.
Philip Roth’s 2008 novel Indignation opens with lines from e.e. cummings’s “i sing of Olaf glad and big,” which celebrates a conscientious objector who refuses to go to war: “Olaf (upon what were once knees) / does almost ceaselessly repeat / ‘there is some shit I will not eat.’ ” Marcus Messner, the Newark-raised hero of Roth’s novel and James Schamus’s intense new film, takes a similarly valiant stand against coprophagy. As one of the few Jewish freshmen in the class of 1955 at (the fictional) Winesburg College in Ohio, Marcus (Logan Lerman) strives to throw off the weight of multiple patriarchs: his crazily overprotective father (Danny Burstein), a kosher butcher; the school’s censorious dean (Tracy Letts); and, perhaps, God Himself. This is the stuff of most coming-of-age sagas, comic and tragic, and Roth, of course, made his name with the former. Indignation is on the other end. In the film’s prologue, our rebel takes a bayonet in the stomach in Korea — and ruminates in voice-over on how a nice Jewish boy could have made such catastrophic choices.
When director Mark Osborne was approached to adapt The Little Prince, Antoine de Saint-Exupéry’s 1943 children’s-literature favorite, into an animated film, he balked. “Turning this precious book into a big movie would just break it,” says the two-time Oscar-nominated Osborne. “The Little Prince feels very lyrical, poetic. It’s not movie-shaped at all.” The much-beloved, humbly metaphysical story — about the title character’s quest to return home — is embedded with philosophy about love and loss and buoyed along by Saint-Exupéry’s whimsical illustrations. By focusing on the latter, Osborne found a way to preserve the spirit of the book: He’d use computer-generated animation to convey a larger, framing narrative about a lonely girl, then transition into stop-motion animation to tell the Little Prince’s story (which the girl, called only Little Girl, discovers thanks to an eccentric old neighbor, voiced by Jeff Bridges).
One See? We can be funny too! trailer for Justice League aside, the year of Ben Affleck's ennui continues astride with The Accountant. The film will trade the burden of Batfleck for the burden of being a wealthy, socially alienated, renegade danger-chaser who's also really good at math. In The Accountant, math savant Christian Wolff (Affleck) works at a small-town CPA office to mask the freelance bookkeeping he does for dangerous criminals — an activity the federal government naturally doesn't tolerate. Anna Kendrick co-stars as the everywoman who gets caught up in Affleck's mess (someone better be taking care of someone's taxes pro bono), joining John Lithgow, J.K. Simmons, Jeffrey Tambor, and Jon Bernthal. Watch Affleck be dangerous and sad in the new trailer above, or watch him spin it to sad and dangerous in The Accountant's first trailer, below.
Disney's live-action Nutcracker movie has found its lead: As Variety reports, it'll be Mackenzie "Murph!" Foy from Interstellar. The Lasse Hallström–directed film is based on E.T.A. Hoffmann's The Nutcracker and the Mouse King, the story that inspired Tchaikovsky's famous ballet; because it's 2016, the film will be called Nutcracker and the Four Realms. Foy will play Clara, while Misty Copeland will play the lead ballerina in the film's only dance sequence. Foy also previously appeared in the last two Twilight films, which gave her experience acting opposite wooden men.
The last time we hung out with Charlie’s Angels, a director could get away with going by the name McG and beloved comic Bernie Mac was still with us. It was the early aughts and Drew Barrymore was making us believe in the power of homo-affectionate platonic love affairs between best girl friends who take baths together after a hard day’s work. But these are different times, and the Charlie’s Angels reboot being directed by Elizabeth Banks is going to need some serious talent on board to distance itself from the empty calories of the last one, Charlie’s Angels: Full Throttle, which one critic described as “being pummeled for two hours with a feather duster.” Enter David Auburn, the Pulitzer Prize–winning playwright of Proof, who, according to The Hollywood Reporter, Banks brought on as screenwriter to develop “dynamic yet grounded Angels” and bring Barrymore’s brand of ass-kicking girl power into the new age of the female heroine. Of course, we haven’t forgotten that Auburn also wrote The Lake House with Keanu Reeves and Sandra Bullock, but we’re willing to forgive and forget if he comes through for Banks and her new Angels.
In the movie Spa Night, 18-year-old David Cho is caught between tradition and his future, and there's no place he feels that tug of war more intensely than at the spa. Raised in L.A.'s Koreatown neighborhood, David is used to spending time at the spa with his traditional but troubled parents, but as he starts to figure out his burgeoning sexuality, he realizes that there's an entire scene of men who cruise other men in those steam rooms ... and at some point, he'll have to reconcile both of his identities in the haze. Acclaimed at the Sundance Film Festival and Outfest, Andrew Ahn's film (with an intriguing breakout performance by lead John Seo) premieres in New York on August 19 at the Metrograph, and you can watch the exclusive trailer below.
The Trailer for M. Night Shyamalan’s Split Is a Nice Reminder That M. Night Shyamalan Does Whatever Spooky Thing He WantsBy Halle Kiefer
M. Night Shyamalan’s first horror movie in eight years, 2015’s The Visit, was a simple, straightforward found-footage flick, and was in some ways a return to form after The Happening, After Earth, and The Last Airbender. So it only makes sense that Shyamalan’s next horror pic would be an incredibly ambitious combination of, from the looks of it, Psycho, Room, and The Howling. James McAvoy stars as Kevin, a kidnapper suffering from, or possibly really enjoying, a severe case of multiple-personality disorder. It should go without saying that one of those personalities might be some kind of monstrous creature. Also, he has a little boy persona? Say what you will about M. Night: He’s not afraid of a big swing, especially if that swing is a deranged werewolf madman in a maroon women’s turtleneck.
At the annual BookExpo America conference in 2010, William Gibson gave a prescient address about the future of the future — or, rather, about the fact that the capital-F Future, the one he’d grown up dreaming about and reading about, didn’t exist anymore. Once, Gibson argued, the promise of the future was central to science fiction, which routinely depicted exhilarating visions of some better tomorrow. Yet “if you’re 15 or so today, I suspect that you inhabit a sort of endless digital Now,” he said. Current events — quantum teleportation, synthetic bacteria, not to mention all the commonplace technological leaps we absorb with a stifled yawn — are all so amazing and incomprehensible that we no longer need to dream about what tomorrow might bring.
As evidence, he cited his own novels: His first, Neuromancer, was written in the early 1980s and set in roughly the 2030s. Virtual Light, released in 1993, was set in 2006. Soon, he said, “I found the material of the actual 21st century richer, stranger, more multiplex, than any imaginary 21st century could ever have been.” So his ninth novel, Zero Hour, published in 2010, is set a year earlier in 2009. The job of the futurist is no longer speculating about what might come. It’s trying to comprehend what’s already here.
Ava DuVernay’s adaptation of the beloved book A Wrinkle in Time just got blessed from on-high, as Oprah Winfrey has entered final negotiations for the role of Mrs. Which. Mrs. Which is one of three celestial beings that accompany the story’s protagonists on their journey to find the father of the only girl in the group, Meg. Appropriately, Which is also the oldest of the three beings, because Oprah can only play the wisest figure in any story, and she typically appears as a shimmering kind of specter instead of a corporeal being, and that also feels so Oprah. DuVernay has not directed a feature film since 2014’s Selma, which also featured Oprah, flung both her and star David Oyelowo into the mainstream consciousness. She famously turned down an offer to helm Marvel’s Black Panther, saying she didn’t know if she could give it the identity of “an Ava DuVernay film,” but apparently felt comfortable enough with Marvel’s parent company, Disney, to proceed with bringing Madeleine L’Engle’s story to life under their banner. You will be able to give DuVernay and Oprah more of your money sometime in 2017.
Adam Sandler’s Avengers are once again assembling, this time for Sandy Wexler, the third movie in Sandler's four-picture deal with Netflix. The movie will star Sandler as a Hollywood agent who reps a bunch of industry outsider types, and whose steadfast commitment to his clients is jeopardized when he falls in love with his latest discovery, a singer played by Jennifer Hudson. According to The Hollywood Reporter, Sandler staples Kevin James, Rob Schneider, and Nick Swardson will co-star; Terry Crews and Colin Quinn will round out the cast. And for all you New Girl fans out there, look forward to seeing Lamorne Morris as well. Wexler will be directed by Steven Brill, who helmed The Do-Over, so get ready for laughs on par with that movie — if you dare.
When Tilda Swinton asks you to adapt something into a film for her, you adapt it into a film for her, goddamnit. That's exactly what happened to Annie Mumolo (the co-writer of Bridesmaids and Bad Moms) when Swinton sent her a friendly, out-of-nowhere email to praise the script for Bridesmaids and also see if Mumolo would be interested in adapting Patrick Dennis’s 1955 classic novel, Auntie Mame, for the big screen with her attached to star. Yes, Mumolo was indeed very interested in such a creative endeavor. "[Swinton] is, like, from another world. She’s one of the most intelligent people I’ve ever encountered … Her emails are like works of art, truly," Mumolo told Vanity Fair. "They should be published. The way she communicates is just beautiful and poetic … She asked me, 'Have you read Auntie Mame? … Would you take a look at it? I want to see if you are interested in writing a modern-day adaptation.' I said yes, because you say yes to Tilda Swinton when she asks if you want to do something."
This movie has everything: Supermodels! Chile! Drugs! Snowstorms! Upscale ski resorts! And now, it has Paul Feig. Adapted from an Elle magazine article written by Mickey Rapkin, Feig has signed on to produce — but not direct — Paramount's forthcoming Supermodel Snowpocalypse alongside frequent collaborator Jessie Henderson. The article, which was published earlier this year, chronicles two sisters, a photographer, ad executives, and a handful of models (including Jerry Hall) who traveled to Chile in 1977 for a fur-themed photo shoot only to be trapped in their posh ski resort after a massive snowstorm hit. Despite having a drug-fueled, raging Studio 54–esque time for a week in confinement, the group soon planned a near-deadly escape to return to civilization. Fashion, man ...
The terrific new Ira Sachs film Little Men is quiet, mostly, which is baked into its premise: Introverted 13-year-old Jake (Theo Taplitz) finally finds a friend in brash young actor Tony (Michael Barbieri), but the two boys stage a silent protest when their squabbling parents threaten to derail their relationship. Sachs (who recently directed Love Is Strange) is great at subtle, unforced observation, and with these expertly cast kids, he's got great muses. There's so much about Jake and Tony's friendship that goes unsaid simply because Sachs and his actors know how to convey it through other means. And then, in the middle of this quiet movie, Sachs drops this explosive, funny sequence where Tony engages in a repetition exercise in his acting class. It's hypnotic to watch Tony shout back at his teacher, and Barbieri's quick wit is on full display — it's no wonder that Hollywood has come calling, placing the young actor in the new Spider-Man movie. It's also a reminder of what will be missed when Tony goes mute, and a sign that maybe he's a lot better at listening than the adults in his life. Watch the exclusive clip below, and check out Little Men in theaters on August 5.
Anna Gunn Goes Ballistic on a Mansplainer in This Exclusive Clip From Equity, the First Female Wall Street MovieBy Kevin Lincoln
Equity is being touted as the first female Wall Street movie, and it doesn't take too long to mentally validate that statement: The genre tends to be quite testosterone-heavy. But director Meera Menon, writer Amy Fox, and producers Sarah Megan Thomas and Alysia Reiner, who also star — all women, you might notice — have crafted a kind of antidote to this condition: a savvy, sophisticated, and appropriately ruthless story about bankers and IPOs that focuses on women not just because they're women, but because they're as capable, aggressive, and morally complicated as the dudes. In this exclusive clip, we see Naomi Bishop, played by the great Anna Gunn, laying into James Purefoy's Michael Connor, a trader and paramour, as he tries to mansplain to her how the game is played. Equity opens in select cities July 29.
The new trailer for Ben-Hur has everything: horns, horses, fire, men yelling, Morgan Freeman's voice. The upcoming remake of the 1959 Charlton Heston film, Ben-Hur stars Jack Huston, Toby Kebbell, Morgan Freeman, and Morgan Freeman's new hair that we can only hope is permanent. The noisy film full of loud noises and sounds was directed by Wanted's Timur Bekmambetov. To sum up, if you really liked The Fast and the Furious, but you were like, "Dang, there aren't enough horses in this," check out this trailer! And if that's not enough horses, yelling, or dreadlocks, check out the film's first trailer, below:
Indignation Is the Best Philip Roth Film Adaptation By a Mile
Director James Schamus’s style is deliberate but not cold, and the performances he has elicited are passionately deliberate.By David Edelstein
Lights Out Is a Low-Wattage Horror That Delivers the Occasional Charge
Little kids might like it: It’s a starter shocker.By David Edelstein
Absolutely Fabulous: The Movie Is Only Semi-Fab
It’s as if the film is taking after its own heroines: aspiring to something bigger than it should, and too often looking awkward in the process.By Jen Chaney