Author: Nicole

  • Natalie Portman on Getting “Big” for ‘Thor: Love and Thunder’ and Working with Taika Waititi

    Natalie Portman on Getting “Big” for ‘Thor: Love and Thunder’ and Working with Taika Waititi

    When Marvel Studios officially announced Thor: Love & Thunder at Comic-Con International in 2019, many were surprised to see the studio was also bringing back Natalie Portman as Jane Foster. After all, Portman hadn’t been involved in the Marvel Cinematic Universe since 2013’s Thor the Dark World. Still, many were excited to see Marvel Studios cover the Mighty Thor storyline from the comics on the big screen. According to director Taika Waititi, Portman was drawn to return as Jane because of the character’s tough choices in the forthcoming film.

    Given that Portman is set to play Mighty Thor this time around, it was expected that her Jane would look a bit different in Love & Thunder. However, fans were surprised to see how big the actress got when set photos leaked during production. For Portman, it was surprising to see people calling her big. “To have this reaction and be seen as big, you realize, ‘Oh, this must be so different, to walk through the world like this,’” she said. “When you’re small — and also, I think, because I started as a kid — a lot of times I feel young or little or, like, a pat-on-the-head kind of person. And I present myself that way, too, because of that.” 

    In a recent sit-down with Variety, Portman and Waititi were asked about the cancer storyline from the comics and whether fans can expect to see it play out on screen. While Portman was notably hesitant to answer, Waititi suggested we’ll see the cancer storyline addressed. “Part of why [Natalie] wanted to play that character is that she has a dilemma in the book,” he told the outlet before noting Jane’s “big choices” from the comics they sought to keep in the film.

    The actress was also quick to note how different it was to work on Love & Thunder. For Portman, trying to adapt to Waititi’s shooting style took some getting used to as he has a tendency to ‘spitball’ on set. “It’s a really baller way to work on a movie like this. It was daunting at first, because I was like, there’s no way for me to prepare. How am I supposed to do a good job? And then I think I learned how to enjoy it.”

    She also got to train alongside at least two other actresses this time, too, with Tessa Thompson and Jaimie Alexander reprising their roles as Valkyrie and Lady Sif, respectively. “I haven’t had particularly bad workplace experiences, but I was usually the only female around. It’s just imbalanced. So it’s nice to feel the awareness of it. There doesn’t have to be the girl in the movie. There can be many women who have many different personalities and many different desires.”

    Thor: Love & Thunder hits theaters on July 8th.

    Source: Variety

  • Paramount+ Series ‘WOLF PACK’ Adds Four To Cast

    Paramount+ Series ‘WOLF PACK’ Adds Four To Cast

    Deadline is reporting that the streaming service has cast Armani Jackson (Honor Society), Bella Shepard (The Wilds), Chloe Rose Robertson (Wildflower) and Tyler Lawrence Gray (Our Town) in the forthcoming series. Wolf Pack, based on the books by author Edo Van Belkom, will be executive produced by Teen Wolf’s Jeff Davis.

    The series follows Everett, played by Jackson, and Blake (Shepard), two young teenagers who soon find their lives have been changed forever following a California wildfire that awakens a terrifying supernatural creature. Production on the series will kick off next week in Atlanta, with the series expected to debut on Paramount+ later this year.

    This marks the second big Paramount+ production for Davis who also serves as a writer on the series as well as an executive producer. Davis’ Teen Wolf: The Movie recently wrapped production and is slated to debut later this year on Paramount+. Along with Davis, Joe Genier serves as an executive producer, while Mike Elliot is a co-executive producer for Capital Arts. Jason Ensler (Love, Victor) directed the pilot episode and will also receive an executive producer credit.

    Source: Deadline.

  • ‘MS. MARVEL’ Director Speaks Out On The Importance Of Representation

    ‘MS. MARVEL’ Director Speaks Out On The Importance Of Representation

    In a brand-new interview with The Hollywood Reporter, Meera Menon took some time to discuss the importance of Ms. Marvel and getting to work on it. She also compared it to her last Marvel job – directing an episode of The Punisher for Netflix. For Menon, Ms. Marvel was something special that she needed to be a part of in some shape or form. “I just wanted to be a part of it in any way, so I let [Marvel Studios] know right off the bat that it meant a lot to me to see that form of representation.”

    While the director notes it feels like a long time she’s worked on the Punisher, she seems happy to see them both on Disney+ now. “It feels like I did [The Punisher] so long ago. It wasn’t that long ago [Jan. 18, 2019], but it just goes to show how quickly things change in terms of platforms.”

    Of course, going from The Punisher to Ms. Marvel is a bit of a stretch – no pun intended. So, how did Menon manage to snag the job? “I made it clear that from the minute I first read the comics, I was like, “Whenever they do anything with this, I hope I’m in the arena. I hope I’m in relative proximity to the arena, to be in the room to be considered for this.” I just wanted to be a part of it in any way.”

    While Menon seems to have enjoyed working on The Punisher, Ms. Marvel has quickly become her favorite project she’s directed because of how she relates to it. “It was seeing something akin to my sense of my own upbringing, and it just felt so meaningful to know that there was a piece of pop culture out there that was so reflective of my own upbringing in so many ways.”

    Menon, of course, took over directing duties for episode two of Ms. Marvel, following the premiere episode from Adil and Bilall. While there was a set look and feel established by the duo, Menon was also able to further build upon what they’d already established. “There were things that were really clear from their episode that we could continue, like certain aspects of the animation and camera movement, but there were other things that were unique to this episode and the next episode that we had to start from scratch with,” she explained. “It all started from a place that Adil and Bilall built.”

    With Sharmeen Obaid-Chinoy also hired to direct episode(s) of Ms. Marvel, it’ll be interesting to see how the directors continue to build off of one another’s work.

    The third episode of Ms. Marvel’s season will hit Disney+ this Wednesday. For now, fans can enjoy the first two episodes on Disney+.

    Source: The Hollywood Reporter.

  • Scout Comics Adapting ‘Midnight Western Theatre’ for TV

    Scout Comics Adapting ‘Midnight Western Theatre’ for TV

    Scout Comics and Oren Segal’s Management Production Entertainment have joined forces to develop an adaptation of Louis Southard’s comic book, Midnight Western Theatre. The series, which is published by Scout Comics, will be developed for the small screen with Kevin Carroll set to tackle the adaptation.

     “I was instantly drawn to the world of Midnight Western Theatre, with its razor-sharp wit and ingenious premise,” Carroll said in a statement to Deadline. “It blends the grittiness of a classic Spaghetti Western with the pulse-pounding elements of Gothic Horror. It’s a big, expansive world, populated with creepy creatures and demonic cultists. And at its core, a charming, endearing, heartbreaking story of two friends who have each other’s backs, no matter what.”

    Midnight Western Theatre, which marks Southard’s second comic, tells the story of Red Tom and his deadly posse who have laid claim to the once-prosperous town of Liberty Springs. When two black-clad, supernatural strangers arrive out of the blue, Red Tom and his posse find themselves on the defense as they try to enjoy their apparent short-lived victory The comic book series features artwork from David Hahn, who has illustrated titles such as Bite Club and its sequel, Bite Club: Vampire Crime Unit.

    Scout Comics & Entertainment, which was founded in 2015, signed with Mosaic’s management division back in 2020 to help manage its film & tv expansion. Since then, the publisher has announced an adaptation of multiple titles, including Tray Walker and Hoyt Silva’s Last Stop and Unikorn by Don Handfield, Joshua Malkin and Rafael Loureiro

    Source: Deadline

  • ‘The Flash’: Warner Bros Discovery’s $200 Million Problem

    ‘The Flash’: Warner Bros Discovery’s $200 Million Problem

    Over the past year, Ezra Miller has found themselves in a plethora of trouble. Following multiple arrests in Hawaii, the controversial star is currently on the run and is facing even more concerning allegations, which is leaving Warner Bros. Discovery to consider what to do with The Flash movie now that it is in post-production.

    For years, it seemed as though The Flash movie was a myth – a film that was in development but seemed likely to come to fruition. Then, in July 2019, Warner Bros. hired Andy Muschietti to direct the long-promised Flash movie starring Miller. The young actor had, of course, been attached to the project since 2014 when it was revealed he’d joined the cast of Batman v. Superman. So, with the movie now in the can and set to introduce a brand new Supergirl to live-action, the studio is eagerly trying to determine how to go about handling the film with Miller’s troublesome behavior.

    According to a new report from Deadline, the studio is said to have considered getting help for the young actor. However, with the allegations against Miller continuing to build, Warner Bros Discovery CEO David Zaslav has a big decision to make… and soon. Per the outlet, one option Zaslav is considering is pulling back on Miller’s promotional duties for the 2023 film. This choice would confine it to some P&A, but no publicity tour. Another option being explored is moving the film to HBO Max. While a third option would be to lean in toward making the movie a hit and then dropping Miller if they can’t get their act together. Either way, the studio is facing a tough decision and will need to make a choice relatively soon.

    A studio source told Deadline the hope is that the sandal will remain “low level” ahead of the film’s release next year. For now, The Flash remains on track for a Summer 2023 theatrical release with Miller still very much in the starring role. As for the actor’s future beyond The Flash? Deadline reports Miller will not be involved in any future plans involving the character and the forthcoming DC Universe being constructed by Zaslav.

    Source: Deadline.

  • Guy Ritchie to Direct Live-Action ’Hercules’

    Guy Ritchie to Direct Live-Action ’Hercules’

    Guy Ritchie is returning to Disney to bring another animated classic to live-action.

    Deadline is reporting that Ritchie, who helmed the live-action Aladdin for Disney, is reteaming with the studio to direct a live-action take on the animated classic Hercules. He’ll be working alongside AGBO, the production banner from Avengers: Endgame directors Joe & Anthony Russo, who are producing the project. With a director set, the search is now underway for a writer to rework the first draft turned in by Dave Callaham(Shang-Chi and the Legend of the Ten Rings).

    News of a live-action Hercules movie was first announced in October of last year. Since then, news on the project has been relatively quiet. Ritchie’s live-action take on Aladdin managed to cross $1 billion at the worldwide box office, despite plenty of controversy surrounding the title leading up to its release. He’s still expected to direct the sequel to that film, however, it’s unknown when that project will actually go into production.

    Ritchie has a rather lengthy resume that includes The Man from U.N.C.L.E., Sherlock Holmes, and RocknRolla. He recently wrapped production on an untitled action thriller with JakeGyllenhaal, which has since sold to MGM and Amazon. Up next for the busy director is Operation Fortune: Ruse de guerrewhich he wrote, directed and executive produced. That project, starring Jason Statham, does not currently have a release date.

    Source: Deadline

  • ‘Cleopatra’ Eyeing Move From Paramount to Universal

    ‘Cleopatra’ Eyeing Move From Paramount to Universal

    Cleopatra is moving from Paramount to Universal.

    Deadline has confirmed that Universal is looking to pick up Cleopatra starring Gal Gadot. The Project was initially in development at Paramount, with The Falcon and the Winter Soldier executive producer and director Kari Skogland attached to direct. Per the outlet, Paramount looks to be losing the project since the studio failed to meet the timeline the creative team deemed necessary.

    Cleopatra is being produced by Atlas Entertainment’s Charles RovenGal Gadot and her Pilot Wave Motion Pictures partner Jaron VarsanoLaeta Kalogridis (Shutter Island), who wrote the screenplay, is executive producing, as is Wonder Woman filmmaker, Patty Jenkins. As of this writing, deals are not currently yet in place with Universal.

    It is of note that Roven is also working with Universal on Christopher Nolan’s upcoming WWII feature, Oppenheimer, so there is a link between him and the studio already. Paramount is still interested in the project and talks still seem to be underway between the producers and Universal, so it’s possible things will change. For now, though, it looks like Cleopatra will be making the jump to Universal.

    Cleopatra film has been in the works for years with actress Angelina Jolie initially set to star. That project, however, appears to have since stalled. Cleopatra currently does not have a release date.

    Source: Deadline.

  • ‘The Lord of The Rings: The Rings of Power’ Heading to Comic-Con

    ‘The Lord of The Rings: The Rings of Power’ Heading to Comic-Con

    Middle-earth is heading back to Comic-Con International.

    Deadline has revealed that Prime Video is looking to bring The Lord of the Rings: The Rings of Power to Comic-Con. The forthcoming series, which will bring fans back to the world of J.R.R. Tolkien’s beloved fantasy world, will hit Hall H this July along with showrunners J.D. Payne & Patrick McKay.

    The streamer looks to be going all out ahead of The Rings of Power’s debut this September. While it is unclear what Prime Video will debut during the Hall H presentation, one can assume footage will be debuted ahead of an appearance by some of the (massive) cast. The first season of The Rings of Power will cost Prime Video an astounding $462 million alone, that’s not accounting for the $250 million the streaming service paid back in 2017 for the television rights. 

    The series stars Cynthia Addai-Robinson (The Accountant), Robert Aramayo (The Empty Man), Owain ArthurMaxim Baldry (Mr. Bean’s Holiday), Nazanin Boniadi (Homeland), Morfydd ClarkIsmael Cruz Córdova (In the Blood), Charles Edwards (The Kingdom of Bones), and Trystan Gravelle(Anonymous). Also starring in the series is Sir Lenny HenryEma HorvathMarkella KavenaghJoseph MawleTyroe MuhafidinSophia NomveteLloyd OwenMegan RichardsDylan SmithCharlie VickersLeon WadhamBenjamin WalkerDaniel Weyman, and Sara Zwangobani.

    The Lord of the Rings: The Rings of Power will debut on Prime Video on Sept. 2nd, 2022. The series is set in the Second Age of Middle-earth and takes place thousands of years before the events of the books and the movies. Like with most Prime Video titles, new episodes will be available weekly.

    Source: Deadline.

  • ‘Top Gun: Maverick’ Continues Box Office Superiority, Now Cruise’s Highest-Grossing Film

    ‘Top Gun: Maverick’ Continues Box Office Superiority, Now Cruise’s Highest-Grossing Film

    The Tom Cruise-led sequel has officially surpassed $800 million worldwide as it continues its trek towards the $1 billion mark. The latest milestone was achieved on Thursday after the film hit $422.2 million domestic and $384.2 million internationally. The film is officially Cruise’s biggest movie ever at the worldwide box office, surpassing Mission: Impossible – Fallout’s $791.1 million worldwide haul.

    Going into its third weekend, Maverick could face some more competition with both Jurassic World: Dominion and Lightyear looking to take a chomp out of the box office. As of yesterday, Dominion had earned $8.66 million, which was enough to secure first place for another day, while Maverick earned $6.2 million. While Lightyear, the latest from Disney and Pixar, secured $5.2 million between Wednesday and Thursday previews, which is a tad under what Sonic the Hedgehog 2 managed back in April. 

    Despite low preview numbers, Lightyear is expected to take in anywhere between $70-85 million at the domestic box office this weekend, for a projected $135 million worldwide opening when all is said and done. Lightyear and Dominion, which is still pulling in decent business going into the weekend, will share IMAX screens this weekend before Dominion cedes them to Lightyear next weekend.

    Source: Deadline.

  • REVIEW: ‘Keeping Company’

    REVIEW: ‘Keeping Company’

    Keeping Company is billed as a movie that mixes ruthless corporate salesmen with vicious suburban serial killers, and boy, does it do so beautifully. It’s hard to sense what Keeping Company wants to be when it starts. Is it going to be a comedy? Is it going to be about two murdering insurance salesmen? Off the bat, it’s pretty unclear, and that’s something the movie uses to its advantage.

    The movie begins with two men, Sonny and Noah, who are door-to-door insurance salesmen. They’re always looking to get their numbers up, no matter the cost, whether it is to impress a parental figure (in Sonny’s case) or simply to climb the corporate ladder. Their methods are questionable, and they’ll stop at nothing to raise their numbers — even if it means harassing a questionable man. Enter Lucas. After he hits their car, Sonny and Noah are unwilling to let him go free and insist on following him despite his pleas for privacy. Is it the smartest move? Absolutely not. But their ignorance prevents them from thinking of the consequences of their actions.

    It is in this moment that Keeping Company becomes one of the rare indie horror movies to get it right, and it’s a thrilling ride until the end moments. There are plenty of what-the-hell moments including one involving Sonny’s dad’s restaurant. It’s such a surprising moment that will surely leave a taste in the mouths of viewers – and not necessarily in the best way. As the movie moves away from Sonny and Noah, turning the focus toward Lucas and his grandmother, Keeping Company thrives.

    One of the most impressive bits of the movie is that it does successfully mark the similarities between the sinister household and the ruthless worth of business as promised in the synopsis. The corporate world is a vicious one and it’s not entirely surprising that a movie might try to compare serial killers to the business world. However, Keeping Company succeeds in making the serial killers look no worse than the money-hungry insurance folks desperate to up their sales numbers. When a woman goes in trying to claim the money from her plan for her husband? They tell her that, by the company’s rules, her husband is still considered alive and she’ll need to continue paying the premium to receive the benefits should she be able to prove his death. It’s a messed-up scene in a film full of death, but it hits harder than those because it’s realistic.

    Is Keeping Company perfect? No. Is it enjoyable? Yes. Its relatively short run-time of an hour and twenty-two minutes flies by with ease. The only issue with the film would be its editing. The cutaways are frustrating and do take away from some of the emotional impact. And the score isn’t exactly memorable. But even still, Keeping Company is a fascinating look at how despicable humanity can be when it comes to achieving their desires; they’ll do whatever is needed to benefit themselves, even if it means murder or robbing a financially insecure person blind.