The box office numbers are once again here, and it’s been quite an interesting weekend. Smaller programming has been on a raise as The Northman pulled in $12M and The Unbearable Weight of Massive Talent managed $7.1M. What is interesting is that the former had a worse audience score with a B but still had the stronger pull. Robert Eggers‘ film may get hit a bit in its second weekend with word-of-mouth but it still had a stronger pull and will secure its audience. As Deadline points out, these two films share a similar audience which ends up cannibalizing each other. In the era of Netflix losing its momentum, it may be a showcase of the importance of counter-programming to streaming offerings.
The smaller pull and adding non-four-quadrantprogramming also add some momentum to the theater that may become an advantage for Doctor Strange in the Multiverse of Madness once it opens in just a few weeks. Speaking of Multiverse, Everything Everywhere All at Once has been continuing to expand and is climbing up the ladder to become one of A24’s most successful releases. So, it’s definitely an uplifting trend to see these titles gain more momentum once again, as smaller budget films pulling in an audience.
The weekend’s top performer ended up being The Bad Guys, as the Universal and Dreamworks Animation’s film is overperforming. Initial expectations saw it at $15M but it ended up ending the weekend with $24M. Sonic the Hedgehog 2 had a stronghold as well, as it now is nearing $150M with a $15.2M weekend. So, the weekend has been quite strong for indie and family showings. The Sonic sequel is also currently further moving towards $300M worldwide as it holds strong as the best performing video game adaptation.
Fantastic Beasts: The Secrets of Dumbledore has managed to hold on to the third spot, but it’s the worst second-weekend drop for any entry of the Fantastic Beasts franchise, but it’s the second-worst for the Harry Potter franchise which had a 72% drop. To be fair, it was also coming off of a $169M opening weekend. Yet, it must be highlighted that the film has been doing strong international, which is becoming its saving grace but might not be able to balance out its current standing as part of the Wizarding World franchise.
Disneynature’s upcoming documentary Polar Bear is the latest installment in the film studio’s collection after 2020’s Elephant. Helmed by directors Alastair Fothergill and Jeff Wilson, the directing team behind Disneynature’s 2019’s Penguins, the documentary tells the story of a particular polar bear over a 15-year time period.
Given the immense time period and the unforgiving Arctic environment in which Polar Bear was filmed, making the documentary unsurprisingly came with extreme challenges. In an exclusive interview with Murphy’s Multiverse, director Jeff Wilson described some of these challenges, including why a 15-year time period was necessary:
We also wanted to tell this amazingly important environmental story. And to tell that over a three-year period would be dishonest and impossible. But to tell it over a fifteen-year period was absolutely the right time scale in order to kind of capture the change that would happen within a bear’s life.
Jeff Wilson
Polar Bear also specifically follows one bear, making the process that much more arduous. Wilson went on to explain why they needed a female bear to film:
[B]ear behavior is all learned from a mother bear. And so it was crucial for us to tell a story from a mother’s perspective and the story about the mother bear, because that’s where all the interesting behavior happened. That’s where the cubs learn from their mother. So we knew that we had to have a female bear.
Jeff Wilson
But finding the bear for Polar Bear—and filming in general—came with enormous environmental difficulties as well. WIlson continued:
[We] have to spend as much time in that there’s presence as we can possibly stand. And bear in mind that we’re working at the temperatures down to minus 45 degrees. And there’s only so long that you can actually, you know, physically survive in that environment before you have to go back and get a hot meal and have some sleep. And so on any given day, you will have to start from scratch and try and find that bear again and go out and try and find that mother and her cubs again. So it’s a very, very difficult process.
Jeff Wilson
The work put into to the documentary will pay off when audiences get to enjoy the film soon. Disneynature’s Polar Bear launches exclusively on Disney+ on Earth Day—April 22, 2022.
Sony is now three movies into is shared universe of Marvel Characters, and for the most part, they’ve all been pretty much the same thing. In Venom, the title character learns to control his abilities and accept his destiny while doing battle with a more sinister version of himself. In Venom: Let There Be Carnage, the title character once again learns to control his abilities and accept his destiny while doing battle with a more sinister version of himself. Finally, in Morbius, the title character learns to control his abilities and accept his destiny while doing battle with a more sinister version of himself. After spending several full minutes studying this pattern and dissecting what may come to be known as “The Sony Formula,” only a single conclusion could be truly reached. In Kraven the Hunter, the title character will likely learn to control his abilities and accept his destiny while doing battle with a more sinister version of himself.
The real question surrounding the next big Marvel-Sony project is who that “more sinister version” of the anti-hero Kraven will be to fight the titular character. Aside from theVenom sequel’s inevitable use of Carnage, the SonyVerse has had to make a couple deep pulls to materialize antagonists for its solo Spider-Villain movies. The symbiote-heavy stories at least have a handful of “Venom but worse” baddies to choose from, but Morbius literally had to create it’s own original character in order to satisfy the “Sony Formula” developed in the studio’s screenplay labs. As if further proof is needed of the plot recipe’s existence, Matt Smith was originally announced as playing the very minor comic malefactor Hunger before his role was morphed into something that more closely resembled Jared Leto‘s protagonist. So, if one were to try a guess at who the currently-unrevealed villain of Kraven is, they would probably be best off looking for an obscure Spider-Man criminal with a power that reflects the lead’s own skill set. Enter: Grim Hunter.
In the comics, Sergei Kravinoff is somewhat of a family man. He spawned four children with his lover Sasha, all of whom grew up to be problems for either Spider-Man or Kraven himself. The oldest son and firstborn child, Vladimir, aspired to be as good of a hunter as his renowned father, and eventually dabbled with an experimental elixir enough to make it almost all the way there. Once at full power, he named himself the “Grim Hunter” after a legendary warrior he was told stories about as a boy, and went after Spider-Man. He would ultimately be killed in battle by Peter Parker’s clone Kaine, revived decades later by his mother in the form of a humanoid lion-like creature, and then be killed again by his father for not living up to the family name. It’s a lot to take in, but it’s probably just enough for Sony to use as the basis for a solo Kraven film.
The problem is that story doesn’t make Sony’s “bad guy who’s also sort of good” come off in the best light, and Aaron Taylor-Johnson seems a little young to be a guy with a fully grown son. This is where Russell Crowe comes in. Back in February, the famed actor was cast in a mystery role for Kraven the Hunter that The Illuminerdi claimed would be Nikolai Kravinoff. Though whether or not this is true remains to be seen, having Crowe as the father of the eponymous Hunter would help to fill in a few blanks where the movie’s antagonist is concerned. While he was never a major player in any specific comic book stories, Nikolai was instrumental in shaping who Sergei would become. He was an abusive dad, who tormented Sergei and his half-brother Dmitri (a.k.a. Chameleon, set to be played by Fred Hechinger in the movie) before dying and leaving the boys orphaned. This life aspect seems like an easy inclusion for the writers trying to make their hero sympathetic, and the recent casting of Levi Miller, who looks an awful lot like a young Taylor-Johnson, suggests that fans might be treated to some flashbacks over the course of the film.
Of course, Sony wouldn’t get someone as talented as Crowe for a few simple flashbacks, which indicates Nikolai could potentially have a bigger role in the plot than comic book history implies. In fact, it seems likely that Sony could take the comic relationship between Sergei and Vladimir and flip it on its head, casting Nikolai as the legendary “Grim Hunter” and Sergei as the firstborn son trying to live up to his father’s legacy. Doing this would give Taylor-Johnson‘s Kraven a reasonable motive to become the world’s greatest hunter, and the unavoidable climax in which Kraven defeats his crazed poppa and vows to be a Hunter with more honor than him would do wonders in portraying the titular character as more anti-hero than a straight villain.
The one broken cog in this theory is Christopher Abbott‘s The Foreigner. Recently announced as a villain in the film, the character fits the bill of “wildly obscure Spider-Man villain with abilities similar to the protagonist.” He’s a master assassin in peak physical condition and an expert martial artist. And unless that character is also dramatically altered, there isn’t much there in the way of emotional conflict between him and Sergei. Perhaps they are both after the same target, but even that seems like a weak central conflict. Imagine instead that Crowe‘s Nikolai is pulling the strings in the background, using Foreigner as a test of his son’s might before using the elixir Vladimir used in the comics and taking the stage himself for a grand final duel. Maybe Foreigner is even reimagined as another child of Nikolai, alongside Sergei and Dmitri, dramatically revealed to the audience just before the Grim Hunter coldly kills him for failing to outdo Sergei.
Obviously, absolutely none of this is confirmed and is almost entirely fun conjecture. It’s a theory that’s been stewing in my brain for a while that I thought would be fun to get out there. It’s very possible none of this comes to fruition, but it would be very entertaining if even an ounce of it turns out to be true. In the spirit of this article, I’ll leave off on one more little theory nugget, throwing out what seems like an entirely plausible post-credits scene based on what we’ve seen Sony do in the past. Chameleon is already confirmed for the movie, and in the comics, is the one who tells Sergei about Spider-Man’s existence in the first place. It feels like this would be something Sony might want to capitalize on. Probably.
It’s never easy to write a film script with a specific actor in mind. There’s always a chance that they’d have no interest in the project, or potentially even end up missing out due to scheduling conflicts. Luckily, The Unbearable Weight of Massive Talent, which was written with Nicolas Cage playing a fictional version of himself, managed to get the actor to join the project. One of the writers of the script, Kevin Etten, who wrote it alongside Tom Gormican, shared that they almost didn’t get the actor to join, as Cage was hesitant at first.
We were told that Nick has done these projects before and he’s not wild about Nick as Nick. And we weren’t two guys who had a huge body of work that you could point to and be like, ‘No, trust us. The funny part about that was we have a bunch of studios interested in the script. But there’s an asterisk on all of this meaning if he doesn’t want to do it, your sale goes away. Like, by the way, we don’t want this fucking thing if he’s not in it. There is no other version of it. When he was reading the script it was like this sort of double anxiety. It’s not like if he doesn’t do it, we’ll offer it to somebody else. It was gone
Kevin Etten
Once it seemed uncertain if the actor would join, they’ve also considered casting someone else in the role, which seemingly included Daniel Day-Lewis and even Christian Bale. Luckily, we know that Cage ended up joining the cast and bringing the fictional version of himself to life.
There were times when I think I… was trying to talk myself into other ideas. The only actually good idea — I don’t know whose it was — was to have either Christian Bale or Daniel Day-Lewis playing Nick Cage.
Kevin Etten
Even if we got the original vision, it would’ve been fun to imagine just how crazy it would look if someone else took on the role. Though, it would be fun to explore the concept with different actors, which could create some interesting scenarios and very
Robert Eggers has made quite the splash in the industry with his work in his films The Witch and The Lighthouse. Now, he is also going to leave his imprint on Viking stories with The Northman, which sees Alexander Skarsgard in the role of Amleth on a path of vengeance. While he seems quite proud of his story, he still has openly talked about the hardships of not only working with a larger budget but also the stronger involvement of the studio. So, in an interview with CQ, he highlights that he’s moving his focus to a smaller production once again.
Right now, I definitely want to do something smaller, where it won’t be as painful, or I’ll have full control. There’s always give and take and studio notes. There always is. There was on The Witch. I didn’t have this much gray hair when we wrapped photography. It’s all from post-production.
Robert Eggers
If you’re wondering what he might be focusing on, he highlighted that he definitely has no interest in filming something in the modern age. A big part of what he enjoys is “doing all this historical research” to bring his films to life. So, he goes on to highlight that he has a disconnect on filming modern technology.
If I was making a contemporary film, what am I supposed to do with myself? Obsess over wallpaper swatches, until my eyes fall out? It’s just not interesting. For whatever reason, it just does not inspire me. And you can’t shoot something that doesn’t inspire you.
Robert Eggers
He does hint that he’s been listening to “lots of lutes” as he is starting an Elizabethan phase. So, we might expect that era to become the main focus of his next story. So, we’ll see where his research leads him next, and taking a step back with his budget gives him a project that may lead to fewer grey hairs.
Disneynature has created quite the collection of wildlife documentaries over the years. The next installment, Polar Bear, tells the story of a new mother whose memories of her own youth prepare her to navigate motherhood in the increasingly challenging world that polar bears face today.
Polar Bear is narrated by two-time Academy Award nominee Catherine Keener and helmed by Alastair Fothergill and Jeff Wilson, the directing team also behind Disneynature’s Penguins. The documentary is full of moments in the polar bear’s life that will surely make viewers experience a wide range of emotions. In an exclusive interview with Murphy’s Multiverse, directors Fothergill and Wilson revealed some of the moments that impacted them the most. Fothergill recounted a moment when a polar bear was filmed doing an “aquatic stalk”:
For me, the moment when the female was hunting the seal—they’re doing their what’s called an aquatic stalk—which actually, interestingly, has become more and more common with climate change. But that moment when she was so so carefully and quietly, trying to push herself out of the water, so she could grab the hooded seal. We were there and the cameraman and I, literally, were holding our breath. And we held our breath for a long time because it’s a very long shot in the film. And then she goes back down so quietly and sneaks under the ice flow and tries to grab the shield that fails. That, for me was an amazing moment. Never been filmed like that before.
Alastair Fothergill
Both directors note moments that they experienced which had never been caught on film before. While Fothergill described a hunting moment affected by climate change, Wilson recalls a particularly joyful moment:
[For me,] the serendipity of finding a sperm whale carcass washed up with 20 Bears feeding off of it. It’s something that completely was beyond my wildest dreams. And so to be there and to witness that…And a well fed bear is a happy bear and a happy bear as a playful bear. And there are some very, very unique and special and never been seen before kind of behaviors that are happening around that where you just have 20 bears who come together and play together and almost like a pool party, or barbecue, you know, that just that is so special and so unique that you know, that’s going to be forever seared into my memory as as an experience.Jeff Wilson
Viewers can experience these moments and more for themselves when Disneynature’s Polar Bear launches exclusively on Disney+ on April 22, 2022—Earth Day.
When Disney purchased 21st Century Fox in 2019, Marvel Studios gained access to the live-action rights of a treasure trove of Marvel Comics characters. The X-Men. The Fantastic Four. Doctor Doom. Galactus. The Silver Surfer. Annihilus. The list goes on…and it really goes on. However, 3 years after the deal was sealed, we’ve only seen a Variant of Kang the Conqueror and some Skrulls, which were already kinda-sorta useable anyway, while Marvel Studios carefully constructs their plans for the mutants and The First Family.
To date, very little is known about said plans. At SDCC ’19, Kevin Feige announced that a Fantastic Four film was on the way and teased the arrival of the mutants. Since then, however, other than announcing that the new FF film would be helmed Jon Watts, whose recently completed Spider-Man trilogy integrated the Sony-owned Webslinger into the MCU, there has been no official news. Word did come that Marvel Studios was seeking pitches on The Mutants and minor tidbits have surfaced here and there about the Fantastic Four, but nearly 3 years later fans are still in the dark. And that’s ok. It’s ok because, as Feige well knows, Marvel Studios has to proceed carefully with both properties because, simply put, they have to get it right.
As with Spider-Man, the Fantastic Four and X-Men have had previous and relatively recent films. In the case of the FF, the most recent attempt to bring the characters to resulted in one of the most despised superhero films of all times; in the case of The X-Men, Fox’s love affair with Wolverine and inattention to continuity left some of the best characters on the bench, some others poorly adapted and fans feeling fairly frustrated with the end result. As Marvel Studios attempts to reboot these properties, fans are going to carry their experiences with these previous iterations with them into the new projects. In a way, that means Feige and the Parliament are starting in a hole they didn’t dig, but if they don’t get it right out of the gate with these projects, they’ll bury what should be two different properties that could each generate a decade’s worth of stories.
As mentioned previously, fans will be be wary of these MCU reboots as they carry the trauma of the previous versions with them into theaters. If the MCU versions of these properties start to follow familiar arcs or feel similar to what Fox did, fans will find themselves triggered and the aforementioned decade of projects will be DOA. In this case, doing it right almost certainly means they need to do it very differently to separate the MCU versions from the Fox versions as much as possible. That’s no easy task, given that both the Fantastic Four and The X-Men franchises have each been “rebooted” once already, however, Feige and The Parliament could find some inspiration in an already established property that has been incredibly successful: Doom Patrol.
The three properties are a great example divergent evolution in comics, so while their modern day iterations don’t seem to be incredibly similar, Doom Patrol, the X-Men and the Fantastic Four are fairly inexorably entangled and have been for nearly 50 years. The group of metahuman misfits that came to be known as Doom Patrol first appeared as The Legion of the Strange in the pages of 1963’s My Greatest Adventure #80. Just 3 months later, TheX-Men #1 introduced comic readers to the world of mutants whose strange powers kept them from being accepted by society. If the similarities of a team of weirdos being led by a wheelchair-bound doctor/professor hadn’t ever occurred to you, they certainly did to Doom Patrol creator Arnold Drake, who once stated his belief that his plans for the team somehow made their way to X-Men creator Stan Lee, allowing him to launch his book shortly after the Doom Patrol first appeared. While Drake’s stance on “insider trading” softened over time, the reality is that other than some superficial similarities, the books didn’t truly have much in common. The X-Men dealt with themes of social injustice while Doom Patrol found themselves caught up in the incredibly strange types of adventures that fans of the HBO Max streaming series have come to know and love. And in that regard, it’s another group of Marvel heroes that have much more in common with Doom Patrol than the X-Men really ever did.
As Marvel Studios prepares to bring the First Family to the MCU, they could certainly take a few cues from the way that DC has brought Doom Patrol into live-action. Most importantly, Jon Watts and the creatives behind the project should embrace the strangeness that really defined the early days of The Fantastic Four and has made Doom Patrol a streaming hit. The Fantastic Four has been drastically redefined over the years, but their roots grew through stories about Mole Man and Monster Isle, Skrulls being turned into cows, traveling through time and having Ben Grimm be mistaken for Blackbeard, meeting the Impossible Man and many more ludicrous adventures that often take a back seat to Doctor Doom.
In order for Marvel Studios’ Fantastic Four to be successful, it has to be different from its predecessors. Embracing the weirdness of the Puppet Master, The Red Ghost and His Indescribable Super Apes, the Mad Thinker and his Awesome Android ensures that nobody will mistake this iteration for one of Fox’s attempts. Doom Patrol has provided a template for doing so successfully, not just because of the weirdness, but because the series has captured something that is also central to the story of the Fantastic Four: a family.
Sure, Doom Patrol isn’t a family in the same sense that the FF are, but they share a sense of tragedy and loss and loneliness that unites them. Over the course of several seasons, the characters of Doom Patrol have come to know, care for and rely on one another as a result of their crazy adventures and this idea is, at its core, what Marvel Studios could-maybe even should-do with their Fantastic Four. A family of explorers going on the type of weird adventures not previously seen in the MCU, but in the DCEU.
It was back in March when we got our first look at the production of Sony’s Kraven the Hunter film. Their next attempt at a Spider-Man universe is well underway in production and sees former Quicksilver Aaron Taylor-Johnson taking on the role of the titular hunter. We only saw an action sequence of him holding unto a car. Now, JustJared has shared a few new photos that offer a better close-up of the actor in the iconic Marvel villain role.
What stands out is that he has the classic beard of the hunter, as well as hair that is similar to the comics. The image of him in a suit showcases that he has a necklace with a claw of some kind attached, which is probably a way to pay tribute to his necklace in the comics that usually consists of multiple claws. His other outfit seems a bit more militarized with the necklace and a strange brown bracelet on one of his wrists. It’s unclear what the event is that he is attending.
We don’t know if we’ll get to see Kraven wear his iconic fur coat made from a lion he hunted. There’s a lot we don’t know about this project, especially how they might explore his potential connection to the setup from Morbius‘ post-credit sequence. The fact they are building a team to take down Spider-man without ever interacting with the character does add some confusion to what the endgame of this universe may end up being, especially as we don’t know which Spider-Man exists in this timeline.
Disneynature’s newest wildlife documentary, Polar Bear, is an astounding achievement. It is directed by Alastair Fothergill and Jeff Wilson, the team behind Disneynature’s Penguins, and narrated by two-time Academy Award nominee Catherine Keener. While it accomplishes what it set out to be—a beautiful and engaging family-friendly film—it also manages to go a bit deeper due to the inescapable reality of climate change on the film’s subjects.
Polar Bear is almost as true to its title as any film could get. The documentary follows one specific female bear for over 15 years in the Arctic. While it is somewhat framed from the perspective of this bear when she is a mother herself later in the film, most of the runtime seems to explore her coming of age. Indeed, perhaps the most memorable moments of Polar Bear come from her youth when she is living and learning from her mother alongside her twin brother. The true artistry of the story comes from the meticulous process of selecting a bear and committing to her for well over a decade. While she ultimately has a cub of her own, her journey is permanently set against the backdrop of her adventures with her own mother and the documentary emphasizes how significant ice bear heritage is to the continued survival of the species, both in the short- and long-term.
Polar Bear is undoubtedly a family-friendly movie that does not “talk down” to a younger audience. The pure joy of watching furry, cuddly-looking cubs play and learn new behaviors is a basic treat in and of itself. The majesty and power of watching adult bears in their native environment is captured brilliantly by the filmmakers. The visuals and cinematography are absolutely stunning. From the close-ups to the aerial shots, Polar Bear does not leave anything wanting in that space. Much of what makes the documentary special is that it captures polar bear behavior never before seen on camera. And while that might not be obvious while watching it, some moments are undeniably special, and the visuals, score, narration, and more work together in unison to paint those moments in an unforgettable light.
While the documentary is clearly an engaging and fun family-friendly movie, as a wildlife documentary Polar Bear does inevitably include somber moments. One of the most powerful aspects of the film ae the occasional flash-forwards to our bear with her cub, navigating an Arctic environment drastically changed by climate change since her youth. Despite the unavoidable presence of climate change, Polar Bear does not spend much time detailing or unpacking it. The documentary is the story of our bear—but the story of our bear cannot be told without showing the environment she is raising a cub into. The film ends on a noticeably much more optimistic and resilient note than it feels in the most recent footage. While the bear (through narration) struggles through harsh new terrain, she proclaims that her daughter will learn to be a great ice bear and will survive.
Polar Bear is a strong installment in the Disneynature collection. The documentary’s ability to capture scenes in such an extreme environment over such an extreme period of time undoubtedly paid off in the final product. The result is a memorable look at the lives, behaviors, and environments of one of the most charismatic species on the planet.
Disneynature’s latest documentary, Polar Bear, tells the story of a new mother whose memories of her own youth prepare her to navigate motherhood in the increasingly challenging world that polar bears face today. While the film has many uplifting and joyous moments, it takes place against the background of climate change in the Arctic that is threatening the survival of polar bears.
Still, Polar Bear ends on a noticeably optimistic note, with the mother bear (in the form of the voice of two-time Academy Award nominee Catherine Keener) expresses that she and her cub will persevere and survive the changing and dangerous environment. In an exclusive interview with Murphy’s Multiverse, directors Jeff Wilson and Alastair Fothergill were asked why they chose to end Polar Bear in that way. Wilson stated:
I think it’s important for our audiences to have a sense of empowerment and hope at the end of the film, because we believe that that’s the greatest emotion that will drive people to take action. And that really helps us get our message across.
Jeff Wilson
Wilson went on to describe one particular moment in the film that embodies that spirit of hope and resilience:
[The] extraordinary images of the mother bear climbing the iceberg…it’s so impossibly beautiful that you’d never imagine that would happen. But when you film something like that—and you realize at that moment in time when you’re filming it—the power of those images, and the power of the metaphor of what is happening there, you do suddenly the chemistry of script and narration and music and and just the serendipity of capturing that unique moment. [It] gives you the power to take hope, and plant it firmly in the audience’s lap and say, hey, look, this, there is hope here. But you know, there’s also uncertainty.Jeff Wilson
Viewers can enjoy the documentary’s story and powerful moments when it releases on Earth Day. Disneynature’s Polar Bear launches exclusively on Disney+ on April 22, 2022.
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