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After some set pics made their way online not too long ago, we now have our very first look at Alicia Vikander as Lara Croft in the upcoming Tomb Raider adaptation. Based on the popular video game series of the same name, the film also stars Dominic West and Walton Goggins, and has Roar Uthaug behind the camera.
The movie will apparently mine inspiration from Crystal Dynamics’ series reboot, which drew much praise back when it released in 2013. While exact plot details remain under wraps for now, Goggins (who’s on board to play the villain) recently teased that it’ll be a bit like Raiders of the Lost Ark – a comparison which makes sense. Until we learn a little bit more about the film though, we’ll remain skeptical of it.
Vikander is tremendous talent, to be sure, and Tomb Raider is a great property for adaptation, »
- Mark Cassidy
Part way through the filming of the first season of Mighty Morphin’ Power Rangers, producers Haim Saban and Shuki Levy found themselves in a quandary. The show was pulling in huge ratings and the merchandise was flying off the shelves to the point where they’d made over $1 billion in their first year, but three of its stars felt they were being underpaid for what they were doing. Austin St. John (The Red Ranger), Walter Jones (The Black Ranger) and Thuy Trang (The Yellow Ranger) felt their non-union contracts for several movies and forty more episodes were unfair, and as a result left the show to be replaced with stock footage and stunt doubles while their characters left to attend the World Peace Conference. “I »
- Luke Owen
Disney's yearly Star Wars releases are off to a fantastic start with The Force Awakens in 2015 and Rogue One, the first "Star Wars Story," just last Christmas. Though Star Wars: Episode VIII, now known as The Last Jedi, arrives December 15, 2017, the Untitled Han Solo: A Star Wars Story will not be far behind as it is currently slated for May 25, 2018.
The film already has a stellar cast including Alden Ehrenreich as Han Solo, Donald Glover as Lando Calrissian, Emilia Clark, and Woody Harrelson. Phil Lord and Christopher Miller are directing, hot of the 21 Jump St. franchise and The Lego Movie. The script is written by Lawewnce Kasdan and his son, Jon Kasdan, the former known for writing The Empire Strikes Back, Raiders of the Lost Ark, and even The Force Awakens. What sounded like a really risky and "groan-worthy" project when it was announced is therefore shaping up nicely »
- Nick Doll
‘Beauty and the Beast’ maintains today’s biggest box office trend.
“It was Beauty and the Beast killed the beast…at the box office.” — paraphrasing fictional character Carl Denham (Robert Armstrong/Dudley Moore/Jack Black) seems appropriate on the occasion of Disney’s latest remake crushing the competition over the weekend. Both Logan and The Belko Experiment ran ads telling people to see “the beast” instead of “the beauty,” though that campaign would have made the most sense for Kong: Skull Island given King Kong is the source of that quote above. Well, Beauty and the Beast made more than three times as much as all those movies put together in its debut. Moviegoers overwhelmingly preferred the beauty.
Today is the rare Monday morning where a hit really does look like history. The spin and hype about Beauty and the Beast being a big deal is deserved. Taking in a $175m domestic gross, the »
- Christopher Campbell
To celebrate St. Patrick’s Day, arguably the biggest drinking holiday of the year, we looked at some of the best drunk moments to grace the silver screen. From Humphrey Bogart’s classic, heartbreaking “of all the gin joints” speech in “Casablanca,” to the utterly ridiculous scene in “Team America” when the puppets spew their guts up, here are the 28 best drunk scenes on film.
“Leaving Las Vegas” — Booze Run
Although not a traditional “drunk scene,” the opening scene of “Leaving Las Vegas” — which sees Nicolas Cage’s Ben Sanderson dancing through a liquor aisle piling his cart sky high with booze — is as good a prelude to this list as any.
“Arthur” — Introducing Princess Gloria
Dudley Moore’s Arthur spends the majority of the film tipping back drinks, but his introduction of “Princess Gloria” to his aunt and uncle at a restaurant — and his insistence that Rhode Island could »
- Jacob Bryant
This five-part Truthdig series by Carrie Rickey is published in partnership with Women and Hollywood. The series considers the historic accomplishments of women behind the camera, how they got marginalized, and how they are fighting for equal employment. Specifically, this series asks, why do females make up between 33 and 50 percent of film-school graduates but account for only seven percent of working directors? What happened to the women directors in Hollywood?
While female filmmakers waited for Judge Pamela Rymer to hand down a decision in the 1983 Directors Guild class-action suit against Warner Brothers and Columbia Pictures, alleging discrimination for not hiring women and ethnic minorities represented by the guild, there were positive signs of change in Hollywood.
In 1984, for the first time that almost anyone could remember, one needed two hands to count the number of feature films by women released in the U.S. market. One was Diane Kurys’ “Entre Nous” (1983), nominated for best foreign film at the Academy Awards in April 1984, making Kurys the second female director whose film was so honored.
Between 1950 and 1980, the number of movies directed by women in the Directors Guild of America (DGA) totaled 14. From 1984 to 1985 there were 12.
In 1984 many women were making their second features. Among them were Gillian Armstrong’s period drama “Mrs. Soffel,” Amy Heckerling’s gangster comedy “Johnny Dangerously,” Penelope Spheeris’ teenage-runaway saga “Suburbia,” and Amy Holden Jones’ romantic drama “Love Letters.” Martha Coolidge, beloved for “Valley Girl,” her 1983 debut, was on her third feature, “National Lampoon’s Joy of Sex.” With more women behind the movie camera in the United States than any time since the ’teens, it seemed that Hollywood was reopening the studio gates to women. Their movies featured women in lead roles.
The wave of optimism crested in 1985. Argentine director Maria Luisa Bemberg’s historical romance “Camila” (1984) was in contention for best foreign film. Susan Seidelman, an Nyu film-school grad who made a splash in 1983 with the indie “Smithereens,” released “Desperately Seeking Susan,” starring “It Girl” Rosanna Arquette and Madonna, cast when the latter was a relative unknown. It was a runaway hit. Heckerling and Spheeris each released third features, respectively “National Lampoon’s European Vacation” and “The Boys Next Door.” Coolidge released her fourth: “Real Genius,” a genuinely funny nerd comedy with a fully developed female character — and special effects.
Then came the crash.
In August 1985 Judge Rymer handed down her decision. While the class-action case was important and viable, Rymer ruled, she had to disqualify the DGA from leading the class due to a conflict of interest. White male members also competing for directing jobs dominated the guild, she said. Thus the DGA was in no position to represent the interests of its women and ethnic minority members. Out of exhaustion and lack of money, the Original Six, the group of female filmmakers that had first spurred the DGA to initiate the suit, did not pursue it any further.
As the DGA suit played out during the early 1980s, Hollywood’s business model was in flux. Studios abandoned the one-size-fits-all strategy of advertising a movie in general-interest publications and embraced segmented marketing — that is, making and marketing movies to a specific demographic. Fewer dollars were spent advertising movies in mainstream newspapers and more were spent on ads that ran during TV shows young males were said to watch. More and more, movies starred predominantly men and boys. Because actors had higher-profile roles, they could command higher salaries than actresses.
By dividing the market into sectors, studios divided the audience and the culture. Boys see movies about boys. Older people see movies about older people. Women see movies about women. Those in different demographics no longer watch the same stories.
In 1980, four of the 10 top box office stars were women: Sally Field, Jane Fonda, Sissy Spacek, and Barbra Streisand. In 1990 there was only one: Julia Roberts. According to 1990 statistics from the Screen Actors Guild, not only were actresses underpaid, but they were also “undercast”: 14 percent of the leading roles, and only 29 percent of all roles, went to women.
The “Indiana Jones” trilogy made in the 1980s reflected the progressively diminishing role of females in film during a decade when male action/adventures dominated the multiplex. In “Raiders of the Lost Ark” (1981), the character Marion Ravenwood (Karen Allen) plays Indy’s helpmate. In “Indiana Jones and the Temple of Doom” (1984), the Willie Scott character (Kate Capshaw) is helpless. And in “Indiana Jones and the Last Crusade,” archeologist Elsa Schneider (Alison Doody) is the enemy.
Despite such trends, the late 1980s and 1990s proved to be boom years for female directors in Hollywood and Indiewood, as independent film is known. In 1987, Kathryn Bigelow, a onetime sculptor and graduate of Columbia University’s film program, made her second feature, the “vampire Western” “Near Dark.” And though Elaine May’s studio film “Ishtar” was almost universally panned upon release, it earned belated respect. Richard Brody of The New Yorker correctly described it as “an unjustly derided masterwork.” In 1987, six percent of films were directed by women, higher than at any time since 1916.
The percentage dropped in 1988, but that was a watershed year for female filmmakers. “Big,” a comedy from Penny Marshall (co-written by Anne Spielberg), was universally acclaimed. It was the first movie directed by a woman that surpassed $100 million at the box office. With the romantic comedy “Crossing Delancey,” Joan Micklin Silver returned to making big-screen fare, and her modest hit was well received. Also in 1988, Silver’s daughter, Marisa, made her second feature, “Permanent Record,” about teen suicide. “Salaam, Bombay!”, the first feature from Mira Nair, the India-born, Harvard-educated documentarian, was a best foreign film Oscar nominee.
The following year, “Look Who’s Talking” from Amy Heckerling likewise surpassed the $100 million mark for box office sales in the U.S. and made nearly $300 million worldwide. For the most part, though, heads of studios regarded Marshall’s and Heckerling’s box-office smashes as flukes. Two heads of production told me in 1991 that “movies by women don’t make money.” Nevertheless, it turned out to be a exceptional year for the quality and range of releases from women. And it shaped up to be a year when movies by female filmmakers did make serious money.
Some of the highlights of 1991: Julie Dash’s “Daughters of the Dust,” an evocative portrait of generations of Gullah women off the South Carolina coast circa 1901; Jodie Foster’s “Little Man Tate,” about a child prodigy emotionally torn between his mother and a psychologist for gifted children; and Mira Nair’s “Mississippi Masala,” a sexy romance about a South Asian woman born in Uganda (played by then-newcomer Sarita Choudhry) in love with an African-American man (Denzel Washington). Both Kathryn Bigelow’s action film “Point Break” and Barbra Streisand’s psychological study “Prince of Tides” examined the emotional costs to men who struggle to prove their masculinity. Bigelow’s movie grossed $83 million and Streisand’s $110 million. (Adjusted for inflation, that’s $148 million and $196 million in today’s dollars.)
Not only can female filmmakers make movies that show a different side of men, but they also make movies that show different aspects of women. Penny Marshall’s “A League of Their Own” (1992), about the All-American Girls Baseball Leagues during World War II, celebrates the athleticism (rather than the sexuality) of the female body. Nora Ephron’s “This is My Life,” her 1992 directorial debut about a single mom whose choice of comedy career affects her daughters, shows that career and motherhood need not be in conflict. Like Ephron’s film, Allison Anders’ “Gas Food Lodging” (also 1992) explores what happens when the children of single moms reconnect with biological fathers. Male directors were, and are not, making movies like these.
During the 1990s, almost every year brought a new evergreen made by a female filmmaker. In 1993 there were two. One was Jane Campion’s “The Piano,” a haunting allegory about a mute woman that struck a chord internationally. It earned $62 million at the box office and multiple Oscar nominations, including one for best director, making Campion the third woman to be cited in this category. The other was Nora Ephron’s “Sleepless in Seattle,” the comedic romance between two people who don’t meet in person until the last scene, which scored a $227 million box office.
“Sleepless” additionally introduced the questionable concept of the “chick flick” to a broader audience. This is a non-genre that has come to be defined as any movie that, according to the term’s proponents, women want to see and that men think they don’t want to watch — or any movie directed by a woman. The division between “chick flick” and its corollary, the “dick flick,” is a perhaps unintended consequence of target marketing, implying that movies represent a gender-linked proposition.
Almost overnight, the perception was created that movies predominantly featuring women, or “women’s interests,” or directed by women would shrivel the manhood of the male moviegoer. In 1994 the head of a major studio told me, without irony or shame, that “Women on the screen means no men in the audience.” When I asked him for data to back up his claim, he said he had it, but it was proprietary.
Despite such signs of cultural and corporate sexism, the 1990s were a good time to be a female filmmaker. In 1994, Gillian Armstrong’s “Little Women” was immediately embraced as a classic. Newcomer Darnell Martin’s “I Like it Like That,” an urban comedy about a working mother juggling job, marriage, and parenthood, earned positive reviews. And Rose Troche’s “Go Fish,” the first indie comedy about girl-on-girl courtship, marked a milestone for the burgeoning genre.
The following year, 16 films by women were in U.S. release, setting another record for that era. Many of them were comedies. There was Amy Heckerling’s “Clueless,” a droll version of Jane Austen’s “Emma” set at a Beverly Hills high school. There is Betty Thomas’ “The Brady Bunch Movie,” in which the former actress sets the characters of the 1970s TV hit in the 1990s to great comic effect. Distinctly not a comedy was Kathryn Bigelow’s “Strange Days,” a science-fiction thriller about sex crimes, which lost money but became a cult favorite. At the 1996 Oscar ceremony, with “Antonia’s Line,” Dutch filmmaker Marleen Gorris became the first female filmmaker to direct the award-winning foreign film.
But apart from Bigelow and Mimi Leder, a director of episodic television who in 1997 directed “The Peacemaker” and in 1998 “Deep Impact,” female filmmakers were not making action films. For the most part women made comedies and human stories, movies with no explosions in the opening scene. Veteran filmmaker Martha Coolidge spoke for many women when she noted that the scripts the studios sent her were for comedies or family dramas. “About 90 percent of what comes my way are ten different kinds of breast cancer stories, ten kinds of divorce stories, and ten kinds of women-taking-care-of-their-fathers stories,” she said. “I do those. I care about those deeply. But one does want to do more.”
Female filmmakers were typecast in the way many actors and actresses have been, for the most part pigeonholed in family drama and comedy genres. For example, in 1997 actress Kasi Lemmons made her directorial debut with “Eve’s Bayou,” a haunting family drama, and Betty Thomas returned with the Howard Stern biopic “Private Parts.” In 1998, Ephron returned with the romantic comedy “You’ve Got Mail.” Nancy Meyers, a long-time screenwriter, made her directorial debut with the family-friendly comedy “The Parent Trap,” and Brenda Chapman, a Disney animator, was one of three directors on “Prince of Egypt,” the animated story of Moses.
In 1999, three female filmmakers made rookie features unlike anything in American movies. Two were romantic dramas about teenage sexuality, the other an imaginative Shakespeare adaptation. Sofia Coppola’s “The Virgin Suicides,” based on the novel by Jeffrey Eugenides, looked at how boys look at girls, subversively turning the female gaze on the male gaze. Kimberly Peirce’s “Boys Don’t Cry” dramatized the life story of Teena Brandon, who changed her name and gender to become Brandon Teena and fell victim to a hate crime.
Julie Taymor, the theater director who created “The Lion King” on stage, made her movie debut with “Titus,” an anachronistic version of the Shakespeare history play “Titus Andronicus,” underscoring its parallels to Italy under Mussolini.
At the end of the decade — and century — of the 11,000 filmmakers working both in television and film included in the Directors Guild of America, about 2,300 were women. While women made up 21 percent of the membership, they comprised only 9 percent of the filmmakers working in movies.
Most, including Martha Lauzen, a professor at San Diego State University and the head of the Center for the Study of Women in Film and Television, naturally assumed that in the new century the needle would move toward 50/50.
In addition to writing film reviews and essays for Truthdig, Carrie Rickey has been a film critic at The Philadelphia Inquirer and Village Voice, and an art critic at Artforum and Art in America. Rickey has taught at various institutions, including School of the Art Institute of Chicago and the University of Pennsylvania, and has appeared frequently on NPR’s “Talk of the Nation,” MSNBC, and CNN.
What Happened to the Women Directors in Hollywood? Part 4: 1984–1999 was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Women and Hollywood
‘Lilo & Stitch’ deserves better.
Lilo & Stitch is the “Barb” of Disney movies. Yes, Atlantis: The Lost Empire and Treasure Planet exist. However, neither of those films have seen as much success and then sunk back into Disney-relative obscurity quite like Lilo & Stitch. The film was a full-fledged franchise in its heyday spawning multiple television series, two direct-to-video sequels, a Kingdom Hearts cameo, and its own video game. To be fair, Disney did have a reference to Lilo & Stitch in Moana — early on, Moana helps a baby turtle make its way into the ocean by obscuring it from birds under a palm frond. A solid “save the cat” moment that creates a presumption of goodness and a sly reference to Lilo & Stitch. Stitch, in a post-credit image, is seen shadowing a turtle and its child in the same way. It’s a fun little throwback to Disney’s first foray into depicting Polynesian culture.
- Francesca Fau
Article by Mark Longden
If you’re going to watch the movies of Andy Sidaris, you’ll require a mental divide of some sort, especially if you’re the sort of person who believes we should all be treated and viewed equally. While we all, as humans, like looking at pretty pictures of people of whatever gender floats our boat, at some point – usually about half an hour in – of one of his movies, even the most dedicated admirer of boobs will be thinking “any time you want to get back to the plot is fine by me”.
Below is the scene that first interested me in the work of Mr Sidaris. If you like it, read on, if you groan, then We Are Movie Geeks has many articles about decent movies to enjoy. Here it is:
Andy Sidaris got his start directing sport on TV. He was the original »
- Movie Geeks
Michael Reed Mar 24, 2017
Examining some of the key turning points in the Star Trek series, with the projects that never quite made it to the screen...
“History is replete with turning points. You must have faith.” - Spock
See related Clique: BBC Three’s glossy new psychological thriller Clique episode 3 review Clique episode 2 review Clique episode 1 review
Star Trek has been with us for over 50 years in one form or another. It started in 1964 with the filming of the pilot episode of the original series, and it has continued to the present day, through films and subsequent TV series, along with other mediums such as books and video games.
We’re principally interested in the core of the franchise here, the TV series and films, and we’re going to take a look at some 'what if...' possibilities of projects that almost happened but didn’t. If you’re »
Exploring the director’s fascination with spying.
The cinema of Steven Spielberg is one that’s built around fascination and a need to understand. As a director he is an explorer, but not one interested in unearthing grand artifacts, rather one in search of intimate treasures, an explorer of explorers, so to speak, someone to whom the process of discovery is much more interesting than the discoveries themselves.
As such, his films are rife with surveillance, characters spying on or otherwise surreptitiously watching other characters, tracking their behavior, their actions, their being, for the purposes of gathering information, good and bad. Think of the Nazis on the trail of Indiana Jones in Raiders of the Lost Ark peering over newspapers, or the future crime detectives in Minority Report scanning time for illegalities, or the government scientists after E.T. creeping about suburbia.
Spielberg is constantly exploring surveillance and the various mindsets behind it, and »
- H. Perry Horton
"'Indiana Jones' is one of the greatest heroes in cinematic history," said Disney's Alan Horn, "and we can't wait to bring him back to the screen in 2019.
"It's rare to have such a perfect combination of director, producers, actor and role, and we couldn’t be more excited to embark on this adventure with Harrison and Steven..."
"I've always thought there was an opportunity to do another," said Ford.
"But I didn't want to do it without Steven. And I didn't want to do it without a really good script. And happily we're working on both. Steven is developing a script now that I think we're going to be very happy with."
- Michael Stevens
Warner Bros' monster-verse hits gold with the hugely enjoyable Kong: Skull Island. Here's our review...
What ingredients go in to a really good, satisfying monster movie? It goes without saying that you need a big, scary creature. A few decent human characters are worth having. Lots of great action. A splash of humour might help.
Less grandiose and romantic than Peter Jackson’s King Kong, more action-packed and pulpy than Gareth Edwards’ Godzilla, Kong: Skull Island feels like a throwback to a more innocent era of cinema - a period where movies had titles like The Valley Of Gwangi or Warlords Of Atlantis. Tom Hiddleston stars as a buff hero vaguely in the Doug McClure mould, though inevitably, he isn't really the main draw here - no, the true star of Skull Island is, of course, a certain colossal ape who first appeared in 1933.
Skull Island’s unusual, in that »
Raiders Of The Lost Ark screens with live music accompaniment by the St. Louis Symphony Orchestra March 27-29th at Powell Hall in St. Louis (718 N Grand Blvd)
I’ve often said there’s nothing better than watching silent movies with live music, but what about watching sound movies with live music? When the movie is Raiders Of The Lost Ark and the score is being performed by the award-winning St. Louis Symphony Orchestra, it just becomes one of those events that can’t be missed. Justin Freer conducts John William’s beloved score performed live by the Stl Symphony with Steven Spielberg’s’s adventure classic shown from the Powell Hall stage beginning at 7pm Friday March 17 and 18, and 2pm Sunday March 19th.
Check out this trailer for the event:
- Tom Stockman
Sound mixer Kevin O’Connell, who has worked on films such as Top Gun and Transformers, had a rather bittersweet distinction in Hollywood — he held the record for the most Academy Award nominations without a single win.
That streak finally came to an end at the 89th Academy Awards on Sunday. After 21 nominations spanning 33 years — his first coming in 1984 for the classic tearjerker Terms of Endearment — O’Connell finally heard his name called for Mel Gibson‘s directorial comeback Hacksaw Ridge.
“Thank you so much! I can’t even tell you what this means to me,” O’Connell said in his acceptance speech, »
- Stephanie Petit
“I can tell you it is an amazing script and the cast is obviously extraordinary. I think it is a thrill to be a part of something that meant so much to me as a kid and to be part of allowing it to mean so much for kids now. It is fun to see it live on in various forms and ways even five years ago I would have never imagined it would have continued and knowing what is coming up is even more exciting,”
- David James
Earlier this week, “Hook” actor Dante Basco (best known for his turn as fan favorite Lost Boy Rufio in the 1991 new classic from director Steven Spielberg), launched a Kickstarter campaign in hopes of funding a short fan film about his character’s pre-“Hook” life, entitled “Bangarang.” The campaign is currently asking for $30,000 to fund the story of the orphaned “Roofus,” long before he added a kicky mohawk and headed off to Neverland. Added bonus? If the campaign hits its stretch goal of $200,000, Basco (who is serving as an executive producer on the project), along with writer and director Jonah Feingold, executive producer Rawn Erickson III and the rest of the “Bangarang” team, would set to work on a full feature.
IndieWire spoke with Basco, Feingold and Erickson just as the campaign was really taking off (as of this writing, the campaign has made over $23,000, and seems well on »
- Kate Erbland
16 February 2017 10:48 AM, PST | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
John Williams & Steven Spielberg: The Ultimate Collection is a three-disc retrospective due out March 17 from Sony Classical and includes new recording of Williams' scores. Listen to a new recording and reworking of "Marion's Theme" from Raiders of the Lost Ark and watch a behind-the-scenes video at the bottom of this story.
It's an update of a previous collection, which over two discs included music for Spielberg films that Williams recorded with the Boston »
- Aaron Couch
He’s outrun boulders; he’s ingeniously escaped danger a multitude of times from practically anything that moves; he’s drank from the Holy Grail; he’s defeated the Nazi’s, twice; he hates snakes and he always gets the girl. His name is Indiana Jones, and he’s everyone’s favorite audacious archeologist.
After three marvelous and valiant international adventures – Raiders of the Lost Ark, Indiana Jones and the Temple of Doom, and Indiana Jones and the Last Crusade (and another one with a nuclear-proof refrigerator for some reason) – Disney announced early last year that there will be a fifth installment to the Indy franchise, set to be released in July 2019. The plot is unknown at this time, but rumors of a younger actor like Chris Pratt or Bradley Cooper taking up the whip and fedora were laid to rest when Harrison Ford announced that Indiana Jones veteran, Steven Spielberg, »
- Luke Parker
Fans got their first look at Jason Momoa as Arthur Curry in a memorable but brief cameo appearance in last year's Batman v Superman: Dawn of Justice, but they'll get to see a whole lot more of this iconic character in this year's Justice League, in theaters November 17. The actor is also prepping to star in his stand alone Aquaman movie, shedding new details about the story in a recent interview. According to the actor, this movie will take fans to places they've never seen before in a movie. When asked about what an Aquaman video game might look like if he were in charge, the actor had this to say.
"I read the Aquaman script and let me just put it this way, I've never seen a movie that's anything like this. It's going to be a world that you've never seen before, which is really cool. We went to space, »
The DC Extended Universe has been making headlines lately, and as I’m sure you know, the headlines haven’t been pretty. Actor/director Ben Affleck’s involvement seems like a constant question mark, and fans are only left to wonder if they’ll be left out in the cold when all said and done. Plus, as great as the footage has been for the upcoming Wonder Woman and Justice League films, fans can’t help but wonder if they’ll be treated to another Batman v Superman or Suicide Squad in terms of disappointing end products.
Throughout all this drama, however, there is one DC film that seems to be trucking along quite nicely. In the face of any doubts mainstream audiences may have about the execution of the Aquaman character, director James Wan seems to have everything under control. Every so often we get a casting update, and »
- Joseph Medina
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