Michael Mann, the auteur behind such classics as Heat, Ali, and Collateral, remains one of our finest directors. This is thanks to a bevy of motion pictures featuring dense plots, intricate characters, and an unmatched devotion to detail.

Mann’s phenomenal latest film, Ferrari, centers ex-racer Enzo Ferrari (Adam Driver). It sped into theaters this week, earning (mostly) positive reviews that prove the iconic director hasn’t lost his golden touch. Where does Ferrari rank among his films? Read on to find out!

12) The Keep (1983)

Mann flexed his commercial muscles with The Keep, a bizarre misfire that nonetheless boasts strong production values—including a gnarly-looing baddie and a terrific score by Tangerine Dream—and plenty of the director’s visual flourishes. The film features a stellar cast, namely Scott Glenn, Gabriel Byrne, and Ian McKellen, and remains a watchable piece of horror. Unfortunately, as is customary with most of Mann’s productions, post-production issues removed a huge chunk of footage from the narrative, resulting in a 90-minute mess begging for a director’s cut.

11) Public Enemies (2009)

The powerful one-two punch of Johnny Depp and Christian Bale isn’t enough to lift this curiously limp biopic about renowned criminal John Dillinger off the ground. Public Enemies has the look and feel of a genuine classic but can’t overcome its fractured narrative, muddled performances, or awkward assembly. Again, it’s not a bad film. My views on Public Enemies have increased favorably on multiple rewatches. The positives outweigh the negatives, but it’s still only a good film when it should have been great.

10) Blackhat – Director’s Cut (2015)

Mann’s films often require multiple rewatches to grasp, mainly due to their dense plotting and the director’s slavish devotion to realism. Mann likes his characters raw and presents a gritty and unfiltered portrayal of his subject matter, resulting in action thrillers that often leave general audiences in the dust. Case in point — Blackhat, a cybercrime thriller starring Chris Hemsworth as a renowned hacker chasing a high-level cybercrime network. Ripe with complex computer jargon and a labyrinth plot, the action thriller left audiences cold in 2015 despite an all-star cast and some of Mann’s best action sequences.

The recently released collector’s edition, which features three versions of the film, including Mann’s intended cut, likely won’t win any suitors. However, I was drawn into the story on this go-round and fascinated with this unique world of laptops and cybercriminals. Blackhat is far from Mann’s best work, but there’s plenty here to enjoy should you give it a chance.

9) Ferrari (2023)

Ferrari fits snugly into 2023, the year of the character drama, and eschews big thrills and emotions for a straightforward examination of a flawed but captivating individual. As he did with Ali, Mann wisely focuses on one point of Enzo Ferrari’s life, capturing a period of turmoil during the summer of 1957 when Ferrari faced bankruptcy, a disgruntled wife, and the looming Mille Miglia race across Italy.

As typical, Mann doesn’t hold back on the grisly details, painting Ferrari as a troubled soul still reeling from the death of his son and seeking whatever form of emotional support he can grab. His company remains his last hope for success—losing it would likely drive him deeper into anguish and despair. He bids everything on the Mille Miglia. We watch as he grapples with this decision while navigating his troubled marriage and relationship with his mistress, Lina, and their son.

Mann doesn’t judge Ferrari’s actions. He shows us the man and steps back. Ferrari didn’t care what people thought of him, lived large, slept around, and maintained a rigid focus on the finish line.

8) Miami Vice (2006)

Directing a movie like Heat is a double-edged sword, as all the work after that will be compared to the classic crime drama. Indeed, Miami Vice is no Heat, but it’s not trying to be. Nor is it trying to mimic Mann’s popular Miami Vice TV series from the 1980s. Instead, this iteration of Miami Vice reimagines the concept as a dark and gritty thriller, seeped with sex and violence and bursting at the seams with style. Jamie Foxx and Colin Ferrell star as Ricardo Tubbs and James Crockett, undercover detectives who get caught up with drug trafficking in the neon-lit Florida scene. Matters get worse when Crockett falls for a drug dealer’s wife, leading to plenty of high-stakes drama and impressive set pieces that get the adrenaline pumping.

Miami Vice remains one of Mann’s messiest thrillers. Still, it’s also a gripping yarn with solid performances—particularly from Foxx—and enough testosterone-fueled action to keep viewers on the edge of their seats.

7) Manhunter (1986)

I really like Manhunter, though it’s probably my least-watched Mann flick behind The Keep. An adaptation of Thomas Harris’ Red Dragon, a prequel to Silence of the Lambs, the thriller about Will Graham’s pursuit of a serial killer known as “Tooth Fairy,” is appropriately dark, stylish, and atmospheric. Mann leans heavily on psychology and conjures a thought-provoking, cerebral journey that remains with viewers long after the credits roll.

Fair warning: the film is deliberately paced and bleak as hell, which might put off some expecting a more conventional and fast-paced thriller. Manhunter isn’t quite on par with Silence of the Lambs, but it remains one of Mann’s most compelling thrillers.

6) The Insider (1999)

Al Pacino and Russell Crowe headline this gripping drama about one man’s efforts to expose Big Tobacco. Mann weaves an intricate morality tale that skillfully balances suspense and drama and grips you throughout its admittedly lengthy running time. Not only does The Insider provide a view behind the curtain to one of the most powerful companies in the world — which lied about the addictive substances inside its products — but the film also gives us a look inside the media world where Pacino’s Lowell Bergman battles executives to put the whole truth on the air. The Insider should have swept the Oscars, but that’s a different conversation.

5) Ali (2001)

If anyone else directs Ali, it’s likely a personal best. For Mann, the powerful biopic about the outspoken boxer Muhammed Ali is just another walk in the park. Will Smith turns in the performance of his career and slips into Ali’s shoes inside and outside the ring. He captures the icon’s charisma, pain, and sorrow during a troubling period that saw his title belt stripped for political reasons.

Mann chronicles Ali’s attempts to take back the crown, crafting a series of incredible fight sequences that succinctly capture the ferocity of the sport. He also ensures you walk away from the biopic knowing Ali, the man behind the myth.

4) The Last of the Mohicans (1992)

My introduction to Mann came in the form of 1992’s epic The Last of the Mohicans, a film I watched often in my history classes and adored for its stunning cinematography, brutal action, and incredible score (by Trevor Jones and Randy Edelman). Based on the classic novel by James Fenimore Cooper, this loose adaptation has it all: romance, drama, politics, and kickass action. It’s undoubtedly Mann’s most accessible film, unabashedly old-fashioned in its execution but appropriately authentic regarding historical accuracy.

Daniel Day-Lewis stars as Hawkeye, the adopted white son of the Mohican tribe, tasked with guiding the daughters of Colonel Edmund Munro to Fort William Henry. Admittedly, the picture bites off a little more than it can chew, leading to a love story in dire need of a second act, but my minor quibbles aren’t enough to drop Mohicans out of Mann’s Top 5. It’s a glorious epic.

3) Collateral (2004)

Mann has yet to top his best efforts—Thief and Heat—but Collateral came close. Tom Cruise and Jamie Foxx are sensational in this crime thriller about a taxicab driver forced to drive a hitman around to his various murders. It’s a simple but ingenious setup that allows Mann to explore themes of moral ambiguity and relationships that often dominate his pictures. Foxx’s lowly cab driver, Max, dreams big but doesn’t dare to follow through with his plans; Cruise’s Vincent has made it to the top of his respective profession, in many ways living the kind of life Max can only dream. Together, they explore the consequences of their choices and reflect on the randomness of life. It’s a compelling character study wrapped in a thriller, replete with a Hitchcockian finale that’ll have you on the edge of your seat.

2) Thief (1981)

I love Thief. It’s one of my favorite movies. James Caan is remarkable as Frank, a professional thief trying to go straight. The plot chronicles his struggles to reconcile his past misdeeds with his current predicament. He dreamed of a glorious life in prison, fulfilling the American Dream. To achieve his vision, however, he must do what he does best: break the law.

Of course, we never believe Frank will reach the promised land — neither does he, to a certain extent — and his slow realization of where his life is headed makes for one helluva motion picture. Caan delivers the performance of a lifetime, while Mann’s sturdy direction and Tangerine Dream’s evocative score create an atmosphere ripe with tension and suspense — an incredible film.

1) Heat (1995)

So, why isn’t Thief number one? Well, because Heat is, to quote Vincent (Al Pacino), “Pretty f—ing great.” From its riveting cat-and-mouse plot to its complex characters, Heat pulls you in like few films do.

Mann explores two highly skilled individuals on opposing sides of the law. Robert DeNiro’s Neil McCauley is a professional thief who spends his days pulling scores, and Al Pacino’s Vincent Hannah is sent to stop him. Each struggles to exist in a world overrun by serial killers, corrupt businessmen, broken marriages, angry children, and short-tempered managers. Both cling to their respective careers to achieve something close to happiness.

If that’s not enough, Mann delivers the greatest shootout in cinema history — a colossal piece of sound design and frenetic action produced with the director’s signature gusto. If you haven’t seen Heat, stop what you’re doing and watch it now. You’re welcome.

The post Michael Mann Movies Ranked Including Ferrari appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

Christmas weekend proved rather lucrative for Warner Bros. at the domestic box office, where the studio saw three of its releases — Aquaman and the Lost Kingdom, Wonka, and The Color Purple — claim the top three spots, per Deadline. Aquaman 2 took the crown but managed a mediocre $38.3 million over the 4-day holiday ($27.7M 3-day), effectively putting a nail in the coffin of the DCEU.

Luckily for Aquaman, international audiences turned out to see Jason Momoa’s second solo outing. Worldwide, the James Wan-directed flick cruised past $120.1M and is tracking ahead of Black Adam, The Flash, and The Marvels. IMAX repped $14M from 1,522 screens over the holiday.

Elsewhere, Wonka collected $118M (-54%) in its second weekend and $28.3M over the 4-day frame to raise its cume to $85.8M. Globally, the musical has earned $254.9M following a solid hold internationally.

However, the big surprise of the week is the $18.15M earned by The Color Purple on Christmas Day. The pic came in higher than expected and rode strong reviews to a stellar opening. Audiences agreed with critics on this one, awarding the film an A CinemaScore, which bodes well for the film’s holiday run. That number actually bested Aquaman’s ($10.6M) and Wonka’s ($10.3M) Monday totals and marks the second-biggest Christmas Day opening behind Sherlock Holmes ($24.6M) in 2009. Wow!

Also opening on Christmas Day was Amazon MGM’s The Boys in the Boat, from director George Clooney, which grossed $5.7M from 2,557 theaters, and Neon’s Ferrari, from director Michael Mann, which cruised to $2.85M in 2,330 theaters. The latter received an A CinemaScore, while Mann’s latest effort earned a B.

Universal’s animated Migration also did decent business, earning $12.4M over the 3-day weekend and $17.8M over the 4-day holiday. Sony’s Anyone But You managed $6M/$8M from 3,055 theaters, and A24’s Iron Claw collected $4.86M/$6.799M.

Also, Godzilla Minus One continued to impress, crossing $40.98M domestically after earning $2.64M/$3.5M. See you next year!

Box Office Results: Domestic Top 10

1.) Aquaman and the Lost Kingdom (WB) 3,706 theaters, Fri $13.7M, Sat $9M, Sun $5M Mon $10.6M 3-day $27.7M, 4-day $38.3M/Wk 1

2.) Wonka (WB) 4,213 (+10) theaters, Fri $6.5M (-55%) Sat $7M Sun $4.55M, Mon $10.3M 3-day $18M (-54%), 4-day $28.3M/Total $85.8M/Wk 2

3.) The Color Purple, 3,151 theaters, Mon $18.15M, Day 1

4.) Migration (Ill/Uni) 3,761 theaters, Fri 3-day $5.8M, Sat $4.1M Sun $2.55M Mon $5.3M 3-day $12.4M, 4-day $17.8M, Wk 1

5.) Anyone But You (Sony) 3,055 theaters, Fri $3.4M, Sat. $1.77M Sun $755K Mon $2M 3-day $6M, 4-day $8M, Wk 1

6.) Iron Claw (A24) 2,771 theaters, Fri $2.5M, Sat $1.55M Sun $818K Mon $1.93M 3-day $4.86M, 4-day $6.799M/Wk 1

7.) Salaar Part 1 Ceasefire (Prath) 796 theaters Fri $3.8M, Sat $1M Sun $726K Mon $831K 3-day $5.605M 4-day $6.43M/Wk 1

8.) The Boys in the Boat (AMZ MGM) 2,557 theaters Mon $5.7M, Day 1

9.) Hunger Games: Songbirds & Snakes (LG) 2,509 (-782) theaters, Fri $1.2M (-29%) Sat $1.2M Sun $628K Mon $1.1M 3-day $3.04M (-48%), 4-day $4.1Mtotal $153.4M/Wk 6

10.) Dunki (Yash Raj) 686 theaters, Fri $923K Sat $973K Sun $818K Mon $941K 3-day $2.7M 4-day $3.655M/Total $4.5M/Wk 1

The post Christmas Box Office Results: Aquaman 2 and The Color Purple Debut appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

Rebel Moon made its highly anticipated debut this week on Netflix. Now, it’s time to look at Zack Snyder’s filmography and determine where his sci-fi extravaganza ranks.

10) Sucker Punch (2011)

The only out-and-out misfire in Snyder’s career remains 2011’s trippy Sucker Punch — and that may be due to a theatrical cut that eschews a lot of essential details in favor of a swift (by Snyder standards) run time. At least, that’s the word on the street. There’s a lot to admire here, from the eye-popping production design to the video game-esque series of missions our heroines must complete to escape their physical and mental prisons. Unfortunately, it all becomes a little too repetitive by the third act.

No matter. A handful of colorful set pieces and a few strong performances by Emily Browning, Jena Malone, and Abbie Cornish, at the very least, make Sucker Punch watchable. I think Snyder got a little too cute with this one and turned what could have been a kick-ass action picture into a convoluted mind trip — though I’ll happily watch a Director’s Cut should it ever become available.

9) Legends of the Guardians: The Owls of Ga’Hoole (2010)

Legends of the Guardians is a strange beast — quite literally.

The animation is superb, and Snyder pushes the PG rating for all it’s worth, conjuring some truly electrifying set pieces that pop with his patented slow-mo flourishes. But … owls? Of the bajillion books out there worthy of adaptations, why choose one about owls? As much as I admire Snyder’s ambitious approach, I can’t get over the fact that I’m watching an overtly serious film about warrior owls. If you can get over that stigma, though, Legends of the Guardians is a rollicking animated thrill ride.

8) Army of the Dead (2021)

Amy of the Dead was an extreme case of false advertising. The ads promised a rip-roaring, action-packed heist thriller, prominently showcasing the main cast—led by Dave Bautista, Ana de la Reguera, Ella Purnell, Matthias Schweighöfer, and Omari Hardwick—standing back-to-back, Avengers-style, blasting waves of zombies in the middle of Las Vegas. The actual film is a more somber, muted affair with a dramatic father/daughter storyline as the anchor. It’s not bad, but certainly not what any of us expected.

With my expectations firmly on the back burner, I can enjoy Army of the Dead for what it is. Not all of it works, but Snyder’s flick stands apart from others of its ilk. His zombies aren’t just walking-eating machines, but an intelligent hoard — created by the world’s most ill-timed blowjob — led by a King and Queen, capable of mass destruction but content to remain in Vegas so long as the outside world leaves them the hell alone. Into this nightmare falls Bautista’s gang, a struggling band of misfits in dire need of a positive exercise in self-fulfillment. They’re tasked with taking a pile of cash from a casino before the US military blows Vegas sky high and must navigate the zombie-infested city without pissing off the locals.

7) Watchmen (2009)

There’s so much to admire in Zack Snyder’s Watchmen, from that astonishing opening sequence to the impressive visuals and slavish devotion to Alan Moore’s acclaimed graphic novel. It’s a shame when the entire production all but crumbles under its massive weight in the third act. Visually, the film is all aces — it looks like a comic book come to life! — has a knack for balancing dark, pulpy character drama with epic action.

Unfortunately, the various parts don’t fully come together. Snyder tries to craft a straightforward adaptation of Moore’s novel while delivering a kick-ass superhero epic. Ultimately, the film doesn’t fulfill either objective and frustrates more than delights. I still think it’s one of the most ambitious blockbusters ever produced—a dark, gritty, violent R-rated comic book drama packed with sex, mature themes, and complex characters. That it works at all is a miracle.

6) Rebel Moon: Part One – A Child of Fire (2023)

Watching Rebel Moon, I was reminded of great B-movies like Highlander, Flash Gordon, Battle Beyond the Stars, Beastmaster, and (to some extent) The Never Ending Story — pictures too outlandish and silly for general audiences that eventually garnered a cult following. Rebel Moon seems destined for that trajectory, as I’m sure its mix of pulpy action and super serious melodrama will turn off most but delight those willing to let go and enjoy the ride.

Ostensibly a shameless retelling of The Seven Samurai, Rebel Moon follows army deserter Kora (Sofia Boutella) and peaceful farmer Gunnar (Michiel Huisman) as they assemble a force capable of protecting a small town from the sneering Atticus Noble (Ed Skrein). A series of familiar troupes refurbished with Snyder’s visual zeal follows. There’s nothing here you haven’t seen before, but that doesn’t make Rebel Moon any less enjoyable. Aside from a confusing backstory — something about a slain king? — it’s remarkable how straightforward the plot is.

Rebel Moon didn’t blow me away the way I hoped it would, but I was captivated from start to finish and excited to see A) the R-rated Director’s Cut and B) the second part, which hits Netflix in April 2024. As constructed, this PG-13 cut feels incomplete, with key characters — notably Djimon Hounsou’s General Titus — tossed aside to achieve a tighter runtime.

5) 300 (2006)

Snyder’s claim to fame arrived with 2006’s ultra-violent adaptation of Frank Miller and Lynn Varley’s comic series 300. The film is a fictionalized retelling of the Battle of Thermopylae, where 300 Spartans, led by King Leonidas (Gerard Butler), faced overwhelming odds against the massive Persian army led by King Xerxes I.

Snyder lovingly reproduces the comic, including the Spartans’ impressive six packs, crafting eye-popping visuals and violent set pieces ripe with slow motion and buckets of digital blood. You’ll be surprised at how far he stretches the modest $65M budget. As typical, Snyder doesn’t hold back, delivering wild sex scenes, heavy adult content, and the type of bizarro violence that would ultimately define his career, for better or worse.

4) Batman v Superman: Dawn of Justice (2016)

After all these years, I still don’t get the hate for BvS. Sure, the plot is needlessly convoluted, and Snyder’s aggressively dark tone gets tiresome. Still, Snyder delivers a complex deconstruction of the superhero mythos that builds towards a rousing finale chock full of the type of large-scale action I dreamed about as a kid. His examination of Batman (Ben Affleck) as a disillusioned warrior in dire need of a positive jolt is unique. At the same time, his iteration of Superman (Henry Cavill), himself a hero seeking purpose in a world that fears him, deserves more props than it receives — if only because he gives the character a mythical, worthwhile journey to traverse. When these two titans battle, there are genuine stakes.

Snyder approaches his heroes with a straight face. Unlike Marvel, he’s not embarrassed by these god-like beings. There are no quippy one-liners, pratfalls, or gags. Every action carries a consequence.

While the screenplay — penned by Chris Terrio and David S. Goyer — could have been a little more straightforward, the overarching narrative trumps the negatives. In lesser hands, BvS could have been a silly, cynical cash grab. In Snyder’s hands, it’s an ambitious, sometimes overwhelming, blockbuster that never fails to entertain.

3) Dawn of the Dead (2004)

Snyder’s first foray into the zombie genre resulted in a terrific combination of horror and dark comedy, thanks to James Gunn’s terrific screenplay. The story follows a group of survivors, led by Sarah Polley’s Ana, as they attempt to navigate a zombie apocalypse from within the confines of an abandoned shopping mall. Snyder delivers a motley crew of distinct characters played by Ving Rhames, Jake Weber, Ty Burrell, and Mekhi Phifer, among others, and tosses them into a series of wild escapades, each more outlandish than the next. The results aren’t subtle and often coated with stomach-churning gore, but few zombie films entertain like Dawn of the Dead — a dazzling thriller that ups the ante in more ways than one.

2) Man of Steel (2013)

Superman (Henry Cavill) is about as far removed from Christopher Reeve as a quiet library from a rock concert. Both achieve their respective visions, but Snyder’s iteration is far more complex, repurposing the Man of Steel as a world-traveling loner afraid to unveil his extraordinary powers out of fear of the consequences they will bring. He grapples with the ideologies of his two fathers. Jor-El (Russell Crowe) believes his son can inspire hope and use his powers to improve humanity. Jonathan Kent (Kevin Costner) doesn’t think the world is ready for a superman and urges his son to conceal himself until the right moment. It’s an exciting examination of two different perspectives that ultimately have the same goal to save the world.

Viewers willing to embrace Snyder’s vision will enjoy a unique and ambitious superhero experience that doesn’t adhere to comic book conventions. Even at its worst — that goofy tornado scene notwithstanding — Man of Steel soars higher than most comic book films and delivers the kind of impressive disaster epic that defined Hollywood in the 1970s.

1) Zack Snyder’s Justice League (2021)

Zack Snyder’s Justice League is big, bold, full of heart, and incredible action. WB made a huge mistake abandoning Snyder’s vision. While his pictures may not have achieved Marvel-levels of success, audiences would have embraced Justice League enough to warrant a continuation of the saga.

The League is a ragtag group of fallen/disillusioned warriors that come together to stop an invading threat from global annihilation. Batman feels remorse for the hand he played in Superman’s death and traverses the world in search of means to stop Steppenwolf and Darkseid’s attack. His quest leads to Wonder Woman, Aquaman, The Flash, and Cyborg dealing with personal tragedy/flaws. Mostly, they struggle to live up to their mantras as protectors of the realm but eventually achieve something extraordinary with the help of their newfound friends.

No, ZSJL isn’t perfect. A few plot points remain underdeveloped, but Snyder’s grand design overpowers the flaws and results in a rousing superhero epic.

The post Zack Snyder Movies Ranked After Rebel Moon appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

As a kid, I was prone to running around in the backyard with a towel tied to my neck, arms outstretched, fists clenched, pretending to be Superman. Specifically: Christopher Reeve’s Superman. Like so many other kids, Richard Donner’s majestic Superman: The Movie captured my imagination. I wasn’t around when it first hit theaters in 1978, but I almost wore out my VHS tape watching the mighty epic dozens of times per day. 

In those days, superhero movies didn’t exist. Star Wars was king. Late-stage John Wayne had paved the way for grittier, more flawed heroes like Indiana Jones, Ellen Ripley, Alex Murphy, Axel Foley, and John McClane. Darker, edgier tales about war, greed, sex, and violence were the name of the game. In 1989, Tim Burton‘s Batman swooped in and usurped Superman as the de facto superhero of the era, a bleak reflection of our changing times.

Reeve’s Superman marked a last hurrah for the good-natured hero. He’s a decent man striving to live up to truth, justice, and the American way. His ideology is firmly rooted in 40s-era optimism; he seems a little cheesy against the cynical backdrop of the 1970s, but that’s the point. He always tells the truth, expects the best in others, and strives to be the best version of himself.

In this day and age of constant bickering, hate, violence, and cynicism, Reeve’s Superman feels more necessary than ever. On a recent rewatch with my two daughters, I was swept up in the film’s overwhelming hopefulness, which remains its greatest strength. Something is endearing about a man who swoops around the city arresting petty criminals, who then saves a cat from a tree.

I also love how the world accepts Superman without questioning his resolve. His presence doesn’t induce panic or fear, only curiosity. People naturally want to learn more about this giant blue man—How does he fly? Does he eat? Where is he from? Donner and writers Mario Puzo, David and Leslie Newman, and Robert Benton aren’t interested in exploring Superman’s psyche. He’s an alien from the planet Krypton who arrives to do good. And that’s it. He inspires others like Lois Lane (Margot Kidder) to do better, but mostly, they view him as an extension of law enforcement, who happens to fly.

In Man of Steel, Zack Snyder took a different (and novel) approach by examining the world’s reaction to Superman. His presence changes their perception of religion, science, and space. He induces fear but eventually inspires hope. Man of Steel is leagues darker, emphasizing the violence and destruction caused by Superman and his fellow Kryptonians.

I respect both takes on the hero. Where Snyder finds a unique way to reinvent the Superman mythos, Donner clings to his comic book origins, albeit via an epic scope punctuated by John Williams’ thunderous score.

Sure, Superman: The Movie is campy, occasionally goofy—particularly in its depiction of Lex Luthor (Gene Hackman)—and suffers from a 70s aesthetic that felt dated by the mid-80s, but it’s also magical, fun, and brimming with optimism.

Luckily, Donner knows when to cut the jokes and play it straight. Right out of the gate, he introduces Marlon Brando’s Jor-El and coats Krypton’s tragic destruction with ample layers of melodrama.

We’re then thrust to Smallville with legendary actor Glenn Ford as Pa Kent, who imparts important words of wisdom to Clark (Jeff East, his voice dubbed by Reeve) before dying of a heart attack—a powerful beat that tugs at the heartstrings (and tops Man of Steel’s silly tornado scene).

Donner wisely keeps Superman under wraps for the first hour, teasing us with hints of his superpowers but focusing more on his spiritual journey from boy to man.

We then transition to Metropolis and meet Lois, Jimmy Olsen (Marc McClure), Perry White (Jackie Cooper), Luthor, Otis (Ned Beatty), and Miss Teschmacher (Valerie Perrine). The picture adds a dose of comedy by focusing on grown-up Clark’s dealings in the big city. Reeve does a great job making Clark equally pathetic and likable. Kidder is a tad overzealous as Lois, but her chemistry with Reeve eventually wins you over.

Said plot involves Lex’s plan to sink California into the ocean so that previously worthless real estate will become valuable. Don’t think about it too hard. Mainly, this serves as an excuse for Superman to perform heroic acts across the country and for Donner’s special FX team to show off their incredible skill. The visuals may not hold up to modern-day standards, but in the late 70s, this looked incredible.

Watching Superman all these years later, I’m shocked by how influential its story was to other films in the genre. I think Sam Raimi’s Spider-Man films, Patty Jenkins’ Wonder Woman, and Jon Favreau’s Iron Man owe much to Donner’s classic. Hell, Christopher Nolan mimicked Donner by packing his Dark Knight trilogy with a handful of great actors, even in minor roles. So while it may seem dated, remember that Superman: The Movie was the first of its kind. The MCU wouldn’t exist without it.

As I reflect on my childhood escapades emulating Christopher Reeve’s Superman, I am reminded of the enduring impact of Superman: The Movie. In an era dominated by darker and grittier narratives, Reeve’s portrayal of the iconic hero stood as a beacon of hope and optimism. While the film may be deemed campy or occasionally goofy, its magic lies in its ability to deliver a sense of fun and an abundance of wonder. After all these years—45, to be exact—I still believe a man can fly.

The post Superman (1978) Endures as a Majestic Epic, Embodying the Essence of Hope appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

ComingSoon is pleased to present the score sampler from Bear McCreary’s Percy Jackson and the Olympians, which previews three tracks from the show.

Hollywood Records, Disney Branded Television, and 20th Television will release the Percy Jackson and the Olympians Original Series Soundtrack with themes by Bear McCreary and music by Sparks & Shadows on December 22. The first two episodes premiered on December 20 on Disney+, followed by new episodes weekly.

Check out the Percy Jackson and the Olympians score sampler below:

“With the brilliant composers from my team at Sparks & Shadows by my side, I am honored to be a part of Disney’s stellar creative team, and to help bring Rick Riordan’s mythical vision to vibrant musical life,” McCreary reflects on the project. “This exciting new series gave me the opportunity to embrace the kind of sweeping melodically-driven orchestral scores that always inspired me as a kid. Writing distinct and memorable themes for each character was a joy. I can’t wait for the legions of fans around the world to hear this music and be transported away.”

Percy Jackson and the Olympians tells the fantastical story of a 12-year-old modern demigod, Percy Jackson (Walker Scobell), who’s just coming to terms with his newfound divine powers when the sky god Zeus accuses him of stealing his master lightning bolt. With help from his friends Grover (Aryan Simhadri) and Annabeth (Leah Jeffries), Percy must embark on an adventure of a lifetime to find it and restore order to Olympus.

Based on Disney Hyperion’s best-selling book series by award-winning author Rick Riordan, Percy Jackson and the Olympians stars Walker Scobell (Percy Jackson), Leah Sava Jeffries (Annabeth Chase), and Aryan Simhadri (Grover Underwood). Created by Rick Riordan and Jon Steinberg, and executive produced by Steinberg and Dan Shortz alongside Rick Riordan, Rebecca Riordan, The Gotham Group’s Ellen Goldsmith-Vein, Bert Salke, The Gotham Group’s Jeremy Bell and D.J. Goldberg, James Bobin, Jim Rowe, Monica Owusu-Breen, Anders Engström, Jet Wilkinson.

Tracklist

1. Percy Jackson and the Olympians

2. Perseus

3. The Minotaur

4. Camp Half-Blood

5. Aunty Em

6. The Mother of Monsters

7. Chimera

8. The Tunnel of Love

9. A Zebra in Vegas

10. Spirit of the Sea

11. The Fields of Asphodel

12. Lord of the Dead

13. Poseidon

14. Olympus

15. The Lightning Thief

16. The Sea Does Not Like to Be Restrained

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In Renny Harlin‘s thrilling Die Hard 2: Die Harder, it’s clear that everyone involved knew the assignment: produce a rip-roaring, crowd-pleasing sequel to John McTiernan’s Die Hard. Don’t overthink it. Just ensure every action scene pops, and the stakes are higher. Bruce Willis will do the rest.

Die Hard 2 doesn’t best the original, but it’s not trying to. Writers Steve E. de Souza, Doug Richardson, and Walter Wager slap together a rail-thin plot about an AWOL Colonel (William Sadler) holding an airport hostage to free a dangerous South American dictator. The highly decorated (and recognizable) Colonel’s actions are never fully explained, nor do they need to be. All we need to know is A) danger is afoot, and B) John McClane (Willis) must save the day. Capiche?

Indeed, it takes all of 10 minutes for the first shootout to occur. (Comparatively, McTiernan afforded his film 20 minutes of buildup before bringing out the big guns.) Once Die Hard 2 gets cracking, it’s like the first film never ended.

Things happen so fast that you don’t have time to question whether any of it makes sense. Why would the airport’s Chief of Police, Carmine Lorenzo (Dennis Franz), dismiss a shootout between McClane and Colonel Stuart’s men? Why would he not alert the Chief of Air Operations (Fred Thompson) of a possible threat? How could an entire Army Special Forces platoon willingly turn against their own country or fail to question Colonel Stuart’s resolve, especially after he destroys a fully booked commercial airliner? Undoubtedly, at least ethically speaking, one of the men must’ve felt a little iffy about that particular action.

But Harlin doesn’t slow down long enough for the audience to linger on such details. He hits the ground running, only pausing for a few expository beats to establish the next set piece—and away we go! 

I’ve seen Die Hard 2 a handful of times, mostly on TV as a kid. The sequel may not top its predecessor, but it’s hardly a run-of-the-mill production. Each set piece is meticulously designed, including the bit where McClane — stuck in a plane — must use an ejector seat to evade a half dozen grenades before they explode: 

Is it hyperbole to call that shot iconic? I love the birds-eye angle and how McClane flies towards the camera long enough for us to note his exasperated reaction. The look of bewilderment on the villains’ faces after they spot McClane’s parachute says it all: how did we f— that up?

Sure, the sequence is beyond ridiculous. Grenades don’t often provide more than a few seconds before detonation. Yet, this is McClane’s MO. He’s luck’s favorite dance partner, outshining mere skills. Improvisation and his unmatched ability to think quickly in a tight spot are the key:

Each goon exhibits genuine frustration at being unable to hit a middle-aged man as he slowly rolls across an open space. The film leans into this character trait and uses it as a running gag. “Lucky f—,” a henchman declares after another of McClane’s patented narrow escapes.

Even when McClane loses, such as during his one-on-one against Stuart aboard a moving plane in the climax, he still gains the upper hand with little more than jet fuel and one of those trusty lighters all 80s action heroes carried. 

Compared to other Die Hard knock-offs, it’s fair to say Die Hard 2 does it best. Well, second best after Die Hard with a Vengeance.

Surprisingly, Willis was vocal about his disdain for the sequel: “The second was my least favorite and the least fun. Far too self-referentially precious, the story was all over the place and suffered from severe un-claustrophobic-ness.”

Fair enough, but the lack of claustrophobic thrills doesn’t make Die Hard 2 any less entertaining. Despite what other media pundits will say, there’s no blueprint for the perfect Die Hard movie, and kudos to Harlin’s crew for at least trying to up the ante rather than repeat the same scenario as before. The airport gives McClane more freedom to roam around. We see him in the real world, talking with regular folk, and learn he’s as handy with an icicle as a submachine gun.

This setting allows Harlin to get creative, resulting in the thrilling snowmobile chase: 

I should also point out that Die Hard 2 is a Christmas movie, just like its predecessor. Somehow, we never talk about this one. Surprising, given that most critics, including Roger Ebert, gave it a thumbs up. Audiences shelled out $240 million worth of tickets, besting the original’s $143M haul, and turned up in droves to see Die Hard with a Vengeance five years later. Yes, I completely understand all the negative feedback. Die Hard 2 is derivative and lacks the freshness that made the original an instant classic.

Yet, despite its flaws, Harlin’s sequel delivers where it counts. Die Hard 2 remains an absurdly entertaining piece of escapism that more than lives up to its name.

The post On Second Watch: Die Hard 2 Unwraps a Festive Thrill Ride appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

Wonka enjoyed a healthy start at the domestic box office, earning $39 million from 4,203 theaters, per Deadline. The musical comedy held strong throughout the weekend, dipping just 3% on Saturday for an impressive $14M, following $14.4M on Thursday/Friday. Worldwide, the pic starring Timothee Chalamet has accrued $151.4M, including $8.7M from Imax.

With few obstacles throughout the Christmas season, Wonka should enjoy a nice run into January and easily surpass Paul King’s other family adventures—the Paddington films—at the worldwide box office.

Otherwise, the box office was relatively quiet, save for a handful of Indie flicks raking in some cash. Searchlight Pictures’ Poor Things landed on the Top 10 after expanding to 82 theaters and has so far grossed $2.2M after two weeks. American Fiction, meanwhile, earned $227K from seven theaters, while A24’s The Zone of Interest managed $124.8K from four theaters in New York and Los Angeles.

Lionsgate’s The Hunger Games: The Ballad of Songbirds & Snakes slipped past the $300M mark at the global box office, though it remains a great deal behind the original Hunger Games franchise. The lowest-grossing entry of that series, Mockingjay – Part 2, hauled in $646M globally, while the highest-grossing chapter, Catching Fire, hauled in a massive $864M.

Box Office Results: Domestic Top 10

1.) Wonka (WB) 4,203 theaters, Fri $14.4M, Sat $14M Sun $10.5M 3-day$39M/Wk 1

2.) Hunger Games: Songbirds & Snakes (LG) 3,291 (-374) theaters, Fri $1.7M (-37%) Sat $2.3M Sun $1.7M 3-day $5.8M (-38%), total $145.2M/Wk 5

3.) Boy and the Heron (GKIDs) 2,325 (+120) theaters, Fri $1.4M (-75%) Sat $2.1M Sun $1.6M 3-day $5.1M (-60%), Total $23.1M/Wk 2

4.) Godzilla Minus One (Toho) 2,622 (+82) theaters, Fri $1.34M (-41%) Sat $2M Sun $1.47M 3day $4.88M (-43%), Total $34.2M/Wk 3

5) Trolls Band Together (Uni/DWA) 3,157 (-294) theaters, Friday $930K (-34%) Sat $1.7M Sun 3-day $4M (-34%) Total $88.7M/Wk 5

6) Wish (Dis) 3,100 (-310) theaters, Fri $730K (-38%) Sat $1.39M Sun $1.08M 3-day $3.2M (-39%), Total $54.3M/Wk 4

7) Christmas With the Chosen: Holy Night (Fathom) 2059 theaters, Fri $875K Sat $1.05M Sun $1M 3-day $2.9M, Total $4.6M/Wk 1

8) Napoleon (Apple/Sony) 2,601 (-749) Fri $640K (-45%) Sat $955K Sun $630K 3-day $2.2M (-46%), Total $57M/Wk 4

9) Renaissance/Beyonce (AMC) 1,723 (-819) theaters Fri $553K (-66%) 3-day $2M (-63%) Total $30.88M/Wk 3

10) Poor Things (SEA) 82 (+73) theaters Fri $488K (+75%) Sat $422K Sun $365K 3-day $1.275M (+93%), Total $2.2M/Wk 2

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Lakeshore Records is releasing a vinyl edition of Avatar: Frontiers of Pandora Original Game Soundtrack, and ComingSoon has your first look at the album.

The 2xLP in “Translucent Blue & Pink” vinyl w/ gatefold sleeve and color inserts feature music by Emmy-nominated conductor, composer, and performer Pinar Toprak (Captain Marvel, Fortnite). The album is a soaring, orchestral score that thrillingly evokes the fantastic world of Pandora and the action that ensues. The vinyl edition will be available in April of 2024 and is available for preorder.

Avatar: Frontiers of Pandora is a first-person, action-adventure game set in the open world of the never-before-seen Western Frontier of Pandora. Abducted by the human militaristic corporation known as the RDA, you, a Na’vi, were trained and molded to serve their purpose. Fifteen years later, you are free, but find yourself a stranger in your birthplace. Reconnect with your lost heritage, discover what it truly means to be Na’vi, and join other clans to protect Pandora from the RDA.

Track List:

Side 1 – 19:45

Child of Two Worlds
Take Flight
The Sarentu Moot
First Strike
Return of the Sky People
Glade of Light

Side 2 – 18:41

To Be Chosen
A Warrior’s Heart
Welcome to Hometree
On the Hunt
Across the Boundless Range
Forest in the Sky
The Silk Harvest
Revelations

Side 3 – 20:03

First Flight
End of the Line
Eywa’s Blessing
Take the Fight to Them
Shadows of the Past
Pandora Will Be Free
The Woods Grow Still
Going Home

Side 4 – 21:10

Ash on the Winds
The Lodge
Wind Flutes Call
Zakru Never Forget a Friend
We Charge as One
Wild Sky
Flight of the Kinglor
New Beginnings
They Have Made Us Warriors
The People’s Cry (Main Theme)

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After a recent draught in quality popcorn entertainment, Zack Snyder unveils his long-awaited sci-fi adventure Rebel Moon in limited theaters this Friday. The project was originally conceived as a Star Wars spin-off, but was eventually passed over by the House of Mouse. Only time will tell if Snyder’s opus can match the epic highs and crushing lows of that iconic saga.

To whet your appetite for more Snyder, here are some of the greatest action sequences in his movies to date.

Opening Sequence – Dawn of the Dead (2004)

Snyder leapt out of the gates with this dark, humorous horror feature. Sarah Polley and a group of survivors camp in an abandoned mall during a zombie apocalypse. Snyder starts the film with a thrilling sequence that sees Polley’s character, Ana, fight off her zombified husband and daughter — a harrowing glimpse at the chaos through the eyes of our fearless heroine. The remaining film is an absolute treat for fans of action and horror alike.

First Battle – 300 (2006)

Bursting with style and testosterone, Snyder’s first big hit has it all. Admittedly, the splashy video game aesthetic doesn’t pop quite as well as it did nearly 20 years ago, but Snyder’s virtuoso slow-motion still dazzles, Larry Fong’s desaturated cinematography aptly captures the endless slaughter, and Gerald Butler’s raspy war cries — “This is where we fight!” — still induce goosebumps. Yeah, 300 is still a solid action flick.

Snyder makes audiences wait a good while for the carnage, but when it finally arrives via the film’s first big set piece, it doesn’t disappoint.

Prison Scene – Watchmen (2009)

There are moments of pure cinematic brilliance in Snyder’s misunderstood adaptation of Alan Moore’s acclaimed graphic novel Watchmen. For example: the jailbreak sequence that sees Nite Owl II (Patrick Wilson) and Silk Spectre II (Malin Åkerman) take on a group of prisoners to save their pal Rorschach (Jackie Earl Haley). In a precursor to Snyder’s take on Batman and Superman, our heroes punch their way through the mob and take the time to strike a cool-looking pose or two.

Attack – Legend of the Guardians: The Owls of Ga’Hoole (2010)

Snyder’s ambition is unmatched. He could have used his Hollywood moxie to adapt anything, and he decided a book about owls was his best bet. To his credit? It turned out to be a real hoot.

Ga’Hoole’s best bit sees our taloned heroes clashing with enemies in mid-flight. The action is gripping, even with non-human protagonists. If you’ve always wanted to see a deadly serious movie featuring karate-chopping owls, this is the one for you!

Baby Doll v Samurai – Sucker Punch (2011)

Sucker Punch may go down as an artistic misfire, but there’s still plenty to admire from a visual perspective. The trippy action extravaganza doesn’t skimp on the spectacle, delivering a handful of thrilling, video game-esque set pieces scored to an impressive soundtrack. The best is Baby Doll’s battle with a trio of larger-than-life samurai warriors in a snow-covered arena. Of course, this is all happening inside Baby Doll’s head (I think?), but that doesn’t make the scene any less enticing.

Smallville Battle – Man of Steel (2013)

After Ga’Hoole and Sucker Punch flopped at the box office, Snyder came back with a vengeance, directing the magnificent (and divisive) Man of Steel. Sure, the narrative may be a tad clunky, and that tornado scene induces more laughs than tears, but Snyder’s ambition is on full display.

The best of the bunch remains the Smallville battle, which finds Henry Cavill’s muscle-packing Superman squaring off against two incredibly powerful Kryptonians. Surprisingly, Snyder refrains from his trademark slow-motion action and instead cranks up the chaos via handheld cameras, allowing audiences to feel the full force of every punch. As the proverbial icing on the cake, Faora (Antje Traue) uses super speed to take down a garrison of soldiers — a sight that still gives goosebumps today.

Warehouse Fight – Batman v Superman: Dawn of Justice (2016)

Snyder’s follow-up to Man of Steel proved just as divisive, but remains a surprisingly thoughtful deconstruction of superhero mythology. Sure, it’s relentlessly bleak, but given its place in the Justice League trilogy, it works as a dark middle chapter that gives way to a stirring third act.

In terms of action, there are four terrific bits to choose from: namely the impressive opening Metropolis prologue that follows Ben Affleck’s Bruce Wayne through the events of Man of Steel, the titular promised fight sequence, the acclaimed warehouse fight between Batman and a group of goons, and the climactic Doomsday battle — tough choice. I’ve probably watched the Doomsday fight more than any comic book action sequence — I love Hans Zimmer and Junkie XL’s score and Gal Gadot’s Wonder Woman — but I think the warehouse sequence is more iconic, if only because it’s the first genuinely marvelous live-action Batman fight sequence.

Flash Uses the Speed Force – Zack Snyder’s Justice League

Another tough one. Snyder’s Justice League stands as one of the best superhero films. Epic in scope and emotionally rich, this 4-hour blockbuster packs everything a DC fan could ask for into a larger-than-life spectacle on par with Peter Jackson’s Lord of the Rings. Snyder treats his heroes like gods rather than run-of-the-mill caped crusaders and weaves a wondrous story about fractured souls uniting to take down an unstoppable force before he destroys the planet.

For me, the best action beat of Justice League remains Flash’s use of the Speed Force following Steppenwolf’s victory. All is lost until Barry uses his power to travel back in time and give his friends another chance. The music, effects, writing, and acting combine to create the best sequence in the entire picture and one of the most emotionally satisfying comic book moments ever put to film.

Casino Escape – Army of the Dead (2021)

Snyder’s first foray onto Netflix was a mixed bag. I wanted to love Army of the Dead, but the film we received was far from what I expected. Rather than a wild, raucous action picture about mercenaries robbing a casino in a zombie-filled Las Vegas, Snyder presented a dark, somber character drama that took itself far too seriously, which would be fine if any of the heroes/villains were worth rooting for. It’s not a bad film by any means — just not as good as it could have been.

Surprisingly, action is lacking in Army of the Dead, which doesn’t fully come alive until the third act. Thankfully, there’s enough blood-soaked carnage to satisfy action junkies, even if it is too little too late.

The post The Best Action Scenes in Zack Snyder’s Movies appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

ComingSoon is pleased to present an exclusive track from Chicken Run: Dawn of the Nugget — Original Motion Picture Soundtrack featuring music by Harry Gregson-Williams. You can pre-order the soundtrack now.

Take a listen to the track below:

Sony Music Masterworks today releases the Original Motion Picture Soundtrack by acclaimed Award-winning British composer, Harry Gregson-Williams to the eagerly-anticipated Netflix presentation of multi Academy and BAFTA Award-winning Aardman’s new film, Chicken Run: Dawn of the Nugget, available globally on 15th December 2023. The film is the sequel to the much-loved stop-motion animated film Chicken Run (2000), the highest-grossing stop-motion animation of all time.

Chicken Run: Dawn of the Nugget features a star-studded cast of voice talents, including Thandie Newton (Ginger), Zachary Levi (Rocky), Bella Ramsey (Molly), Jane Horrocks (Babs), Imelda Staunton (Bunty), Romesh Ranganathan (Nick) and Miranda Richardson (Mrs Tweedy), among many others. It is directed by Academy Award and BAFTA-nominated Sam Fell and produced by Steve Pegram and Leyla Hobart.

During his 30-plus year career, British-born composer Harry Gregson-Williams has worked with some of Hollywood’s most renowned directors, including Ridley and Tony Scott, Michael Bay, Joel Schumacher and Ben Affleck. However, having scored several Aardman movies since Chicken Run which he co-wrote with John Powell, the studio will always hold a special place in his heart.

“It was amazing doing the original Chicken Run,” Gregson-Williams reflects from his studio in Los Angeles. “We flew over to Aardman in Bristol to meet Nick Park and Peter Lord. It was fascinating and inspiring to see how the filmmakers worked with their models and sets and served as an incredibly positive introduction to their unique world. There’s such a sense of community there and I count myself very fortunate to have scored many of their films since those early days.” As well as the Chicken Run, he also worked on Flushed Away (2006), Arthur Christmas (2011) and Early Man (2018). It is therefore unsurprising that he did not hesitate to return for more ‘fowl’ play with Chicken Run: Dawn of the Nugget, which he saw as an opportunity to reprise some of his favorite themes from the first film, whilst also serving up something fresh.

“I’ve taken some of the melodic material from the original score and given it a good working over” he explains. “But Dawn of The Nugget has its own feel and tone and together with all the thrills and spills you’d expect from what’s essentially a heist movie. There’s an irresistible charm and emotional beat to it all which simply puts a big smile on your face!” He had a lot of fun scoring the scenes involving the somewhat creepy Fun-Land Farms nugget factory. “I alighted on some thematic material for that environment which is suitably mysterious and a little threatening at times,” he reveals. “Occasionally I have a couple of instruments playing the theme a semitone apart, and this gives us an uncomfortable and disorientating feeling. But there’s always hope for those chickens to prevail and succeed in their quest as they’re never short of a cunning plan.”

The soundtrack also features a brand-new track “My Sweet Baby” with music and lyrics by Josh Crocker and Charlotte Jane Pand, performed by the critically acclaimed singer/songwriter, Paloma Faith. Of her unique contribution, director, Sam Fell notes: “Her voice is at once timeless and classic but always relevant and contemporary. She has an amazing ability to project larger than life, iconic images while at the same time speaking sincerely and intimately to each and every one of her audience.”

Chicken Run: Dawn of the Nugget Tracklist

• 1. Opening Recap
• 2. My Sweet Baby – Paloma Faith
• 3. Molly
• 4. Trucks are Spotted
• 5. Frizzle
• 6. Funland Farms
• 7. Rats Visited
• 8. Team Assignments
• 9. Something Strange
• 10. Go Time
• 11. Roast Chicken
• 12. Big and Brave
• 13. Presentation Music
• 14. Malicia Tweedy Revealed
• 15. An Unexpected Guest
• 16. Follow Me
• 17. Going Back for Frizzle
• 18. Ready to Fry, Fry
• 19. Move Faster
• 20. It’s Sweet and Sour
• 21. Pushing Them Back
• 22. Returning Home

The post Listen to an Exclusive Track from the Chicken Run: Dawn of the Nugget Soundtrack appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

This month, twenty years ago, Peter Jackson‘s The Lord of the Rings trilogy ended with Return of the King. The 3+ hour motion picture — the grand finale in a series consisting of 2001’s Fellowship of the Ring and 2002’s The Two Towers — grossed a massive $1.156 billion at the worldwide box office. It also dominated the 76th Academy Awards, where it won an astonishing 12 statues, including Best Picture and Best Director.

But two decades removed from its release, where does LOTR’s cinematic significance stand?

Since its release, other franchises have tried to match its epic scope. A few have come close, but none lived up to the massive expectations set by their predecessors. In the last two decades, moviegoers experienced the rise and fall of The Matrix, Sam Raimi’s Spider-Man, Planet of the Apes, Pirates of the Caribbean, and X-Men, among others. Each of these franchises started strong, hit their peak with a terrific middle chapter, and then flamed out with audiences (and critics) by the third entry.

Return of the King, however, stuck the landing — and then some. When Samwise Gamgee (Sean Astin) walks inside his tiny Hobbit home in the Shire, a year removed from his perilous adventure with Frodo (Elijah Wood), and the words “The End” fill the screen, it’s a satisfying conclusion. ROTK gives moviegoers their money’s worth with larger-than-life set pieces, dashing heroes, and eye-popping spectacle, but Jackson also spends just as much time wrapping up pivotal character arcs.

People balked at the film’s multiple endings. Away with you! ROTK treats its heroes like real people. The series was never about the mission to destroy the One Ring — it was about how the journey changed those who went on it. Frodo went from a carefree youngster to a mature adult ready to embark on the next stage of his life; Sam grew into a confident man and married the woman he loved; Gandalf (Ian McKellen) began as a grizzled wizard, unsure of himself, died and remerged as Gandalf the White, a wisened man capable of leading enormous forces into battle. Aragorn (Viggo Mortensen) likewise became a leader, while Legolas and Gimli put aside their prejudices and discovered friendship.

That’s what makes LOTR such a satisfying trilogy. Jackson establishes several seemingly inconsequential character beats in Fellowship of the Ring that all pay off in ROTK. Whether it’s Sam asking Rosie Cotton to marry him or Aragorn and Arwen’s relationship, every story thread is tied up into a neat little bow.

Jackson developed these characters so well throughout the trilogy that we actually cared when they bid farewell.

LOTR got better with each film

So, what about older trilogies? How do they stack up against LOTR? Well, they don’t. The original Indiana Jones trilogy lands closest to LOTR’s perfection, in my opinion. Raiders remains a classic, Temple of Doom provides thrilling escapism, and Last Crusade is a pitch-perfect romp that brings the whole adventure to a satisfying close. None are quite as ambitious as LOTR, and Last Crusade gets dinged for sticking too close to formula. Back to the Future? Part II sucks, and III lacks ambition. Star Wars? Ewoks derailed the saga. The Godfather? Even a director’s cut of Part III couldn’t save the disappointing final chapter. Aliens? Terminator? Mad Max? All cursed with an underwhelming third act.

Of course, great trilogies exist. I love all three Die Hards, Raimi’s Evil Dead series, and Sergio Leone’s Dollars Trilogy. Toy Story 1-3 is fantastic, as is the first three Bourne Identity films. Still, I hesitate to put them above LOTR if only because ROTK is such a monumentally astonishing third act that puts all others to shame. All these years later, I’m always in the mood to watch Jackson’s glorious epic—a near-perfect blockbuster—an old-fashioned spectacle made by people who genuinely love the material.

Out of all the franchises that have come and gone in my lifetime, The Lord of the Rings is the one I always return to. Twenty years later, I still bow to the king.

The post Is The Lord of the Rings the Greatest Trilogy of All Time? appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

Another quiet weekend at the box office still drew a few surprises. Notably, The Boy and the Heron and Godzilla: Minus One—two Japanese films—claiming two of the top three spots. The former led the way with an impressive $12.8 million, the best US/Canada opening for GKIDS and Studio Ghibli, per Deadline. Meanwhile, Godzilla expanded to 2,540 theaters and accrued $8.3M (-31%) in its second weekend, bringing its domestic total to $25.3M.

Last week’s champ, Renaissance: A Film by Beyonce, didn’t fare as well, slipping 77% in Week 2 for a 3-day $5M total. All told, this latest concert feature has amassed $28M.

Hunger Games: Ballad of Songbirds & Snakes hung in at No. 2 with another $9.4M in Week 4 (-33%), raising its cume to $135.7M.

This week also saw a handful of more minor releases do decent business. Waitress the Musical pulled $3.2M from 1,214 locations; Poor Things, starring Emma Stone, totaled $644K from nine theaters (a $72K per theater average), and Ava DuVernay’s Origin collected $117K from two theaters.

Hopefully, the release of Wonka will liven things up this Friday.

Box Office Results: Domestic Top 10

1.) Boy and the Heron (GKIDS) 2205 theaters Fri $5.56M Sat $3.99M Sun $3.2M 3-day $12.8M/Wk 1

2.) Hunger Games: Ballad of Songbirds & Snakes (LG) 3,665 (-26) theaters Fri $2.7M (-34%) Sat $4M Sun $2.7M 3-day $9.4M (-33%) /Total $135.7M /Wk 4

3.) Godzilla Minus One (Toho) 2,540 (+232) theaters, Fri $2.26M (-52%) Sat $3.6M Sun $2.M 3-day $8.3M (-31%) /Total $25.3M /Wk 2

4.) Trolls Band Together (Uni) 3,451 (-165) theaters Fri $1.38M (-18%) Sat $2.8M Sun $2M 3-day $6.2M (-21%) Total $83M/Wk 4

5.) Wish (Dis) 3,410 (-490) theaters, Fri $1.16M (-28%) Sat $2.4M Sun $1.74M 3 day $5.3M (-30%), Total $49.4M/Wk 3

6.) Renaissance: A Film by Beyonce (AMC) 2,542 (+3) theaters, Fri $1.6M (-86%) Sat $2.1M Sun $1.3M 3-day $5M (-77%), Total $28M/Wk 2

7.) Napoleon (App/Sony) 3,350 (-150) theaters, Fri $1.175M (-44%) Sat $1.8M Sun $1.2M 3-day $4.2M (-42%), Total $53.1M/Wk 3

8.) Waitress (BST) 1,214 theaters, Thu/Fri $1.4M Sat $1M Sun $809K 3-day $3.2M/Wk 1

9.) Animal (Cine) 622 (-69) Theaters, Fri $744K Sat $994K Sun $537K 3-day $2.275M (-65%), Total $11.6M/Wk 2

10.) The Shift (Angel) 2,415 theaters, Fri $610K (-65%) Sat $860K Sun $690K 3-day $2.1M (-50%), Total $8.5M/Wk 2

The post Box Office Results: Boy and the Heron Leads the Way appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

Thirty-five years ago, David Zucker unveiled his comedy classic The Naked Gun: From the Files of Police Squad! to audiences. The rest was history.

In 1988, the film’s irreverent and satirical comedic approach wasn’t new. Zucker’s own The Kentucky Fried Movie, Airplane!, and Top Secret! were the first out of the gate. Still, The Naked Gun pushed the envelope even further and, in many ways, perfected the formula, resulting in a popular franchise and a slew of not-quite-as-good imitators. Leslie Nielsen cemented his status as a comedy legend and went on to star in an absurd amount of similarly themed features with varying degrees of success.

One could argue that, outside of maybe Jim Abrahams’ Hot Shots!, The Naked Gun remains the high point for the parody genre. The film is smart and dumb in equal measure. Silly and outrageous but also buoyed by sharp writing, The Naked Gun is the type of film audiences take for granted. These are hard pictures to make — just ask Disaster Movie.

To commemorate its anniversary, we thought it’d be fun to list our favorite moments from The Naked Gun in no particular order. Enjoy!

Bribe Scene

First up is this terrific bit in which Frank (Nielsen) shakes a man on the street for info. The pair take turns bribing the other and end up borrowing money from each other to sweeten the deal. The exchange starts at the 45-second mark but watch the whole clip. Zucker crams a ridiculous amount of hilarious sight gags and clever wordplay into those 45 seconds, the most memorable being a floating chalk outline. Gets me every time.

“Everywhere I look.”

The funniest sight gag arrives early in the film following Frank’s arrival at the airport. His girl just left him, you see — for an Olympic gymnast nonetheless — and now our hero must try to forget her. That’s not easy when everything he sees reminds him of her. Cue a shot of two dome structures that, ah, well . . . see for yourself in the clip below. Seriously, the timing of this gag is impeccable.

“He’s got a picture of your wife!”

While on assignment to protect Queen Elizabeth, Frank and Captain Ed Hocken (George Kennedy) frisk a few helpless guests. Naturally, Frank accidentally reaches into Ed’s coat and produces a gun and a wallet, which results in this great bit:

Frank’s Car

A running gag throughout the film has Frank recklessly driving his vehicle all over town. Every parking job results in disaster. At one point, he slams into some garbage cans, causing the airbags to inflate. Frank exits the vehicle, but the airbags accidentally shift the gear into neutral, causing the car to roll down the street. As people dive out of the way, Frank, assuming it’s an out-of-control driver, pulls out his gun and opens fire. This movie is brilliant.

Car Chase

Midway through the film, Frank chases a bad guy through the city. Well, he hops in the back of a car driven by a student driver, and they chase the bad guy around the city, resulting in an outrageously over-the-top sequence ripped straight out of Wile E. Coyote. Oh, and this terrific pillow bit precedes the big scene:

“Where the hell was I?”

Spoofing the old straight-faced detective shows of yesteryear, The Naked Gun gives Frank plenty of reflective time, replete with monotone voice-over. The best instance of this occurs when he strolls around town to collect his thoughts and ends up in the middle of nowhere.

“Use your open eye, Frank.”

The Naked Gun pokes fun at almost everything, including James Bond. In this memorable scene, Frank and Ed visit a Q-like colleague who introduces them to nifty gadgets, including the Swiss Army Shoe. Sight gags abound, including an incredibly tall man, Frank breaking the fourth wall and walking around a prop door (a bit used often in the Police Squad! TV series), and the best bit–Frank using the wrong eye to look in a microscope.

Microphone

Zucker loves some bathroom humor. Here, we see Frank head to the toilet for some much-needed relief. Unfortunately, he forgets to remove his microphone, meaning everyone can hear everything he’s doing.

Those are only a handful of moments from this classic flick. We haven’t even mentioned Priscilla Presley — “I was young, I needed the work!” — the “Nice beaver” bit, Ricardo Montalbán’s silly villain, O.J., the climactic baseball finale, safe sex, or “Bingo!” The Naked Gun has it all!

The post The Funniest Scenes in The Naked Gun appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

ComingSoon had the opportunity to speak with composer Mark Orton about his fantastic score for Alexander Payne’s equally fantastic The Holdovers, which is now available digitally.

CS: In The Holdovers, the story revolves around a history teacher and a troubled student. Did you draw inspiration from any historical musical themes or time periods to connect with the characters’ backgrounds or experiences?

There was a broader note that had to do with this idea that Alexander was making a film that wasn’t just taking place in the 70s but rather had the look and feel of a film actually made in the 70s. In terms of how this translated into the composition process, we spent roughly a week together talking about the music of the era and what did and didn’t resonate for him. So I think in terms of musical themes I simply had to make sure that nothing I was writing betrayed the time period. This meant leaning towards some of the music of the time with the songier side of the score and staying essentially time-period-neutral for the more traditional scoring moments.

Can you describe a specific scene or moment in the film where your musical composition provided a surprising or unexpected emotional depth that viewers might not anticipate?

I think that the “Drive to Boston” cue probably has a certain emotional depth that isn’t explored previously – and that it lets the audience breathe somewhat of a sigh of relief after a lot of acrimonious (though funny as hell) narrative previously. There’s a certain hopefulness to the cue that’s a first for the characters, although it does remain tinged by a bit of melancholy.

Given the remote prep school setting and the isolation of the characters during the holidays, how did you use music to create a sense of place and solitude within the score?

There is a sense of isolation – or maybe it’s more like loneliness as these characters are left behind during the holidays at an otherwise empty prep school. They’re abandoned, save for each other. I use unaccompanied alto and bass flute throughout the score to represent this. I also think the less hurried phrasing of the themes and spare instrumentation (in the first ½ of the film especially) ties to this sense of solitude.

The film is described as a mix of drama and comedy. How did you balance these contrasting elements within your score to maintain a cohesive musical narrative?

Alexander’s tastes in film music mean that the music should never lead emotion or humor, so generally speaking the first order of business is to not inform the drama and comedy – or certainly not amp it up in some way. Supporting it is ok, but most of the time I’m looking for ways to stay neutral enough to let the characters and story lead the way. As far as finding the right balance between drama and comedy, I’ve always enjoyed threading that needle, and in some ways it’s made easier by not going overtly into one or the other. I’ve also always been drawn to music that can take on different personalities depending on its setting/use. That’s not to say that I’m writing a bunch of droning neutral backdrops – it’s a very thematically driven score. It’s rather that the themes have to have a kind of flexibility that allows for them to take on meaning from the narrative. I hope that’s not too obtuse….

Collaboration is often a key aspect of film scoring. Could you share any unique anecdotes or challenges you faced while working with Alexander Payne and the creative team on ‘The Holdovers’?

Well…It’s unique in that I love everyone involved! Alexander has built this fantastic family around him and many of his collaborators have been on all his films back to Citizen Ruth. Richard Ford is his longtime music editor and we worked together closely on this score (also on Nebraska’s). Richard’s the person who turned Alexander onto my music to begin with and we’ve worked together on many projects since. He’s a great collaborator and given their history, he had what amounted to insider information on Alexander’s methods and tastes which proved very helpful in my early years working with him.

Alexander is very musical to the point where he asked me “is that a minor 7 chord?” from across a room as I was mocking up something for him in person. He’s also very clear about what he does and doesn’t like, which I so much prefer to a less sure-handed approach. I always tell directors that “I had a happy childhood,” encouraging them to not pull punches – I’d rather know when something wasn’t working for them. I do remember auditioning one of the early (more comic) cues and Alexander saying, “I’m glad you mentioned that happy childhood because this one isn’t working for me.”

In Nebraska, you employed a blend of folk and acoustic music. Did you incorporate any particular musical styles or genres that are unique to The Holdovers?

Definitely yes. As I mentioned earlier, we went after some true early 70’s sounds on the songier side of the score. This comes out most in the montages and end credits cues. I put together a great band for it with some fantastic musicians (that play in retro rock bands) knowing that they would know full well how to achieve an authentic sound. It’s an era of music that I love and grew up listening to — coveting my older brother’s record collection and later covering that music in my first rock bands.

It’s also an era that was sonically built off of some of the most desirable gear if you’re a player – the most collectable gear — my fender amps and guitars, my Gibson Les Paul, my Wurlitzer electric piano, etc etc – all are from the late 60’s early 70’s. Same goes for a good amount of the outboard gear I use in my studio. I’m an engineer as well as a composer and record and often mix my own scores. I do so through analog gear – I still run Pro Tools out through an analog mixer and have a bunch of vintage outboard that lines up well with going after retro/classic sonics.

How do you approach incorporating silence and quiet moments into your score when the absence of music itself becomes a powerful element in the storytelling?

I really don’t like the wall to wall trend that’s permeated so much of film and especially TV/Series/Episodic work. I value silence a great deal.

That’s a real consideration for me when I’m spotting a film, and remains a consideration when I’m pacing cues within a film. I also feel that a certain openness or space within the music can have a strong effect. So allowing for some patience between statements of a theme or simple breaks in the phrasing generally can allow for more appreciation of that melody – or in the case of film, for more connection with the story or an emotion or character. A case and point is the way I tried to handle Angus’ trip to and from the nursing home. These scenes are scored with a couple of spare piano themes that leave a lot of time for reflection of what the character is going through.

Are there any musical themes or motifs in The Holdovers that you believe will stick with the audience long after they’ve seen the film? If so, could you describe them?

I think the strongest in terms of a hook (for lack of a better word) is the theme for the drive to Boston. This same theme comes back at the end of the film in the credits. It’s also probably the closest thing to the music from “Nebraska” (and in fact, the cue had a working title of “Nebraska-esque” early on). It’s a kind of traveling waltz – it can be felt in 3/4 or 6/8, but one of its guitar tracks is crossing the time in a kind of hemiola pattern throughout most of it. The theme is stated on guitar and doubled by accordion, but there is also some electric piano, organ, bass and percussion/drums underneath.

I also use a theme that gets the royal treatment in terms of arrangements. It’s starts off as the first somewhat happy theme as “You Guys Like to Ski?” with a small jazz combo in a swung 6/8 that’s led by alto flute, but it is quickly revisited in the next scene by a boys choir with timpani for “Let’s Make the Best of It” in a decidedly more dramatic version. That theme comes back for a third time later in the film in a jauntier variation that dances awfully close to spaghetti western and accompanies one of the lamest throws of a football ever captured on the big screen.

Film scores often take viewers on an emotional journey. Can you talk about the emotional arc of your music throughout The Holdovers and how it mirrors the characters’ development?

There are several cues that hew closer to the emotion in the film – the nursing home cues in particular, along with one kind of “goodbye” cue towards the end – but much of the music allows for the narrative to grow. It’s music that reflects what’s on screen and what’s developed in the story rather than leading it, and it’s neutral enough to allow for that development and even support it. This aligns with Alexander’s aesthetic and gets at something I’ve always been fascinated with in music, which is a bit hard to describe. I can liken it to holding up a prism to a light source and adjusting the angle to watch how the light shifts – I aspire to do something similar musically, especially with the more thematic side of what I do, so that a theme can take on meaning and dimension over the course of a film depending on the scene it’s playing under, rather than it being tied to just one scene or character or emotion. In other words, I’m more interested in writing a theme that can morph and be seen from different angles depending on the scene that’s playing over it.

The holiday season is a time of tradition and nostalgia. Did you weave any traditional holiday or seasonal elements into your score to resonate with the film’s themes?

I used a ton of bells and chimes and even some sleigh bells in the score. There’s also celesta, which certainly has the “Nutcracker” association. That said, we worked hard to find sounds that were less traditional – I now have a LARGE collection of sleigh bells for instance – with the idea that this is not a traditional Christmas film, the characters are flawed and often prickly, and the music should reflect this. This translates to my using a beaten up sleigh bell or a toy piano rather than a fancy orchestral sleigh bell or celesta. There’s a ton of great source music (songs) in the film that get at the more traditional side of holiday music so I felt a bit more flexibility I suppose, though at the same time I was careful not to get too campy with it.

What do you have upcoming?

One of the most surreal things that happened during the later stages of scoring The Holdovers was this slowly unfolding conversation about licensing some of my pre-existing music for an upcoming Netflix series (which I knew nothing about). A request to license one track turned into two. I then sent along more music and suddenly had a dozen tracks in their series. At this point, as I’d feared, they asked if I’d come on board to score it. I let them know I was in the midst of a feature, and what’s more, I knew nothing about their project.

Several NDAs later, I found out I’d been going back and forth with Obama and was getting asked to score his Netflix series, Working: What We Do All Day. It took some serious juggling but ended up timing out right and I was able to complete both projects. That was immediately followed by another Netflix series working for a director I really love, Jared Hess (Napoleon Dynamite, Nacho Libre) for a project called Muscles & Mayhem: An Unauthorized History of The American Gladiators. It was a total blast and a complete gear shift from the world of The Holdovers — and just the kind of hard right musical turn that I love about my job.

The post The Holdovers Interview: Composer Mark Orton appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

ComingSoon is pleased to present the special vinyl edition of Flora and Son—Original Motion Picture Soundtrack, which is now available to pre-order.

Produced by Gary Clark (SingStreet) and featuring songs performed by stars Eve Hewson, Joseph Gordon-Levitt, and Orén Kinlan, as well as an additional score by Clark and director John Carney (Once), the vinyl album will be released on January 12. The single LP comes in a yellow variant with color insert and original artwork by Belfast, Ireland-based illustrator Laura Callaghan.

The album includes the effervescent and anthemic “High Life,” featuring Hewson and Kinlan as they perform together in one of the most uplifting moments in the film, as well as “Meet In The Middle,” which features Hewson and Gordon-Levitt in a poignant duet.

Written and directed by Carney, the Apple Original Film is streaming globally on Apple TV+.

Track List

Side A

01. Guitar Repair – Gary Clark

02. I Hope That I Don’t Fall in Love with You – Joseph Gordon-Levitt

03. Abra Da Cabra – Gary Clark

04. I Get Along Without You Very Well (Except Sometimes) – Joseph Gordon-Levitt

05. Dublin07 – Eve Hewson, Oren Kinlan

06. Juanita – Eve Hewson

07. Shopping Mall – Gary Clark

08. Welcome to L.A. – Joseph Gordon-Levitt

09. I’ll Be The One – Adam Hunter

10. Crumlin to L.A. – Jack Reynor, Gary Clark

Side B

01. Meet In The Middle – Joseph Gordon-Levitt, Eve Hewson

02. Rooftop – Gary Clark

03. Court – Gary Clark

04. Montage – Gary Clark, John Carney

05. Flora Watches Max – Gary Clark

06. High Life – Eve Hewson, Oren Kinlan

07. Talking To You – Joseph Gordon-Levitt

08. The Best Day – Adam Hunter

The post Check Out the Vinyl Release of Flora and Son – Original Motion Picture Soundtrack appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

ComingSoon is pleased to present exclusive tracks from Leave the World Behind (Soundtrack from the Netflix Film) with music by Emmy-winning composer Mac Quayle. Listen to the tracks titled “Beach Day” and “White Lion” below. It is now available to pre-order digitally.

Netflix will release Leave the World Behind (Soundtrack From the Netflix Film) on December 8 to coincide with the film’s release on Netflix. The 17-track soundtrack includes the original song “The Paradigm” by Lil Yachty.

Mac comments on the score, “When director Sam Esmail told me he was inspired by avant-garde orchestral music as a direction for the score, I knew I had to find a new way to develop a musical vocabulary for the film. That new way turned out to be something old: composer Olivier Messiaen and his Messiaen Modes, specifically Mode 3. Using only 9 notes, I wrote some of the most unusual orchestral music of my career and helped Sam tell his unsettling, apocalyptic story.”

Leave the World Behind Soundtrack Tracklist

1. Space (1:12)
2. Beach Day (2:55)
3. White Lion (1:50)
4. Good Omen (1:00)
5. Knock At The Door (2:10)
6. Cyberattack (2:28)
7. The Deer (1:09)
8. Red Rain (5:29)
9. Self-proclaimed Survivalist (2:19)
10. Sirens (2:13)
11. The Flood (1:31)
12. I’m Done Waiting (4:57)
13. Spiral (4:33)
14. We’ve All Been Deserted (2:06)
15. Human vs. Nature (5:15)
16. The Third Stage (5:01)
17. The Paradigm (2:20)*

*Written and performed by Lil Yaghty

The post Listen to 2 Exclusive Tracks from the Leave the World Behind Soundtrack appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

ComingSoon is pleased to present an exclusive track from Marlene Shigekawa’s short film The Blue Jay. A-frame Music Studios will release The Blue Jay score soundtrack digitally next week featuring music by Taisuke Kimura. Listen to the track titled “Toshi’s Farewell” below.

“In composing the score for ‘The Blue Jay,’ I aimed to encapsulate the profound narrative of Japanese Americans in Poston during WW2,” says Taisuke. “By intertwining the melancholic notes of the Japanese flute ‘Shakuhachi’ and the haunting echoes of the Native American flute, the music breathes life into their emotional journey, identity struggles, and the landscapes they traverse. The cello, chosen for its proximity to the human voice, becomes the poignant storyteller, conveying the depth of their experiences. Much like the unfolding migrations in the film, the sonic tapestry evolves with each note, leaving an indelible mark on the viewer’s heart.”

Listen to “Toshi’s Farewell” below:

“It’s 1942. Sam Shigeta is one of 18,000 Japanese Americans who is incarcerated during World War II in the desolate Poston Concentration Camp, located on the Colorado River Indian Tribes Reservation in Arizona,” says the synopsis. “Encouraged by the camp’s government administrators to form their own self-government, Sam takes on the role of the camp’s Police Chief. While Sam wants to prove his U.S. loyalty, Pohache, part of the Mohave tribe on the same reservation, can’t quite hide his resentment of the U.S. government, revealed through his use of sarcasm and biting humor.”

The Blue Jay Tracklist

01. The Civil Liberties Act of 1988

02. Hold Or Shoot

03. Toshi’s Farewell

04. For Our Friendship

The post The Blue Jay: Listen to an Exclusive Track from Marlene Shigekawa’s Short appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

This weekend, I had the pleasure of catching Godzilla: Minus One on IMAX. In many respects, the modestly priced monster feature put many of Hollywood’s productions to shame. How did Minus One only cost $15M to produce, while Indiana Jones and the Dial of Destiny cost over $300M? Something doesn’t add up.

More importantly, I walked away from Minus One with a conclusion: Godzilla works best as a bad guy. 

No, the lumbering lizard shouldn’t always be the baddie. Still, my favorite interpretations of the character—the 1954 original, Godzilla 1985, Shin Godzilla, and Minus One—present the creature as a lumbering, unstoppable force of mass destruction. 

I recall seeing the first trailers for Gareth Edwards’ Godzilla, which led us to believe the pic would center around humanity’s battle against the iconic kaiju. Of course, that was a cheap marketing tactic that hid its main antagonists and promised something far darker and sinister than the film we received. While I’ve come around to the flick in the years since its release—and likewise enjoyed its two sequels and the Monarch TV series—I think Edwards and Co. missed a tremendous opportunity to tell a powerful tale of man versus beast in the same vein as Minus One.

Now, Edwards’ Godzilla has transformed into a superhero who teams up with other monsters to battle bad guys like King Ghidorah and whatever that giant monkey is in Godzilla x Kong. Again, there’s room for this version of our favorite fire-breathing lizard, but it doesn’t hit as hard when clad in neon colors, sprinting (!) alongside the mighty Kong and functioning as an out-and-out good guy.

For comparison’s sake, check out this astonishing Jaws-inspired sequence from Godzilla: Minus One, which is far more intense and inspired than anything in that Godzilla x Kong trailer:

Even check out this clip from Shin Godzilla, another take on the bad Godzilla angle:

I guess it all depends on how you perceive Godzilla: monster or a savior? A friend or foe? A nuclear bomb allegory or a giant Avenger? Neither is wrong, but I think Godzilla is more memorable knocking down skyscrapers and blasting Tokyo with his atomic breath.

Forming a human drama around a villainous Godzilla works better since the filmmakers don’t have to focus on creating a plausible scenario to pit two titans against each other. In Minus One, the story centers around a disgraced WWII kamikaze pilot who happens upon a woman and a baby stranded in the streets after the war. Godzilla acts as a ginormous plot device, propelling the story from Point A to Point B. The human element — not the giant CGI lizard — provides the film’s emotional backbone.

In the movie Godzilla vs. Kong, the focus is more on the Titans than the human characters. While the destruction scenes are impressive, and the computer-generated effects are stunning, the story lacks depth. As a result, the movie feels like a video game, with flashy visuals and action scenes that try to make up for the lack of substance in the plot.

Again, films like Godzilla x Kong are goofy and campy fun, particularly in the middle of summer. I’m eager to see what director Adam Wingard has up his sleeve. Still, as Minus One proves, evil Godzilla provides more creative directions for filmmakers to tackle. Legendary would do well to remember that when it eventually reboots the franchise.

The post Minus One Proves Godzilla Is Best as the Bad Guy appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

We have a unique opportunity this week, folks. Two genuine action classics, James Cameron’s The Abyss and John McTiernan’s Die Hard, return to cinemas for a limited time. Here’s a tip: see them.

Even if you’re like me and have seen both films thousands of times, nothing beats watching a movie on the big screen. Nicole Kidman makes a great point. Movie theaters make movies better.

I missed The Abyss and Die Hard when they hit theaters in the late ’80s. My sister saw Cameron’s film with friends weeks after its initial release. She implored my parents to rent the VHS tape one Friday evening, and we were treated to a unique, albeit clunky, underwater epic packed with incredible action sequences, fantastic special effects, and a handful of solid performances. My parents thought it went on too long and made fun of the aliens at the end. The following day, I recall listening to my parents discussing how Aliens and The Terminator were better.

I loved it. At that point, I had seen Aliens a handful of times (edited, of course), but otherwise, my love affair with James Cameron hadn’t yet taken off. Even so, The Abyss left me wanting more of whatever that was—the action, romance, and tension combined so well. I didn’t mind the cheesy extraterrestrial finale—I was too busy staring at the purple lights.

Eventually, I saw the extended edition, but only in 2000 when it arrived via the special edition DVD. I couldn’t sleep the night before, and while the final product still had issues, I enjoyed the completed film more than the previous edition.

Now, as time has passed, Cameron has made even better films. Terminator 2: Judgment Day might be my favorite movie, True Lies is a darned action classic, Titanic remains a powerful, sweeping epic (and maybe his best film), while Avatar and Avatar: The Way of Water are thrilling cinematic blockbusters that put all others to shame.

All that to say, The Abyss might be Cameron’s worst movie—and no, I’m not counting Piranha II: The Spawning. That’s quite remarkable and speaks volumes about the acclaimed filmmaker’s immense talent because The Abyss kicks ass. You can practically see Cameron’s ambition oozing off the screen, even as he struggles to combine the various elements into a cohesive whole.

Stars Ed Harris and Mary Elizabeth Mastrantonio didn’t mince words discussing the tumultuous making-of process. The effort shows. Here is a motion picture made by people who give a damn. As harrowing as it was to bring The Abyss to life, you can’t fault the final product.

Don’t miss this opportunity to see The Abyss on the largest screen possible, especially in 4K. If this looks half as good as Titanic and Avatar, we’re in for a treat.

As for Die Hard, I was too young to see Bruce Willis battle Alan Rickman on the big screen in 1988. I didn’t see Die Hard for the first time until high school and didn’t fully appreciate the action classic until the mid-2000s when I binged the trilogy ahead of Live Free or Die Hard. Now, it’s a must-watch in the Ames household, particularly around Christmas time. I watched it a few weeks ago while putting up our tree. Then, last weekend, I popped in Die Hard 2: Die Harder during an unusually quiet night. I love both films. With a Vengeance should find its way to my TV sometime next week.

When my brother sent me a text revealing that Die Hard was hitting cinemas in time for the Christmas season on AMC’s Dolby Digital, I didn’t hesitate to purchase my ticket. As of now, my theater has sold a single ticket—mine. To that, I say you’re missing out. As stated, there’s nothing quite like seeing a classic on the big screen where you can invest your full attention.

Last year, I also saw Jaws and ET on Imax. I’ve ventured to cinemas for films like Glory, Back to the Future, and Superman: The Movie. Each time, it’s like watching them for the first time. I suspect Die Hard will bring that same sense of wonder when I see it this Friday. I can’t wait.

So, again, I offer this tip: see The Abyss and Die Hard this week. Experience the magic of these stellar films on the big screen with a bucket of popcorn and a large soda. You won’t be disappointed. This is my gift to you.

The post Why You Need to See The Abyss and Die Hard in Theaters this Week appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

I loved The Fugitive when it stormed into theaters in 1993. At the time, it was one of those rare movies you knew you would watch a million times over. As the years have passed, I enjoy the Andrew Davis action thriller even more than I did as a kid. And why shouldn’t I? The Fugitive is a taut, superbly acted, impeccably directed motion picture that grabs you from those kick-ass opening credits (amidst James Newton Howard’s incredible score) and doesn’t let go until Richard Kimble (Harrison Ford) and Samuel Gerard (Tommy Lee Jones) drive away together in a squad car towards an uncertain future.

The Academy Award-nominated film landed on VHS and Laserdisc on March 10, 1994, and eventually found its way to DVD in 1997. I owned the VHS and DVD, which were essentially the same, quality-wise. For years, I endured this version. Then, in 2006, Warner Bros. saw fit to release the pic on Blu-ray, replete with a few snazzy special features, namely a commentary by Davis and Jones. Negative reviews forced WB to repackage the picture in time for its 20th anniversary, this time with a more refined 1080p transfer and a few nifty audio features.

This version removed artifacts and provided stronger detail, particularly in close-ups. Now, The Fugitive doesn’t boast stunning cinematography. Instead, cinematographer Michael Chapman opts for a more realistic approach, capturing the grime and grit of Chicago’s wintry streets. The 20th-anniversary Blu-ray did a fine job presenting the film in crisp detail; honestly, I was happy with that version.

Jump ahead another decade, and behold The Fugitive’s 30th Anniversary Ultra-HD Blu-ray, crafted from an 8K scan of the original 35mm camera negative, boasting a cinematic 1.85:1 aspect ratio—now the de facto version of this legendary feature film.

The visuals are sharp, immaculate, and exquisitely polished. Shadows and darkness are strikingly contrasted, especially in iconic scenes like the classic train sequence and the grand finale. Furthermore, the overall appearance is remarkably natural. Unlike earlier versions that leaned towards a colder tone with desaturated colors, this 4K rendition of The Fugitive radiates a vibrancy that makes it appear as if crafted just yesterday.

The 30th-anniversary edition comes packaged with a new eight-channel Dolby Atmos soundtrack powerful enough to shuffle the furniture in your house during action sequences. James Newton Howard’s score rumbles across the bass, while dialogue is easily distinguishable from the raucous sound effects.

Special features are, unfortunately, thin, but that’s expected in this day and age. Featurettes are carryovers from previous packages. There is a commentary by Davis or Jones, but it’s the same as before.

No matter. The Fugitive remains the best example of a big-screen adaptation of a TV show and perhaps the greatest cat-and-mouse thriller ever conceived. All these years later, the hunt still thrills.

SCORE: 9/10

As ComingSoon’s review policy explains, a score of 9 equates to “Excellent.” Entertainment that reaches this level is at the top of its type. The gold standard that every creator aims to reach.

Disclosure: ComingSoon was sent a review copy for our The Fugitive 4K review.

The post The Fugitive 4K Review: A Glorious Update for the ’90s Classic appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.