The cast and name of the next James Bond movie was announced Thursday morning by director Sam Mendes at an event in London at Pinewood Studios.
Bond 24 will be called "Spectre" and will be released in theaters Nov. 6, 2015.
Daniel Craig will return as James Bond, Ralph Fiennes as M., and Rory Kinnear will reprise his role as Tanner. Naomie Harris will also be back as Moneypenny.
Star Wars: The Force Awakens has proven to be one of the biggest trailer debuts of all time, with the 88 second sneak peek racking up over 40 million views in a record number of days.
Fans just can't get enough of John Boyega in his Stormtrooper outfit and Daisy Ridley setting off on her desert speeder. Everyone already wants more! But when will that happen?
According to /film, we should see the second Star Wars: The Force Awakens trailer debut with Avengers: Age of Ultron on May 1. But we may see a second teaser before that, possibly during next year's Super Bowl.
Star Wars: The Force Awakens is still a little over a year away, and most films don't usually debut their first teaser trailer until six months away from release. But Star Wars is a unique franchise, and its possible that we will be given a few more tiny glimpses at the movie as we approach the December 18, 2015 premiere. But we won't get a full-length trailer until at least this spring, which will be 8 months out from Star Wars: The Force Awakens actually being on theaters screens.
While neither Disney nor Lucasfilm have confirmed that the next Star Wars: The Force Awakens will debut with Avengers: Age of Ultron, it does make the most sense. The Marvel sequel is Disney's second largest film of 2015, and it has crossover appeal. The same trailer will also likely play with Disney's Tomorrowland, which debuts a few weeks later in May.
/film speculates that, since iTunes is calling the recently released Star Wars: The Force Awakens footage 'First Teaser' that a second and maybe even third teaser may appear before a full trailer in May. Perhaps a second look will arrive with Into the Woods on Christmas Day? Though that seems unlikely. The biggest chance we have of seeing more from Star Wars: The Force Awakens is during the Super Bowl on February 1, especially since Disney has a strong relationship with the broadcast. What do you think? Is it too soon to start wondering when we'll get the next batch of footage?
Star Wars: The Force Awakens comes to theaters December 18th, 2015 and stars John Boyega, Daisy Ridley, Carrie Fisher, Harrison Ford, Mark Hamill, Adam Driver, Domhnall Gleeson, Lupita Nyong'o. The film is directed by J.J. Abrams.
Avengers: Age of Ultron comes to theaters May 1st, 2015 and stars Aaron Taylor-Johnson, Scarlett Johansson, Robert Downey Jr., Elizabeth Olsen, Chris Hemsworth, Chris Evans, Cobie Smulders, Jeremy Renner. The film is directed by Joss Whedon.
A "Terminator" movie is coming to theaters next summer and the first trailer is here.
"Terminator: Genisys" will star Jason Clarke ("Dawn of the Planet of the Apes"), Emilia Clarke ("Game of Thrones"), and Matt Smith ("Doctor Who").
Arnold Schwarzenegger will be back to reprise his role as the Terminator who started it all.
"Terminator Genisys" is in theaters July 1, 2015.
The fifth installment in the "Terminator" franchise will cost a reported $170 million to make. Alan Taylor ("Thor: The Dark World") will direct.
The film looks like a mash-up of the first and second movies in which Schwarzenegger's Terminator goes back in time to kill Sarah Connor to prevent the birth of her son John. This time Schwarzenegger's character is heading back in time to take out his original self from the 1984 film. Got all that?
Documents continue to leak online from the massive cyberattack that hit Sony Pictures late last month.
The latest comes from Gawker which has combed through a lengthy file containing negative employee feedback.
Gawker points out what appears to be a main concern of many at the studio, that Sony is over-reliant on reboots and Adam Sandler flicks while taking little risk on "innovative" films. For example, one employee asked why Sony doesn't have a property akin to "The Hunger Games."
Reboots in the past year at Sony Pictures Entertainment (SPE) include a new "RoboCop" movie and a sequel to "The Amazing Spider-Man" franchise. The latter has performed worse than the original Spidey trilogy starring Tobey McGuire at Sony. The studio's next big movie is a re-imagining of the classic "Annie."
Several comments suggest many are tired of the studio's "formulaic" Sandler movies. His last two films, "Grown Ups 2" and animated "Hotel Transylvania" were hits for Sony.
Here are some of the employee complaints via Gawker.
There is a general "blah-ness" to the films we produce. Althought we manage to produce an innovative film once in awhile, Social Network, Moneyball, The Girl with the Dragon Tattoo, we continue to be saddled with the mundane, formulaic Adam Sandler films. Let's raise the bar a little on the films we produce, and inspire employees that they are working on the next Social Network.
In TV and Theatrical, I hope management looks closely at the money spent on development and term deals to ensure efficiency. There are a lot of term deal personnel as well as creative personnel, yet we only release a dozen or so Columbia Pictures a year, for example. And will we still be paying for Adam Sandler? Why?
It is commenable [sic] that SPE understands/supports the importance of risk-taking, particularly in how the we pick films to greenlight. However, the studio needs to change deal structure that has been in place with Happy Madison, as this arrangement has disproportionately benefitted Adam Sandler and his team, relative to SPE.
Stop making the same, safe, soul-less movies and TV shows. Enough with the re-makes and reboots. Breaking Bad and Community are just about the most artful and innovative gems we currently have
There is a lotofmovie news today. The latest is that Ryan Reynolds is set to reprise his role as Marvel anti-hero Deadpool in 20th Century Fox's upcoming movie of the same name.
Both The Wrap and Deadline report that it's basically a done deal.
Reynolds all but confirmed the news as well.
Earlier Thursday, Reynolds teased his return to the role on Twitter with an image of the anti-hero's favorite food, Chimichangas.
For those unfamiliar with the character, Deadpool is a mercenary named Wade Wilson known for breaking the fourth wall in his comic books. Essentially, he's a comic book character who knows he's a comic book character, and is a favorite of fans to dress up as at Comic Con conventions.
Reynolds played the character in 2009's "X-Men Origins: Wolverine" movie.
Since then, the actor has claimed the character as his own, trying to get a "Deadpool" movie filmed. He even went so far as to film test footage of himself playing the character. The footage leaked online earlier this year and was positively received.
The "Deadpool" movie is set for a Feb. 12, 2016 release.
This year marks the 25th anniversary of Tim Burton's "Batman" movie starring Michael Keaton and the 75th anniversary of the Dark Knight.
Warner Bros. is releasing a two-disc special Blu-Ray Diamond Luxe edition of the film Dec. 9. to commemorate the movie.
The new release will include a featurette "Batman: The Birth of the Modern Blockbuster," detailing how the movie helped set the bar for future film franchises.
Warner Bros. shared an exclusive clip from the feature with Business Insider.
"Interstellar" director Christopher Nolan is a big proponent of making his movies look as real as possible.
In “The Dark Knight Rises” he actually had a plane dropped from the sky to film the movie’s opening scene. A revolving set was used to create an elaborate fight scene in “Inception.”
So it shouldn't come as a big surprise that in his latest movie, the film's two monolith-like robots TARS and CASE had hardly any digital effects.
Several puppets weighing 200 pounds were constructed and filmed alongside cast members. TARS voice actor and comedian Bill Irwin actually lugged them around set. Digital effects were brought in later for a few select scenes and to clean up any instances of Irwin in the film.
Business Insider recently spoke with both special effects coordinator, Scott Fisher, and visual effects supervisor, Paul Franklin in separate interviews to find out how TARS came together.
"Chris [Nolan] started talking about TARS very early on in pre-production," says Franklin. "And I said, ‘Well, what is this robot going to look like?’ And he said, ‘Well, I don’t want it to be a sort of conventional idea of what a robot should be in science fiction. He didn’t want to make it look like just a mechanical mat ... which is typically what happens with robots in science fiction films. They tend to be sort of machine analogs of a human being. At the same time, he wanted the thing to have a real level of physical reality to it."
Franklin's team at visual effects studio Double Negative spent a lot of time figuring out how TARS may run, fold his arms, and do various other movements.
At the same time, Scott Fisher's practical effects team set out to configure a giant 200-pound puppet for Irwin to haul around. Fisher says TARS didn't undergo many different looks.
Production designer Nathan Crowley explains in "Interstellar: Beyond Time and Space" that a lot of inspiration for the robots came from balsa wood and lollipop sticks.
"We started working with the original designs that Nathan had and as far as the size and the shape and seeing what we could do with a person behind it, working it," explained Fisher. "We ended up with several different puppets that we could use that he [Irwin] moved around the set and was able to interact with the actors on set and … I think that’s what makes it kind of neat."
"Bill would actually be able to operate this thing and he was essentially effectively sort of shackled to the back of it," said Franklin.
The design team ended up creating four puppets on set which consisted of TARS and CASE and their own backup robots. Each was tasked with performing different movements.
"We had one that was in the ship that could raise its head," explains Fisher. "We had one that would come out of the back of the ship. We had another one that had more intricate arm movement where the arm could fold out and then a few digits could fold out from that. We had two real hero walkers."
The main challenge was nailing down TARS's movements on screen, something which Irwin helped the crew figure out.
"There’s a lot of trial and error as we built him to see what Bill could do and what he could handle and on different surfaces," tells Fisher. "In Iceland we had to walk through ... it was almost two feet of water. Each one [surface] kind of had a different challenge. Some were kind of slippery. It was hard to move on those. He [Irwin] just had to figure out what was the right kind of tool for each situation."
Fisher says TARS ended up with three different walks in total.
"There’s what we call the “ape walk” and then there’s a “crutch walk” where the two outside legs and the center spins through," he said. "And then there’s where all three legs move independently."
After filming with a practical puppet of TARS, the visual effects team made minor edits which included taking out some wires, physical props and rigs, and wiping out any instances of Irwin in the film.
"We would erase Bill if we saw him because obviously he’s a little bit taller than TARS," said Franklin. "But then we would add things like … if TARS’ arm might fold out and a smaller finer arm might come out at the end. We would add that digitally."
Digital effects were also used to add an extra wow factor to the robots for when they were moving through water and flying through the sky on other planets.
"Mostly, our digital work was confined to those moments where TARS and CASE, his twin robot, tend to do extraordinary things like turn into the waterwheel and move through the water to be able to collect Dr. Brand, pick her up, and run with her," Franklin explained.
Fisher and the practical effects team built physical rigs that allowed the visual effects team to correctly interpret the robots' interactions with the water.
"He had a sort of water wheel rig attached to a quad-bike which we could drive through the water to create all the splashing," said Franklin. "And, then we would add the digital robots into this shot. We’d raise the quad-bike and we’d have a digital robot driving the splashes."
"That produced this very extraordinary result where you believe he’s real because most of the time you’re looking at reality," he added. "When he’s running across the ice, for example, that’s a digital robot. But when he climbs up inside the spacecraft, he’s real."
Fisher noted how unusual it was for a director to take this approach to both TARS and CASE.
"I think most film directors would look at that character and instantly think CG but he [Nolan] instantly thought let’s do as much practical as we can. Let’s see what kind of a puppet we can build," said Fisher. "That's a classic kind of a Nolan thing right there."
Now watch: Adam Savage explain why he loves the design of TARS
Who knew that Robin Hood was still so popular? Less than five years after Ridley Scott and Russell Crowe collaborated on their own version of the heroic outlaw and just a few months after Sony purchased their own script based on him too, Disney announced that they’ve purchased another Robin Hood spec script.
According to Deadline, Disney has purchased Brandon Barker’s spec script Nottingham & Hood, which has been described as a revisionist take on the Sherwood Forest legend. It’s been alleged that the intended blockbuster has the same tone as Pirates Of The Caribbean, and the studio is quietly confident that it can blossom into a fully-fledged action-adventure franchise that also fits in with Disney’s global brand.
Andrew Rona and Alex Heineman are the duo who will produce Nottingham & Hood through The Picture Company. This is actually Brandon Barker’s first ever screenplay. Well, the first he’s sold. I imagine that he gave another few scripts a whirl before deciding to proceed with his take on Robin Hood. Disney’s Nottingham & Hood will face stiff competition from Hood, Sony’s own interpretation of Robin Hood which the studio actually intends to turn in to a series of films that revolve around the legendary thief and his merry posse. Whoever actually releases their movie first will have the upper-hand in this titanic cinematic tussle. In fact if either Hood or Nottingham & Hood manages to enter production way before its rival then it will be interesting to see if the other movie actually decides to proceed at all. That’s because the trailing studio will be fully aware that the first of these films to be released will suck all of the anticipation and excitement from the other.
But which potential Robin Hood franchise shows the most potential? At the moment, information on Hood and Nottingham & Hood is still at a bare minimum, but I’d have to side with Disney. Sony’s Hood sounds incredibly ambitious. As Cinema Blend reported back in October, Hood will allegedly build its own cinematic universe in the same way that Marvel did with The Avengers. This means that they plan to focus individual films on the likes of Little John, Friar Tuck, and Will Scarlett. While the tone of these adventures, Mission Impossible meets Fast & Furious, sounds intriguing, I’m just not sure that the audience is there for these characters. Plus there's Sony’s diabolical track-record with franchises. They only have Spider-Man and Men In Black Two in their ranks, and they have both been mishandled terribly, suggesting that there is every chance they will fail to find the true potential of Hood too.
Meanwhile Disney knows exactly what to do when it comes to releasing a franchise. Not only do they have the Pirates of the Caribbean series, but they also own The Avengers, Toy Story and Star Wars franchises too. Will Nottingham & Hood spark another successful glut of films for the studio? It’s still too early to tell. But if it doesn’t succeed at Disney, it probably wouldn’t have succeeded anywhere.
Actor Chris Pratt apparently wasn't too happy with the "Jurassic World" trailer that premiered last week.
Pratt stars in the sequel to "Jurassic Park," set to come out next summer. Speaking with Vulture at an awards party for "The Lego Movie," Pratt revealed the one thing that bothered him about the trailer — himself:
"I'm just like, Aw, why did I do that with my eyebrow?" he told Vulture. "Unfortunately, it was one of those things you do as an artist where you're hypercritical about it the first time you see it."
Pratt said it took him a few re-watches until he decided, "Oh my God, that is really good."
The 35-year-old actor admitted he's overly critical of all of his films, stating, "It took me two or three times seeing it before I knew it was great, but that's how I was with Guardians of the Galaxy, that's how I was with The Lego Movie, that's how I am with everything I'm in."
If you weren't blown away by the trailer, Pratt added he thinks the "Jurassic World" sequel will be "ten times better than the trailer."
It's high praise for a movie that's creating quite a buzz, and we can only hope Pratt is right.
Daniel Craig will return as 007 and be accompanied on screen by Monica Bellucci and Léa Seydoux who will play Bond women Lucia Sciarra and Madeleine Swann, respectively.
What happened to the rest of the Bond actresses over the years?
We looked at Bond girls ages 50 and over to celebrate over half a century of James Bond.
"Dr. No" (1962): Ursula Andress popularized the now-iconic scene where she steps out on the beach as Honey Ryder.
Now (Age 78): In 2005, Andress starred in small comedy "The Bird Preachers." The following year she was named honorary citizen of her birthplace Ostermundigen.
"Dr. No" / "From Russia with Love" (1962/1963): Eunice Gayson played Bond's girlfriend Sylvia Trench in two films.
The 88-second trailer for "Star Wars: The Force Awakens" has amassed more than 44 million YouTube views since its release on November 28th.
"Saturday Night Live" mocked the trailer by imagining what the original characters — Luke Skywalker, Princess Leia, and Han Solo — will look like in 2015's new installment.
But it turns out "Star Wars" creator George Lucas still hasn't watched the 88-second teaser trailer.
Page Six reports when they asked Lucas his thoughts on the trailer recently he said he didn't know anything about it.
"I haven't seen it yet," Lucas said.
Lucas said he hadn't watched the trailer because "it's not in the movie theater. I like going to the movies and watching the whole thing there."
He added that he would see the movie when it's released next year.
Lucas is serving as a creative consultant on the film, a vague role in which, Lucasfilm president Kathleen Kennedy explained, Lucas is essentially the go-to person for any "Star Wars"-related questions.
"Star Wars: The Force Awakens" will be in theaters Dec. 18, 2015.
It's been several years since Reese Witherspoon starred in a movie worth recommending, and a decade since she won her Oscar for playing June Carter Cash.
Whether by choice or happenstance, she's been flying under the radar, making easy trifles like How Do You Know, This Means War, and that one about Robert Pattinson and a circus elephant.
But she comes roaring back to life in Wild, a raw portrait of a damaged woman who embarks on a 1,000-mile hike as a means of cleansing herself.
Based on Cheryl Strayed's bestselling memoir (the movie rights to which Witherspoon optioned before it was even published), Wild may very well be a calculated attempt at reestablishing her bona fides.
But calculated or not, it works: Witherspoon gives an unvarnished, all-in performance, free of vanity and entirely devoted to telling Strayed's grueling, triumphant story.
Wild, adapted by Nick Hornby and competently directed by Jean-Marc Vallee (Dallas Buyers Club), begins with a glimpse of Cheryl many days into her hike on the Pacific Crest Trail, her body exhausted and bruised, her feet bloody. She curses the wilderness, and we are inclined to curse it with her. As later visions of her pre-hike life will show, however, this is actually the healthiest she's been in some time.
With shocking matter-of-factness, Vallee reveals, piece by piece, the elements of Cheryl's screwed-up life. She and her husband, Paul (Thomas Sadoski), have recently divorced because of Cheryl's indiscretions.
We see snippets of memories with her blithe mother (Laura Dern), who falls ill at a tragically young age. Like bolts of lightning, there are flashes of heroin needles, sleazy hotel rooms, home pregnancy tests. Gradually we come to understand the hike as a means of spiritual rebirth.
It's a popular trail among hardcore hikers, covering deserts and mountains as it stretches across California, Oregon, and Washington. Cheryl is keenly aware that as a woman traveling solo, she faces risks that men generally don't, as demonstrated in an uneasy sequence with a rancher (W. Earl Brown) who offers her a ride when she runs out of camp-stove fuel. She has to be wary of him and all the other men she encounters along her journey.
Some are openly malevolent, some want to help, and some want to help while also hoping they can seduce her. Flashbacks show Cheryl to be a woman in control of her own sexuality (with Gaby Hoffmann as her valued yet strangely ineffectual best friend), but here on the Pacific Crest Trail, she's vulnerable.
The film gets ponderous now and then, with hooey like a mystical fox that Cheryl sees as a symbol of her growing strength (or something), and some voice-over narration that's more flowery and eye-roll-inducing than it needs to be. It's also a little on-the-nose that her name is Cheryl Strayed, but I guess you can't fault a movie for its author's choice of pen names.
Without being anything like a screed or manifesto, Wild comes across as an empowering, emotional tale about a woman taking control of her downward-spiraling life. Many of her experiences are unique to womanhood, and some may only apply to Cheryl Strayed specifically.
But there's also a universality to it, a sense that anyone, male or female, could find inspiration in Cheryl's it's-the-journey-not-the-destination story. Witherspoon must have found strength in it — this is one of the mostly finely tuned performances she's ever given.
In the latest development of the Sonycyber attack saga, hackers calling themselves Guardians of Peace (GOP) are warning the studio to stop "immediately showing the movie of terrorism which can break the regional peace and cause the war."
We have already given our clear demand to the management team of SONY, however, they have refused to accept.
It seems that you think everything will be well, if you find out the attacker, while no reacting to our demand.
We are sending you our warning again.
Do carry out our demand if you want to escape us.
And, Stop immediately showing the movie of terrorism which can break the regional peace and cause the War!
You, SONY & FBI, cannot find us.
We are perfect as much.
The destiny of SONY is totally up to the wise reaction & measure of SONY.
While the message never specifically names the movie, authorities have been investigating whether the attack is connected to the James Franco and Seth Rogen comedy "The Interview," about two journalists recruited by the CIA to assassinate North Korean leader Kim Jong-un. The Pyongyang government denounced the film as "undisguised sponsoring of terrorism, as well as an act of war" in a letter to UN Secretary-General Ban Ki-moon in June.
Sony and security consultants were investigating the possibility that someone acting on behalf of North Korea, possibly from China, was responsible, according to Reuters. A link to North Korea had not been confirmed but also had not been ruled out.
A spokeswoman for Sony said they had no comment. An individual close to the studio said that they have received no demands, according to Variety.
Lynton, whose $3 million salary was revealed in one of the leaks by hackers, promises staffers the FBI "have dedicated their senior staff to this global investigation" and that "recognized experts are working on this matter and looking out for our security."
To reassure employees, the FBI will be visiting Sony's Culver City studio lot this Wednesday for employee cybersecurity awareness briefings. Additionally, the company will hold an "All Hands" meeting on Friday.
On Monday, a group calling themselves "Guardians of Peace"posted a new message online demanding Sony not release "The Interview," a buddy comedy about two journalists recruited by the CIA to assassinate North Korean leader Kim Jong-un. The Pyongyang government denounced the film as "undisguised sponsoring of terrorism, as well as an act of war" in a letter to UN Secretary-General Ban Ki-moon in June.
Ahead of the film's December 25th release, Sony has experienced a series of scary cyber attacks.
Over the weekend, you should have received my note sharing cyber security expert Kevin Mandia’s thoughts on this unprecedented and highly sophisticated attack on us. I know it is unsettling that we have been the target of such an attack, but I want to assure you all that we have the recognized experts working on this matter and looking out for our security.
As you know, the FBI is the lead government agency investigating the cyber-attack on SPE. They have dedicated their senior staff to this global investigation.
This morning, our senior leadership team met with the lead investigators, who will keep Sony management informed. In the next day or so, your leadership teams will be arranging in-person meetings where they will share the latest developments. Please use this opportunity to bring up any questions or concerns you have.
Additionally, the FBI will be on-hand on Wednesday, December 10, in Culver City for employee cybersecurity awareness briefings. Details on these sessions will be forthcoming.
Furthermore, should you have any relevant information related to the investigation, or if you think you may be the victim of an additional personal cybercrime that is related to this attack, the FBI has established a dedicated email that you can contact: suspicious@ic.fbi.gov.
Finally, on Friday, we will have an “All Hands” meeting on the Lot in order to brief everyone. For those of you not in Culver City, we will make a video of the meeting available to all employees. Details for the “All Hands” meeting will be forthcoming.
Thank you again for all of your hard work and resourcefulness at this difficult time.
The FBI tried to stop itself appearing in the James Bond film Goldfinger, newly released files have revealed.
Documents show the Bureau – then under notorious Director J. Edgar Hoover – was nervous about being portrayed in the spy classic.
In the film, 007 foils the eponymous maniac Auric Goldfinger in an attempt to steal bullion from Fort Knox.
As the film starring Sean Connery went into production in 1964, a terse memorandum was sent from Hoover’s office to officers in Los Angeles and Miami.
It warned agents that Goldfinger was based on books by Ian Fleming, who generally authored works “filled with sex and bizarre situations”.
FBI officers in Los Angeles were told to keep an eye on the proposed film and report back, while Miami was told to contact Goldfinger’s producer Harry Saltzman and “vigorously protest any mention of FBI or portrayal of its agents in his proposed movie”.
Saltzman was also to be issued with a copy of a law prohibiting the use of the FBI’s name without permission.
When confronted by the agents, Saltzman tried to convince the agents it would be the FBI who solved the robbery, rather than 007.
The files also reveal that agents carried out a number of background checks on Saltzman, Fleming and the screenplay writer Richard Maibaum using Who’s Who, Life magazine, and other sources.
One memo reveals that several of Fleming’s books had previously come to the bureau’s attention after referring to the FBI.
It reads: “All of these references have been favourable in the past. His stories are generally filled with beautiful women presenting themselves to him in scanty attire.”
However, during the research, it is grudgingly accepted that President Kennedy himself “was one of his most avid readers”.
There’s a lot for Terminator fans to be excited about these days with the recent release of the Terminator: Genisys trailer. However, with all of the excitement over the new film (and a bit of fear, let’s be honest), you might not have noticed the Nike Vandals Kyle Reese was wearing in the trailer. If you take a closer look, they might look a bit familiar.
Did you catch that the Nike Vandals Kyle Reese is wearing in the Genisys trailer are the same Nike Vandals he was wearing in the original Terminator? If you didn't, apparently you totally should have, because getting those kicks back on the big screen was a bit of a battle between the film's costume designer and Nike. If Nike had gotten their way, he would be wearing a different shoe entirely. Luckily, the Genisys costume designer, Susan Matheson, wasn't afraid to face off against the shoe production giant to keep the film's costumes authentic.
Matheson had planned to design a Nike Vandal identical to the Nike Vandals we see in the original Terminator. However, as she tells i09, Nike originally wanted Matheson to design a shoe based on the Air Force One--an entirely different sneaker. This simply would not do for Matheson. She put her foot down. Knowing how iconic and easily recognizable Reese’s shoes are in that photo booth scene from the original Terminator, she knew fans would immediately notice a similar-but-different shoe. So, she said that was unacceptable and made it clear she would be willing to fight it out.
Even more than that, Matheson credits films like Terminator for inspiring her to get into moviemaking and costume design. Keeping the costumes--even down to the sneakers--authentic was so important to her that she stood her ground, telling Nike that without the original Vandal sneaker, there was essentially no point in her designing for the film.
You’ve certainly got to give Matheson some extra credit for wanting to make Terminator: Genisys as authentic as possible (which is important given the fact that the plot of the new film seems utterly insane--I’m not sure if it is good or bad insane just yet), and it seems Matheson’s commitment to authenticity paid off. Nike halted production of the Air Force One shoe, and made an exact replica of the Nike Vandals seen in the first Terminator. With all of the new timelines and changes toGenisys, it’s nice to know that we can at least count on seeing the same old Vandals when Genisys hits the big screen on July 1, 2015.
Paramount Pictures has posted an official "For Your Consideration" ad that suggests the studio believes the Hour of the Autobot is upon us. They aren’t only pitching Age of Extinction for Best Picture, but they are also promoting Michael Bay for Best Director, and Ehren Kruger for Best Adapted Screenplay. Maybe I’m a snob, but I’m not sure I’m ready for a world where Michael "I-Love-Explosions" Bay is an Academy Award-winning director.
The Oscars certainly get a bit of flak for selecting Best Picture winners and nominees based on movies that weren’t big hits at the box office. But while the Academy has worked to change that, attempting to include more nominees that appeal to the "general movie-goer," we’re certainly a long way from having robotic automobiles populating the Best Picture list. Or at least I hope we are. My own snobbery aside, this does raise a very important question: are the Academy Awards here to tell us what the truly greatest films were of the past year, ignoring box office sales, or are they there to offer accolades to the best films of the year with financial success considered?
That being said, surely an Oscar Revolution is not going to start with Transformers 4. Yes, the film was a blockbuster success - one of the biggest of the year, bringing in well over $1 billion worldwide - but the movie was reamed by critics and fans alike(Did I mention the fire-breathing dinosaur Autobot? Because there was a fire-breathing dinosaur Autobot…).
The basic plot of Transformers: Age of Extinction evolves around scientists trying to capture the technology and power exhibited by the Autobots - while at the same time a Deceptacon threatens the earth and freedom as we know it. And while the film may have been a fun ride, it certainly isn’t tilling any new ground in the Transformer realm. The question of "is Transformers Oscar-worthy" purely boils down to whether or not the Oscars should be marking excellence in filmmaking, or box office successes.
We’ll have to wait to see what the Academy thinks when the official Oscar nominations are announced on Thursday, January 15, 2015. The Academy Awards ceremony will be hosted by Neil Patrick Harris on February 22, 2015 in Los Angeles’ Dolby Theater. You can pick up Transformers: Age of Extinction on DVD and Blu-ray now in stores everywhere to make your own choices on its Oscar worthiness.
Chief content officer Ted Sarandos said he's ready for Netflix to offer much more original content at the UBS Global Media and Communications Conference on Monday.
"I think that we can expand on our original programming ... from where we are today to probably as many as 20 original series. So the idea of launching original series or [an] original season of content every two [and a] half weeks," said Sarandos.
That doesn't mean we'll see 20 new television shows from Netflix.
"Not a show or not a new show for everybody, every two and a half weeks, but a new show that for segments of the viewership every couple of weeks," Sarandos explained.
Sarandos said this newer content model will begin with Netflix's upcoming original movies.
The cast and name of the next James Bond movie was announced Thursday morning by director Sam Mendes at an event in London at Pinewood Studios.
Star Wars: The Force Awakens has proven to be one of the biggest trailer debuts of all time, with the 88 
"Interstellar" director Christopher Nolan is a big proponent of making his movies look as real as possible. 
Who knew that Robin Hood was still so popular? Less than five years after Ridley Scott and Russell Crowe collaborated on their own version of the heroic outlaw and just a few months after Sony purchased their own script based on him too, Disney announced that they’ve purchased another Robin Hood spec script. 
The film gets ponderous now and then, with hooey like a mystical fox that Cheryl sees as a symbol of her growing strength (or something), and some voice-over narration that's more flowery and eye-roll-inducing than it needs to be. It's also a little on-the-nose that her name is Cheryl Strayed, but I guess you can't fault a movie for its author's choice of pen names.
Hello everyone.
There’s a lot for 
