The newest trailer for "X-Men: Apocalypse" is here. Set after the events of "X-Men: Days of Future Past," we rejoin the mutants as they take on a new foe: Apocalypse.

Resurrected from ancient Egypt, Apocalypse and his allies, the Four Horsemen, are on a quest to destroy and remake the world in his image. The only ones stopping him: the X-Men.

The trailer showed off tons of new footage in the battle to save the world from the Horsemen. If you haven't watched it, check it out here.

Did you catch everything? Keep reading to see the scene-by-scene breakdown of everything we saw.

We open with a shot of Xavier's School for Gifted Youngsters. It was in disrepair at the start of "Days of Future Past," but now it's vibrant and full of young mutants again.

Magneto (Michael Fassbender) is having a tense conversation with Xavier (James McAvoy).

Interestingly, Professor X has his hair again. We know from the posters that at some point he'll go to the shaved head he's more known for.

When Paul Reubens created the Pee-wee Herman character in the early 1980s as a stage act, audiences instantly fell in love with not just the exterior — tight-fitting gray suit, red bow tie, unusual voice — but his childlike admiration for life and all its quirkiness.

Pee-wee then became a household name when Reubens structured the act as a children’s TV show, then teamed with Tim Burton to make the classic “Pee-wee’s Big Adventure.”

With Netflix seemingly eager to bring back just about anything we're nostalgic for from the past few decades — “Full House,” “Gilmore Girls” — they jumped on the chance to make a new Pee-wee movie with Reubens and producer Judd Apatow.

And I’m here to tell you that “Pee-wee’s Big Holiday” is as much fun as the first Pee-wee movie. (Let’s just pretend “Big Top Pee-wee” never existed, okay?)

This time, Pee-wee is settled in the quaint ‘50s-ish town that he’s lived in his whole life. But then actor Joe Manganiello shows up (his name in the movie is Joe Manganiello) on his motorcycle and completely wows Pee-wee with his cool style. This motivates Pee-wee to do something he’s never done in his life: leave town and take a holiday.

That’s right, in this Pee-wee universe, he never went to the Alamo to find his bike, like he did in “Big Adventure.”

But as with “Big Adventure,” Pee-wee embarks on a hilarious road trip that leads to strange encounters. Just a couple (that won’t spoil anything as they are featured in the trailer) involve three female bank robbers who are dressed like they came straight out of “Faster, Pussycat! Kill! Kill!” and a team of unique hairstylists.

There's a lot of fun in the silly gadgets featured throughout, from how Pee-wee wakes up every morning to the items of a traveling salesman Pee-wee gets a ride from.

In many ways, Reubens, who cowrote the screenplay with “Love” creator and star Paul Rust, uses the structure of “Big Adventure” to tell the story. There’s a silly opening dream sequence, the road-trip storyline, and the goal of the trip, which is wackier this time around than finding his bike.

And then there’s just Reubens' strange brand of humor that works as well today as it did in the ‘80s. (I defy you not to laugh out loud during the balloon bit.)

Yet the secret weapon of the movie, its modern touch, is Manganiello. He is extremely funny and has a chemistry with Reubens that you’d never think would work until you see it on the screen for yourself.

“Pee-wee’s Big Holiday is available to stream on Netflix starting Friday.

SEE ALSO: The 5 best and worst Ben Affleck movies, ranked

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NOW WATCH: The 8 best movies on Netflix you've probably never heard of

Netflix has come to the rescue of the abandoned animated feature “The Little Prince.”

Based on the famous French children's book by Antoine de Saint-Exupery, the film was set to be released by Paramount in the US on March 18, but in a shocking move, the studio pulled it a week before its opening.

The streaming giant has now bought the domestic rights to the movie and will release it later this year, according to the Hollywood Reporter. 

“The Little Prince” premiered at the Cannes Film Festival last May and has earned close to $80 million internationally, via Paramount's international distribution arm. The studio has not explained publicly why it decided not to release the film domestically. 

The decision was a bit puzzling, given the previous animated movie Paramount released was Charlie Kaufman's "Anomalisa," which has only taken in $2.6 million in box office. Given how "The Little Prince" did overseas, and its critical reception at Cannes, it would have likely made considerably more than "Anomalisa" here in the States.

"The Little Prince" combines 3D animation and stop-motion and has an all-star cast lending their voices, including Jeff Bridges, Rachel McAdams, Paul Rudd, Marion Cotillard, James Franco, and Benicio del Toro.

SEE ALSO: These 13 hit songs were originally rejected by other artists

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NOW WATCH: ‘The Most Interesting Man in the World’ shares his secrets to happiness and success

If we were to take a television back in time — to the Middle Ages, say — and show off a Blu-Ray film (our time machine has a power supply), we might imagine that those medieval people would have no idea how we created such a stunning illusion.

Our audience would presumably want to try to look inside the television to see if we had a small crew of theater performer creating all these scenes — provided they hadn't already burned us for the witchcraft of appearing out of nowhere.

In the modern day, we have no confusion when we see an incredible scene on a television: Even when it can make us gasp or cry, we instantly know it's fiction (or a technologically reconstructed representation of reality).

But due to advances in neuroscience that filmmakers are starting to incorporate into their work and because of new technologies like virtual reality, "fictional entertainment" could soon be much more capable of convincing us that it's actually real, that it simply must be. That's both wonderful and a little terrifying.

Film scholars are starting to embrace neuroscience as a way of better understanding their audience. So far, that new school of study, known as neurocinematics, is mostly helping filmmakers understand what's happening in a viewer's brain as they watch a film. In the future, that knowledge could be used to make films that are even more captivating, immersive, and convincing.

And with new technologies like virtual reality, the power that creators have to convince their audience that something is real skyrockets.

It's been said before, but it's worth repeating: Until you've tried real VR, you can't imagine how convincing it is. Your eyes tell your brain that what's happening is real.

When you try a suspenseful experience in VR, immediately your heart starts pounding. Sure, it's not real, but everything in your brain is screaming that it is. That's the power new technology has to convince us.

"For the past 100 years, the way we have stimulated the visual system is that we have this 2D image in a fixed frame. But our visual perceptual system is tied into the movement of our heads and the movements of our eyes," says Michael Grabowski, an associate professor of communication at Manhattan College and the editor of the textbook "Neuroscience and Media: New Understandings and Representations."

When you look all around you and nothing disrupts the scene, it's hard to really be sure that it's an illusion. And that's the magic of VR.

"When you put on VR goggles and your head movements are confirming with your visual systems what you’re seeing, your visual system is confirming it [too]," Grabowski says.

For now, filmmakers and game designers are still mastering the most effective techniques for storytelling with these new technologies. But as these experiences start to become more mainstream, it's going to be fascinating to watch them slowly erode our grip on what's real.

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NOW WATCH: What the 'i' in 'iPhone' stands for — as explained by Steve Jobs

Since the announcement that Sean Parker and music executive Prem Akkaraju are working on a company called Screening Room that plans to let consumers stream movies still showing in theaters from home for a $50 rental fee, filmmakers have been taking sides.

Though the company has big-name shareholders like directors Peter Jackson, J.J. Abrams, Ron Howard, Steven Spielberg, and Martin Scorsese, some major directors are opposed to it, namely James Cameron and Christopher Nolan.

Most of the debate has been focused on the financial pros and cons for theaters if such a bold endeavor were to become a reality. But director Jeff Nichols, whose first studio movie, "Midnight Special," opens in theaters on Friday, is opposed to the idea for another reason.

"The thing that nobody is talking about that I want them to is how terrible flat-screen TVs make movies look," Nichols told Business Insider.

Every TV has its own specific settings, meaning images look different on different TVs. Nichols says that when you buy an expensive television, the demo settings for it are set in a way that makes sporting events look amazing, but movies look flat.

"It looks like a friggin' Spanish soap opera," Nichols said. "I hate it."

The director's latest film, starring Michael Shannon as a father who tries to protect his son with special powers from authorities, is filled with dazzling cinematography and special effects. He believes the work he put into making it look its best would be ruined if audiences were given an option not to see it in theaters at all.

"I spend thousands of dollars a day making sure my movies look a very specific way," he said. "So before I could ever get on board with a home-viewing system that allowed the complete takeaway of the theatrical component, I would want to make sure that people in their houses would see a correct representation of the movie I make."

The current model for Screening Room would allow consumers the option to buy a $150 antipiracy set-top box to permit them 48-hour rentals of movies that are still showing in theaters. A portion of the $50 fee would go to exhibitors, and customers would receive two tickets to their local multiplex for the movie they rented.

SEE ALSO: 5 reasons Sean Parker's $50 home movie streaming service could be a failure

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NOW WATCH: 'Mythbuster’s' Adam Savage recalls the time a little girl proved him wrong

"The Divergent Series: Allegiant" brings us a step closer to the end of the film adaptations of the popular YA novels by Veronica Roth. And for critics, it can't come soon enough.

The franchise headed by Shailene Woodley set in a dystopian future is crawling to the finish line with nowhere near the popularity, among critics or audiences, of Lionsgate's other YA franchise, "The Hunger Games."

In "Allegiant," Tris (Woodley) goes beyond the giant wall encircling Chicago to see what's out there.

With only an 11% rating on Rotten Tomatoes as of this writing and hitting a franchise low for Thursday box office (weekend projections has it making around $30 million), "Allegiant" is already a certified dud. Few seem interested in going over the wall with Tris.

Here's what critics are saying about it.

SEE ALSO: Burt Reynolds turned down these iconic roles including James Bond — an now says he regrets it

The franchise's storytelling has gone out the window.

"A story that kicked off two years ago at a reasonable gallop has now slowed to barely a limp," notes the New York Times in its review, which sums up the franchise's unoriginal storytelling. 

Time Out London pinpointed the problem by writing, "As internal logic goes out of the window and the plot contrivances pile up (‘I’ve got a machine that can see through walls!’ or ‘I know how to fly a plane without ever having seen one before!’), the film becomes increasingly trying."

Variety believes that "asking audiences to turn off their brains basically reduces 'The Divergent Series' to just another sci-fi action franchise — and not a very good one at that."

Why it can’t hold a candle to "Hunger Games."

Turns out Lionsgate is 1 for 2 in sci-fi YA franchises. While "Hunger Games" had an impressive run, and will likely continue with spin-offs, the "Divergent" series hasn't had the same luck. The critics have a few reasons why: 

"Unlike the Panem of 'The Hunger Games' saga, which takes real historical tyrannies as an inspiration, there's no getting around the fact that 'Divergent' is a clunky apparatus built around a trendy 'Chosen One' type,"NPR writes. 

"'Games' created complex characters with psychological depth and emotional heft, and put them at risk while tackling bleak futuristic narrative themes," says the San Jose Mercury News. "'Divergent,' on the other hand, gets snarled up in the threads of an overly complicated vision, stranding its rather one-note characters in the process."

Miles Teller's talent is wasted.

It's been a knock on the franchise from the beginning: Miles Teller's talents are just not being used to their potential.

"These movies really enjoy denying their characters forward momentum," according to the A.V. Club, which points out Teller specifically. "For the third movie in a row, his character Peter tags along with the heroes before turning duplicitous and selfish."

And according to the Chicago Tribune: "The only wild card remains Miles Teller, stuck in supporting-underminer duty but extracting a laugh or two simply by turning his boredom with the material into sly commentary conducted in the margins."

It's been the wackiest election year in decades, and it's only March!

From Donald Trump's reality-TV-like presidential bid and frontrunner status to Bernie Sanders' hopes to ride the "revolution" of the youth vote to the White House, it's been full of surprises.

This got us thinking about a few movies that were entertainingly fictional, at the time, in their Hollywood imagining of the Washington landscape. But now you can't help finding parallels to the election we're witnessing.

Let's look back on three (along with one TV show that never fails to call it).

SEE ALSO: The 5 best and worst Ben Affleck movies, ranked

"Bulworth" (1998)

The socialist platform Sanders is running on brings to mind similarities to California Sen. Jay Billington Bulworth, played by Warren Beatty, in "Bulworth."

Granted, Sanders didn't go on a drug-fueled bender or hire an assassin to kill him, like Bulworth did. But what Beatty wanted to profile in the movie was a politician who was antiestablishment, something that has made many flock to Sanders. And his unapologetic way of calling it like he sees it has connections to the rise of both Sanders and Trump.

"A Face in the Crowd" (1957)

Elia Kazan's classic stars Andy Griffith as Arkansas drifter Larry "Lonesome" Rhodes, who becomes an overnight radio sensation with his humor, charm, and commentary on the day's events that the "good ol' boy" can understand. 

Soon, with a syndicated TV show, he becomes as powerful as the politicians who come to him pleading for his support. That group includes a senator running for president, whom Rhodes attaches himself to with grand hopes of being "Secretary of National Morale," leading his listeners (or "flock" as he calls them) until he's even possibly the most powerful man in the country one day.

It's impossible now not to see the similarities between Rhodes and Trump: Two media-savvy men who are searching for the ultimate political prize.

"Citizen Kane" (1941)

Trump can also be seen in the rise of Charles Foster Kane, the wealthy newspaper publisher who has a failed attempt to run for New York governor. Though much of Kane, played by Orson Welles, is based on the life and career of William Randolph Heart, the wealthy, ego-driven businessman attempting to enter politics fits perfectly with what Trump is currently doing.  

I'll admit, I cry at everything from sappy commercials to photogenic dogs playing in the park.

So it's no surprise why a trailer for NASA's IMAX documentary, "A Beautiful Planet," had me tearing up at my desk.

The movie, filmed in space and narrated by Jennifer Lawrence, shows us here on Earth what it's like to live on the International Space Station.

Many astronauts report feeling the "overview effect" in space. It's the experience of seeing Earth from above that leaves astronauts feeling awestruck and gives them a newfound appreciation for the world as a fragile planet that we share.

With this new doc, NASA's hoping we feel that way, too — and possibly inspire us to do more to protect our only home in the solar system. It fittingly comes to theaters on Earth Day, April 29.

Grab a tissue just in case, and watch the full trailer:

And if you need more than that to make you tear up, try this on for size.

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NOW WATCH: Astronaut Scott Kelly who spent a year in space reveals what he missed most about Earth

Whether you're a fan of his work or not, chances are you have some opinion about the body of work of Ben Affleck.

He has been inescapable. The actor has close to 50 credits to his name over a career that has quite a few highs and as many lows.

And in a career not lacking for sharp criticism (whether over his questionable ascent to leading-man roles or his work opposite onetime fiancée Jennifer Lopez), he has opened the gates for what could be epic blowback from fans by taking on the role of Batman in the much anticipated "Batman v Superman: Dawn of Justice," out March 25.

Before we start nitpicking about his version of the Dark Knight, though, let's rank his best and worst performances so far.

SEE ALSO: RANKED: Every actor who's played Batman, from best to worst

WORST: 5. "Reindeer Games" (2000)

In what can be explained only as a favor to the Weinsteins for making "Good Will Hunting" (this was released by the company's genre arm, Dimension), Affleck stars in this campy thriller/love story in which he plays an ex-con who is forced into robbing a casino.  

WORST: 4. "Surviving Christmas" (2004)

When a movie with "Christmas" in the title comes out in October, you know something is wrong. In fact, this comedy starring Affleck as a millionaire who spends Christmas in the house he grew up in (along with the family that currently lives there) was supposed to come out around Christmas 2003, but it got pushed back.

We're guessing test screenings weren't favorable, because there's a reason you don't see Affleck in comedies like these anymore: He's just not good at them.

WORST: 3. "Runner Runner" (2013)

It's understandable why Affleck was drawn to the role of a crooked entrepreneur who runs an offshore betting site: He's a big fan of poker. But why Justin Timberlake or anyone else followed along is anyone's guess. Perhaps because the movie was written by the same guys who did "Rounders," but the end result this time is a messy story with laughable dramatic moments.

The good ol' boy attitude. The laugh. The mustache. For a solid decade, Burt Reynolds was one of the biggest stars in the world. From "Smokey and the Bandit" to "Cannonball Run," Reynolds epitomized the tough guy before the late '80s brought in the hulking action stars like Schwarzenegger and Stallone.

In the new documentary "The Bandit," director Jesse Moss ("The Overnighters") looks back at the height of Reynolds' career through the making of "Smokey and the Bandit," the surprise hit of the late 1970s directed by legendary stuntman and Reynolds' best friend Hal Needham, which follows a bootlegger (Reynolds) as he illegally travels a truckload of Coors beer across county lines while a sheriff (Jackie Gleason) is in hot pursuit.  

Reynolds talked to Business Insider about the documentary (airing on CMT later this year), the bra-throwing welcome he got when screening it at the South by Southwest (SXSW) festival, how he reacted when he met "Saturday Night Live" Reynolds imitator Norm Macdonald, and the one stunt he wishes he didn't do.

Business Insider: Did it take some convincing for you to be in "The Bandit"?

Burt Reynolds: No. I was really flattered that they wanted to do it and that picture ["Smokey"] was some kind of strange little miracle in a way, for the fact that it made so much damn money and it was so much fun to do. As soon as we got [Jackie] Gleason and Sally [Field], I knew we were off.

BI: What was your relationship with Hal up to his death? Were you guys close until the end?

Reynolds: Oh yes. Very close. He was my roommate when we did our first picture together and I was always taken by how prepared he was when he was doing second unit. I knew he would do a good job [directing].

BI: So have you ever had to buy a Coors ever in your life after that movie?

Reynolds: [Laughs] No, I haven't. I have all I want.

BI: You talk a little in the movie about the 1972 nude Cosmopolitan spread. How much do you feel it hurt your career?

Reynolds: I wish I hadn't done it because I wasn't taken as a serious actor. I think "Deliverance" suffered because of it and a lot of other things and I wasn't pleased that I did it, but at the time I wanted everyone to understand the humor of it. But who knows what lurks in the minds of filmmakers.

BI: I'm sure you've been trying to figure that out for decades now.

Reynolds: I have. I have. [Laughs] And I haven't figured it out, either.

BI: What was going to SXSW like? I mean, a woman at one screening threw her bra up to you onstage. Where you taken aback by the reception you got?

Reynolds: I was taken aback by it. And with the bra incident, I didn't know who to give it to, and it didn't fit me. I looked at it and if it was a double D, I might have tried to find out who she was.

BI: But having lingerie thrown at you is something that's not new for you, let's be real.

Reynolds: Well, it happened a couple of times in the old days. But now, I mean, I just had an 80th birthday.

BI: Are you aware how popular you are in the current era? Norm Macdonald playing you on "Saturday Night Live," for instance, is still legendary. Your persona is widely known, regardless of the generation. Do you realize that?

Reynolds: Yeah, I do. And I'm very flattered by that. Now with Norm, when he met me, he got scared that I was going to punch him out, and I told him I thought he was wonderful. I don't want to be thought of as a total idiot, but I do like the idea that somebody is playing you and having fun with it and I always had fun. I always felt I was playing a part — I mean I still do. I'm having fun with the business. I've been very lucky.

BI: You were known to do many of your own stunts. Do you think actors tend to migrate to the stunt guys? You hear about it with Tom Cruise.

Reynolds: There's a lot of truth in that. And with Tom, he's very brave with the stuff that he does. And he wants to be thought of as that because for such a long time he was a pretty boy and smaller than he wanted to be, I think. The stunts that he's done, it's obvious it's him, and I'm very impressed with that. I've told him that. 

BI: Is there a stunt you did that, looking back, you wish you had a stuntman do?

Reynolds: [Laughs] Yeah, there's a couple. When it's cold and I'm limping around I think, "Why didn't I let Hal make some money and I just sit down?" But you can't go back. It was a dumb macho thing.

BI: Entertain me with one example.

Reynolds: I went over the falls in "Deliverance" and I hit a rock and cracked my tailbone. I tell everyone I was a 31-year-old guy in great shape before I went over the falls. And once I got in they couldn't find me. I remembered one of the stunt guys said to me before the stunt, "If you get caught in the hydrofoil and you can't get out, go to the bottom and it will shoot you right out," but he didn't tell me it was like being shot out of a torpedo. I came out of the river about a mile away it seemed like, and I came out with no clothes. I had no shoes, socks — the falls tore them off. It was a pretty hairy stunt.

BI: And did you just play it off and go on with the day, or did you tell the guys you were hurt?

Reynolds: Oh no, I went on with the day and told them I was fine. If I told them I was hurt, they would have gotten all over me for insisting on doing it. So I just went on with the day.

SEE ALSO: Burt Reynolds says the reboot of his hit "Cannonball Run" needs one thing to be successful

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NOW WATCH: Portugal's mysterious 'Initiation Well' is 88 feet deep, and an epic destination for brave tourists

Following the spectacular multi-week box office performance by Fox's "Deadpool" in February, Disney's "Zootopia" is showing the same dominance in March as the animated hit that mixes social commentary with a lovable bunny's quest to be a cop is number one at the weekend box office for a third-straight week with an estimated $38 million, according to Exhibitor Relations.

The film took in $10 million on Friday and then $17 million on Saturday.

Through 17 days the movie, which includes the voices of Ginnifer Goodwin and Jason Bateman, is outpacing previous non-Pixar Disney animated hit "Frozen" by 51%. And is 6% ahead of Pixar hit "Finding Nemo," according to Deadline. 

Coming in a disappointing second place this weekend is "The Divergent Series: Allegiant" with an estimated $29.05 million. That's the lowest opening for the franchise. The latest film from the adaptation of the popular young adult book series written by Veronica Roth was down $23 million for the last film "Insurgent."

The two previous films in the franchise opened in the low $50 million-range. Lionsgate may be regretting splitting the final chapter of the franchise into two films. Yes, there's one more "Divergent" movie coming next year.

In third place is "10 Cloverfield Lane," which banked an estimated $12 million over the weekend, while the faith-based "Heaven is for Real," starring Jennifer Garner, took in an impressive $16 million over its five-day open, according to Variety.

SEE ALSO: Superman star Henry Cavill was hanging out in Times Square and no one noticed him

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NOW WATCH: Two of the world’s best cliff divers jumped off the world’s largest waterfall

After “Community” creator Dan Harmon served as an executive producer on Oscar-nominated stop-motion drama “Anomalisa,” directed by Charlie Kaufman, he now has his sights on using the format to tell the story of one of Micheal Jackson’s most famous confidantes: his pet chimpanzee, Bubbles.

According to Deadline, Harmon and his Starburns Industries production company have acquired a script titled “Bubbles,” and plan to make it into a stop-motion animated feature.

The script tells the story of Jackson’s life through the perspective of Bubbles, from being adopted by the King of Pop from an Austin, Texas, research facility to the chimp’s time at the Neverland Ranch. Bubbles was eventually relocated to a Florida monkey sanctuary in 2005 due to over-aggression, and at the time there were reports that he may have attempted suicide.

If the movie is anything like “Anomalisa,” a black comedy highlighting a lonely man’s anxieties, expect a unique story. But there is some method to Harmon’s madness here.

To tell a story about the life of someone as famous as Michael Jackson, you need approval from his estate or, at the very least, obtain the rights to a book or story written about him. Telling the story from the perspective of Bubbles is a creative way of not needing permission.

Harmon will be a producer on the project. There has been no director attached yet, but that's not the only reason why the movie won't be in theaters any time soon, since stop-motion movies take a long time to make.

SEE ALSO: An actor explains how he spent years voicing hundreds of characters in the trippy Charlie Kaufman movie, "Anomalisa"

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NOW WATCH: Jimmy Kimmel lost a ton of weight on this radical diet

Lionsgate's stock fell Monday morning after the YA film adaptation “The Divergent Series: Allegiant” disappointed at the weekend box office by not getting close to the numbers reached by earlier films in the franchise.

Lionsgate shares opened on the New York Stock Exchange down 97 cents, or 4 percent, at $21.68. As of 9:45 a.m. ET, they were down 2.3 percent. They had on Friday closed at $22.62. Over the past year, the stock has traded as low as $16.21 and as high as $41.41.

“Allegiant”’s underperformance follows no cheer for the studio at the box office for “Gods of Egypt,” “The Last Witch Hunter” and “Mortdecai.” That could spell trouble for Lionsgate and Summit with investors when it comes to YA film adaptations after the blockbuster success of the “Twilight” and “The Hunger Games” film franchises, with implications for 2017 and 2018 financial results.

"While we are generally reticent to change ratings around a single movie’s performance, the bull case on this name has been that there would be no earnings cliff post Hunger Games," Stifel analyst Ben Mogil wrote in a report.

The studio's stock price has risen sharply in recent years on the strength of the “Hunger Games” franchise, which had Jennifer Lawrence playing a young rebel in the dystopian movie series. So analysts in turn have flagged a possible profit shortfall at Lionsgate after the end of the “Hunger Games” movies if the studio could not develop more film franchises.

"With ‘Allegiant’ now faltering, the impact going forward is material and more importantly brings into question how deep the Young Adult market is, a market which has brought in numerous entrants amid a movie going environment which is increasingly very concentrated among fewer films," Mogil argued.

The “Allegiant” underperformance may also complicate any discussions for Lionsgate to merge with or acquire premium cable channel Starz, a move that could take the place of “Hunger Games” in goosing the studio's share price.

However, Matthew Harrigan, an analyst at Wunderlich Securities, in his own note remained bullish on Lionsgate, lauding the company's TV and other media properties and predicting “Allegiant” would break even and saying that the studio's stock price implies no value from new films.

"Given poor reviews and very unpredictable box office for YA (young adult) films, we admit to actually being slightly relieved, with the film likely to achieve cumulative U.S. box office approaching $70 million," Harrigan wrote.

Eric Wold, a B. Riley & Co. analyst, in his note cautioned a weak opening for Allegiant would put downward pressure on his estimates for near-term earnings.

"With ‘Batman v Superman’ opening this coming weekend, taking over all Imax, and exit polls negative for the (‘Allegiant’) film, we believe it is unlikely to gain any momentum in the coming weeks," he wrote. At the same time, Wold looked beyond the “Divergent” property to a possible earnings rebound for Lionsgate after fiscal year 2016. 

That's as TV production offsets disappointments at the theatrical box office and Lionsgate becomes a buyer or takeover target, he argued.  "Even with that backdrop, we remain optimistic on Lionsgate, given the projected opportunity to see earnings before interest, taxes, depreciation and amortization increase off the fiscal year 2016 trough (with a new guidance range likely to be provided on the upcoming conference call), the improving revenue/margin contributions from the TV production segment and the opportunity to leverage the low tax rate base in multiple ways (as a buyer or a target)," Wold wrote. 

SEE ALSO: Critics are calling the latest "Divergent" a huge franchise movie failure

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NOW WATCH: Architects plan on reconstructing one of the lost wonders of the ancient world... only bigger

Though we in the press can’t talk about “Batman v Superman: Dawn of Justice” just yet, fans who were at the movie’s premiere in New York City on Sunday have taken to Twitter. And the reaction is very positive.

From what we can tell, the movie delivered on massive hype:

 And someone is now Team Affleck when it comes to the best Batman ever:

But the main consensus from this small sampling is that Gal Gadot as Wonder Woman is a scene-stealer:

Keep an eye out for our review of the movie Tuesday night.

“Batman v Superman: Dawn of Justice” opens in theaters on Friday.

SEE ALSO: "Avengers" actor Jeremy Renner says he would be open to doing a Hawkeye Netflix show

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NOW WATCH: Kate Middleton opened a shop for charity

It's been 31 years, but Pee-wee Herman is finally back with the Netflix movie "Pee-wee's Big Holiday." It's a hilarious reminder that the childlike comedy of Pee-wee creator Paul Reubens still works. 

Years in the making, the movie saw Reubens teaming with Judd Apatow, who came on as a producer to help get the latest Pee-wee movie off the ground. One of Apatow's contributions was connecting Reubens with comic Paul Rust.

The star and cocreator of the Netflix show "Love," Rust is also a die-hard Pee-wee fan, and jumped at the chance to cowrite the "Big Holiday" screenplay with Reubens. 

Rust talked to Business Insider about how five of his favorite moments from the movie were created.

(Warning: spoilers for "Pee-wee's Big Holiday" ahead.)

"Pee-wee's Big Holiday" is currently available on Netflix.

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1. Reubens and Rust wanted a mix of "E.T." and Ed Wood for the alien opening scene.

Pee-wee movies love a dream sequence, and "Big Holiday" is no different. It opens with Pee-wee saying goodbye to an alien he's befriended before it goes back to its mothership. According to Rust, his and Reubens' love for Steven Spielberg's "E.T. the Extra Terrestrial" inspired the scene.

"My favorite movie is 'E.T.' and Paul loves 'E.T.' as well, he has all this 'E.T.' merchandise," Rust told BI. "So it was one of the first things we bonded over and I think we liked the idea of starting a movie with the ending of another movie. We almost got a kick out of the idea of somebody starting the movie and thinking, 'Did it jump to the end, what's going on? Why are they saying goodbye?'"

Though the alien looks very lifelike thanks to CGI, its beam to the ship was done on the cheap — it looks like wires are used to raise the alien into the sky. Rust said there was some discussion in the edit room about whether the filmmakers should go the Ed Wood (famous for campy movies like "Plan 9 from Outer Space") route for the conclusion of the scene. But finally everyone agreed the scene needed a little humor.

"I'm glad we did that because the opening has such an emotional feel. There needed to be a moment to be able to laugh," he said. 

2. Rust gave up his favorite joke for this scene.

One of the best scenes in "Pee-wee's Big Adventure" involves a giant Rube Goldberg machine Pee-wee uses to prepare breakfast. For "Big Holiday," Reubens and Rust thought it would be fun to make Pee-wee the ball in the Rube Goldberg machine. This leads to Pee-wee doing everything from flying from his roof on skis to driving a mini-car to picking up an old lady while riding a skateboard on his trip to work.

And one of the big jokes in the sequence is actually Rust's go-to line in real life. Pee-wee asks the old lady, "Have you heard about those new corduroy pillows?" She answers no, and Pee-wee replies, "I'm surprised, because they're making head lines."

"I heard that joke at camp in eighth grade and whenever I have to tell a joke, that's my favorite one to use," Rust said. "So now I can't do it anymore or people are going to think I ripped it off a Pee-wee movie."

3. The snake farm scene worked better than Rust thought it would.

While taking his first-ever holiday, Pee-wee hitches a ride with a traveling salesman who takes him to a snake farm. Pee-wee hates snakes (fans of "Big Adventure" know this all too well), but is convinced to see "the monster" exhibit. He walks into a dark room and gives out a very loud scream when confronted with a giant cobra.

While screening the film at the South by Southwest (SXSW) festival, Rust was pleasantly surprised by the reaction the sequence got.

"That got a bigger response than I thought it would," he said. "Paul and I both really love crummy roadside attractions. I grew up in Iowa and would go to cheesy places like that as a kid who had never been to Disney Land yet. It was a very poor substitute. Paul growing up in Florida, there were a lot of snake farms and gator farms and stuff like that. So that was the inspiration."

Actor Miles Teller is one of the higher-profile actors who has auditioned for the role of young Han Solo in the upcoming spin-off movie about the character's early years.

But directors Phil Lord and Christopher Miller seem to be looking for a talent who's not so widely known, as Teller didn't make the shortlist for the role. 

The "Fantastic Four" star likely won't be losing sleep over it. He has up to four movies that could be coming out in 2016 and was just in this weekend's "The Divergent Series: Allegiant" (though it bombed at the box office). But there's also the fact that it seems Teller isn't a very big "Star Wars" fan.

He admitted while doing the podcast "Happy Sad Confused" that he had never even seen the original trilogy until going in for the audition.

“I had never even seen any of the original 'Star Wars' movies until maybe a month or a couple weeks before my first audition because I was like, 'I should check this out,'" Teller said with a laugh on the podcast. "It holds up. I just love Harrison Ford. I think that’s a great character. I love his brand. I mean so many guys would’ve played that part so wrong and he has humor at the right times.” 

Spoken like someone who has just a casual knowledge of the "Star Wars" saga. 

Honestly, Teller, who received acclaim for "Whiplash," is too much of an established actor to take on young Han Solo, so his audition could have been as simple as his team saying "just meet with everyone."

The final three actors reportedly in the running for Han Solo are: Alden Ehrenreich, the scene-stealer in "Hail, Caesar!," Jack Reynor, known for starring in "Transformers: Age of Extinction," and Taron Egerton, the star of "Kingsman" and "Eddie the Eagle."

SEE ALSO: Superman star Henry Cavill was hanging out in Times Square an no one noticed him

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When writing the script for the upcoming "Batman v Superman: Dawn of Justice," director Zack Snyder revealed he nearly added two of the Dark Knight's most iconic villains to the film. 

 “The Joker and The Riddler both came close to being in this movie,” Snyder told Collider. 

Snyder said adding the two bad guys would have been too much of a good thing.

Both the Joker and the Riddler would have joined a very full house. The film will already include the debut of Ben Affleck's Batman, Jesse Eisenberg's Lex Luthor, the first ever big-screen appearance of Wonder Woman (Gal Gadot) and cameo appearances from Flash (Ezra Miller), Cyborg (Ray Fisher), and Aquaman (Jason Momoa) teasing the upcoming "Justice League" film. Snyder believed adding two more villains would have detracted from the core conflict.

“We talked about the possibility of putting them in. [Screenwriter] Chris Terrio and I talked about it a lot and felt that their mythological presence is felt in the movie, and that’s cool, but I didn’t want to get my eye too far off the ball because I needed to spend the time, frankly, with Batman and Superman to understand the conflict," explained Snyder.

While there's no word of Riddler being added to the DC Extended Universe yet, Batman is expected to eventually get his own solo film in the near future. In the meantime, Jared Leto will debut as the Joker in "Suicide Squad" coming August 25. We'll see the full crew of "Batman v Superman: Dawn of Justice" on March 25.

You can check out the full video with Snyder's comments on the Joker and Riddler below: 

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After 2015's "The Ridiculous 6," Adam Sandler returns to Netflix with "The Do-Over."

The second film from his four-movie deal with Netflix, "The Do-Over" features Sandler as a bank manager whose life gets complicated thanks to his friend (David Spade). 

The short teaser doesn't show much of the plot, but Netflix's description says, "The life of a bank manager is turned upside down when a friend from his past manipulates him into faking his own death and taking off on an adventure." 

Paula Patton, Nick Swardson, and Luis Guzman also star. 

The film hits Netflix May 27. 

Watch the teaser below. (Warning: brief flash of nudity.)

SEE ALSO: The early reaction to 'Batman v Superman' is here, and fans say this is the best part

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Astrophysicist and StarTalk Radio host Neil deGrasse Tyson sits down with George Takei, to talk about 'Star Trek', social media, the future of technology, and everything else. 

Produced by Kamelia Angelova, Kevin Reilly, and Darren Weaver and by StarTalk Radio, a Curved Light Production, executive producer Helen Matsos, and producer Laura Berland.

Edited by Christine Nguyen

Follow TI: On Facebook

StarTalk Radio is a podcast and radio program hosted by astrophysicist Neil deGrasse Tyson, where comic co-hosts, guest celebrities, and scientists discuss astronomy, physics, and everything else about life in the universe. Follow StarTalk Radio on Twitter, and watch StarTalk Radio "Behind the Scenes" on YouTube.

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That trailer you can't stop watching used it. One of Disney's most memorable songs did it. And it's in almost every movie you see on TV or on an airplane.

You've probably never heard of voice matching before, but it's one of Hollywood's oldest and most useful tricks.

Like stunt doubles or digital retouching, voice matching — also known as "voice double" or "soundalike"— is a tool the movie business uses to conjure the fantasy we imagine in our heads. It's a process in which voiceover artists are hired in postproduction to come in and double for the voice of a star. And if the voice match is done right, you’ll never know that a line of dialogue actually came from someone other than the actor you see on-screen.

It often happens when an actor is already working on another movie and can't come in to do the ADR session (additional dialogue replacement), which takes place months after filming. And there are some stars who simply hate doing ADR, even adding clauses refusing to do it in their contracts. There's good reason for that: ADR is quite challenging.

When a movie or TV show is in postproduction, all sound has to be mixed for the footage that's being used in editing. If dialogue can't be heard because of noise on the set or a mic malfunction, the actor must come in for ADR sessions to rerecord the dialogue. (Actors are also asked to come in to do "clean versions" of movies, dubbing over curse words with words that will be suitable for TV or airplanes.)

But the lines must be delivered with the exact tone that was used on the set. If you were out of breath then, you have to sound that way again.

"There are those actors who hate to do ADR," supervising sound editor/rerecording mixer Michael J. Fox told Business Insider. Fox has been overseeing voice matching since the late 1990s. "They are far removed from what they did on-set, there's no one to play off of, you can't get back in the headspace you were in. They are often like, 'Fine, voice-match it, totally fine with that.'"

But some big stars are happy to do it. Fox recalls Meryl Streep coming in to do her ADR for the film "August: Osage County," and Matt Damon and Ben Affleck showed up to do it for "Jay and Silent Bob Strike Back." Fox remembers asking Damon why he was doing it, and the actor's answer was simple: "I'll do anything for Kevin Smith," referring to the film's director.

But some stars can't stand the process. Fox handled ADR for the indie "Rolling Kansas," starring Thomas Haden Church. The actor was so baffled by having to voice clean audio that he decided to just say whatever was in his head.

"If the original line was 'bulls--t,' he would replace it with 'peanut butter and jelly,'" Fox said. "It was funny. The TV version was just ridiculous."

2 voice actors who pretend to be Cameron Diaz and Owen Wilson

Married couple Jessica Gee-George and Grant George are veteran voice-over actors who have imitated stars including Cate Blanchett and Owen Wilson over the years.

They say the process usually begins with an email from a postproduction supervisor about the actor they would match and how many lines they would perform. Sometimes they simply agree to the job if the supervisor knows they can do it. Otherwise they audition for the voice match, sending out a file they recorded at home.

If they get it, the job is usually no longer than a four-hour day. They record in a studio with the footage in front of them on a big screen. The director often walks them through the lines, ranging from screaming for hours to saying a few lines that got garbled. The work is often needed for action scenes.

"Whether it's a fighting scene or it's a close-up of someone breathing, the actors don't come back for that type of work," Gee-George said, noting that she did Cameron Diaz's screams and gasps in the car-crash scene in 2001's "Vanilla Sky."

The recent trend, however, is voice-matching in trailers for big films that kick off publicity over a year before release. Studios will rush to get out small teasers without any audio ready for the footage they want to use. That's when the voice-over artists get a call.

"They often need a nice, clean line of dialogue," George said. "Sometimes they even use our voices as a temp for when they send the trailers for approval to the studio."

When a dead actor needs to be brought back to life

Voice matching also comes up when an actor is deceased. Stephen Stanton is a go-to guy when a film, TV show, or video game needs the voice of an actor who is no longer with us.

He's currently the voice of Peter Cushing as Grand Moff Tarkin in "Star Wars Rebels" and Alec Guinness as Obi-Wan Kenobi in numerous "Star Wars" games. He was also the voice of film critic Roger Ebert in the documentary "Life Itself" and legendary horse-racing announcer Chic Anderson in the movie "Secretariat."

"This is not about being an impressionist," Stanton told Business Insider of voice matching. "You're all of a sudden being put into the position of being the lead actor in that film for a day, so you've got to get into the actor's head and into the script."

You also have to be able to match up perfectly with the lips on-screen, which goes a lot further than just getting the vocal tone right. And Stanton, who boasts being able to do more than 200 voices on the spot (here are some of them), says you have to be ready to work at a moment's notice.

"Sometimes a trailer house needs you in 10 minutes. They are in a real crunch," he said. "They are putting something together and it has to get to the studio for approval. There's no real rehearsal with something like that — you can either do the voice or you can't."

The legendary actor who didn't do his own voice on a 'Lion King' song

There's no better example of 11th-hour voice matching than Jim Cummings' work on "The Lion King."

The voiceover actor remembers hanging around the studio one day when he was summoned by Tim Rice and Elton John. They were mixing a song for the Disney classic, specifically "Be Prepared," performed by the film's villain Scar, voiced by Jeremy Irons.

"They wanted me to take a crack at doing the song," Cummings told Business Insider. "As one of them put it to me, Irons singing sounded like, 'You could hear every Marlboro the man has ever smoked in his life.'"

Cummings had been the lead singer for The California Raisins, the animated musical group, during its heyday in the late 1980s. And he has been the voice of Disney's Winnie the Pooh and Tigger since 1987, among many others.

Though he had never done Irons' voice before, with only eight days before the premiere of "The Lion King" in theaters, Rice and John needed someone with a better singing voice but who could still sound like Irons.

"The way I saw it, if I stink, we're going to know pretty quick," Cummings said. "So I did it, and apparently I nailed it."

But there was still one last hurdle to cross. Jeffrey Katzenberg, then the head of Disney's animation studio, had to sign off on the performance.

"They went in and played the song," Cummings said. "And Jeffrey was like, 'That sounds great, it's fantastic. I thought you guys were worried Jeremy [Irons] wasn't going to be able to pull it off.' And they were like, 'So you like it, Jeffrey?' Like four times they asked him, and he's like, 'It's great,' and then they said, 'Great. By the way, it's not Jeremy.' And Jeffery was like, 'What?!' And they explained what had to be done and me coming in, and he was like, 'I still like it.'"

Cummings has also filled in on songs for Christopher Lloyd in "Anastasia,"Russell Means in "Pocahontas," and Danny DeVito in "Hercules."

"It's a tough thing when you're in the studio with a guy who's really talented and he's a great actor, but he just can't sing," Cummings said. "It can be frustrating for everyone. But voice actors are character actors, and that's just what they sound like. It's the character first and the voice second, because you have to be true to the character and flesh him out and make him real."

Working in the shadows

"It's a profession that's right in front of your face, but you don't see it," Cummings said of voice-matching work.

The actors are rarely credited for their work, and if they are, it's usually with an "additional voice" credit.

"It's a facet of the illusion of movie and TV making," Grant said. "It's like when people are shocked a scene was shot on a sound stage instead of in a house."

Though voice-matching gigs are fairly regular, it's hard to make a living on them. They pay from a union scale of about $900 to somewhere in the four-figure range for a day's work. That's regardless of whether the voice is used; if it is used, the voice actor also gets residuals on the project.

Often voice-matching artists won't know whether they can be heard in the movie until they see it themselves and try to catch where their performance is.

Though it's a job these performers will hardly ever get any recognition for, all of the voice actors interviewed for this story said they were doing their dream job and loved the fact that few people knew what was going on behind the curtain.

"I don't think audiences know this is going on at all, and that's the whole point of it," Stanton said of voice matching. "If everyone is doing their job well, this is done very seamlessly, and no one is aware that it's happening, and that's all part of movie magic. You don't want to take people out of it."

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