Pixar Animation is known for hiding details and references in its movies and "Incredibles 2" is no different.

INSIDER rounded up all the references we spotted in the superhero sequel along with others found around the web. If you didn't rewatch the 2004 movie ahead of the new movie, there are a few callbacks to the original you may have overlooked.

The Parr family gets Chinese takeout while living in a motel.

Take a close look at the Chinese food box.

The logo on the box looks identical to the one seen in "Inside Out."

Riley and her family also have takeout after moving into a new home. The containers have also appeared in "A Bug's Life" and "Monsters, Inc."

The Underminer isn't just a villain who returns from the first movie.

He's voiced by John Ratzenberger who has appeared in every Pixar movie. Some of the other characters he has voiced include Hamm ("Toy Story"), Mack ("Cars" franchise), the Yeti ("Monsters, Inc." franchise), and P.T. Flea ("A Bug's life").

• AMC Theatres has announced the launch of AMC Stubs A-List. 
• For $19.95 (plus tax) a month, you can see three movies per week.
• You get perks like free refills of popcorn and online ticket fees waived, while also being allowed to see a movie in any format and see the same movie as many times as you want.
• AMC, the biggest movie chain in the world, is now in direct competition with MoviePass.
• AMC Stubs A-List launches on June 26.

AMC Theatres has decided to up its subscription game and go head-to-head with MoviePass. 

In an clear move to compete against the subscription upstart, the largest theater chain in the world announced in a press release on Wednesday that it will add a new tier to its subscription loyalty program, AMC Stubs. On June 26, the company is launching "AMC Stubs A-List."

For $19.95 (plus tax) per month, members will get to see three movies a week in theaters. They will also get all the benefits of the AMC Stubs Premiere plan (free refills on popcorn, online ticketing fees waived) plus being able to book tickets in advance, see a movie in any format (IMAX, RealD 3D), and can come back and see the same movies. (However, if you don't see three movies in a week, they do not carry over to the following week).

Many of these perks — like advance tickets, seeing non-2D movies, and seeing the same movie again — are restricted by MoviePass. 

AMC and MoviePass have been at odds since the app launched its $9.95-per-month model last summer. AMC has been its loudest opponent, even hinting at trying to block the service from its theaters. MoviePass later stoked the fires when it suddenly pulled the app service from 10 AMC locations in January. (It later reactivated them.)

MoviePass responded to the AMC news via Twitter on Wednesday:

AMC's launch of Stubs A-List doesn't just make it a major competitor with MoviePass (Cinemark also has a $8.99 subscription service that lets you go to one 2D ticket per month), but shows that movie theater subscription plans are not going away. 

With MoviePass proving that audiences will go to the movies more often if given an attractive way to do it (MoviePass boasts it represents more than 5% of US box office receipts and has over 3 million subscribers), the chains are clearly taking the model and running with it.

They no doubt, however, hope their subscription programs can be more financially viable than MoviePass. Stock of MoviePass' parent company, Helios and Matheson, sank to an all-time low of $0.29 early Wednesday.

SEE ALSO: The positive Rotten Tomatoes audience score for "Gotti" has raised suspicions after the movie's thrashing by critics

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Warning: Spoilers ahead if you haven't watched "Avengers: Infinity War."

"Guardians of the Galaxy" director James Gunn confirmed that the third installment will follow after the devastating losses in "Avengers: Infinity War."

When a fan asked Gunn on Twitter if "Guardians of the Galaxy Vol. 3" would be before or after the latest "Avengers," Gunn simply responded with, "It will be after." 

At the end of "Infinity War," most of the guardians are gone. Gamora is dead, having been sacrificed by her adopted father Thanos, but her soul is still in the soul stone. As for the rest, Groot, Mantis, Drax, and Peter Quill all disintegrate. Their disappearances leave Rocket Raccoon as the only remaining Guardian. 

Fans took to Twitter with some hilarious reactions to Rocket going on his own journey in "Vol. 3." 

Marvel has attempted to convince viewers that the deaths in "Infinity War" are permanent. Directors Joe and Anthony Russo have claimed that sequels don't guarantee a character's survival. 

Anthony told HuffPost that a movie doesn't have to follow a linear story. 

"Here's the thing, I think it's important to remember anything is possible in the MCU [Marvel Cinematic Universe]," he said. "Just because there's a sequel on the books doesn’t mean … people become accustomed to time moving linearly in the MCU. That doesn't necessarily have to be the case. There's a lot of very inventive ways of where the story can go."

Also, actor Dave Bautista confirmed that he'd be back for the third movie. 

"I don't know how they're bringing me back, but...' Yeah, somehow I'm gonna make it, because as far as I know, I am gonna be in 'Guardians 3,' so I have to be back,"he told Collider. 

That means that "Guardians of the Galaxy vol. 3" could feature flashbacks, but the more likely outcome is that at least some of the deaths are somehow reversed. After all, there is a time stone. 

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NOW WATCH: How to survive a snake bite

• "Jurassic World: Fallen Kingdom" comes to theaters this weekend, and sadly, it's not as good as "Jurassic World."
• The latest addition to the "Jurassic Park" franchise takes itself way too seriously.

Three years after “Jurassic World” hit theaters and revamped the “Jurassic Park” franchise with a record-breaking $208.8 million opening weekend, and an incredible $1.6 billion worldwide earned at the box office, the sequel is here, “Jurassic World: Fallen Kingdom.” And honestly, don’t get too excited.

“Jurassic World” gave a nice dose of nostalgia for the original “Jurassic Park” movie directed by Steven Spielberg in 1993, but “Fallen Kingdom” (in theaters Friday) falls into the usual sequel trappings that, well, the sequel to “Jurassic World,” “The Lost World: Jurassic Park,” fell into as well.

In trying not to repeat the things that made the first movie so great, "Fallen Kingdom" turns into a bland continuation instead of a fun companion.

In “Fallen Kingdom,” we are back into the story three years later. The park in Isla Nublar has been abandoned, but with a volcanic eruption on the island coming soon, a major debate has been sparked about whether the dinosaurs on the island should be saved or left to become extinct once more.

Claire (Bryce Dallas Howard) has launched an organization to help save the dinosaurs, and one day while hustling with her follow volunteers for donations, she gets a call from Benjamin Lockwood (James Cromwell), a former partner of John Hammond, the man behind the cloning of the dinosaurs and the brains behind Jurassic Park (played by Richard Attenborough in the first “Jurassic Park” movie).

Lockwood has a proposition for Claire.

Claire goes out to Lockwood’s massive estate to hear him out. Lockwood’s second-in-command, Eli (Rafe Spall), informs Claire of their plans to extract all the dinos on Isla Nublar and take them to an island sanctuary to live out their days. All they need is Claire’s access to the computer system on the island (remember, she was the operations manager at the park in the last movie) and Owen (Chris Pratt) to come along and track down the Velociraptor he raised, Blue.

Outside of a thrilling opening scene to the movie in which a team retrieves DNA from the remains of the Indominus Rex from the last movie, things get dull until Claire and Owen, who interrupts his ambitious house-building project to go on the mission — I mean, he had the house all framed out, should he really have stopped building? — touch down on the dino island.

It doesn’t take long for Claire to get into the system or Owen to find Blue (along for the ride is a geeky IT guy, played by Justice Smith, and a no nonsense paleo-veterinarian played by Daniella Pineda). But with the now-erupting volcano and the pissed dinosaurs all around them, there are a lot of challenges.

This time around, franchise staple Dr. Wu (played by the ageless B.D. Wong) has crafted an Indoraptor — a hybrid of the Indominus Rex and a Raptor — that is scary as all heck and gets loose by the end of the movie.

It leads to a thrilling conclusion back on the Lockwood estate, as Claire and Owen uncover a sinister plot and befriend Lockwood’s granddaughter, Maisie (Isabella Sermons), in the process. (Did you really think one of these movies wasn’t going to have a kid character in it?)

But the biggest problem with “Fallen Kingdom” (outside of not nearly enough Jeff Goldblum) is everything is taken way too seriously. Like “Jurassic World,” there’s nothing in the sequel that we haven’t seen before in a summer blockbuster movie (from the long-winded exposition to the stale plot points), the only glaring thing is director J.A. Bayona (“A Monster Calls”) tries to be more dramatic than the other movies in the franchise, and offer “real” stakes. That’s not what this franchise is about.

Despite all that, though, the final few minutes of the movie have you excited about the inevitable third chapter in the reboot franchise. I don’t know how the heck they did it, but despite everything I didn’t like about “Fallen Kingdom,” I’ll be first in line to see part three.

SEE ALSO: 11 rising cinematographers taking over Hollywood

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NOW WATCH: A Navy SEAL explains why you should get up at 4:30 am every day

On Wednesday, AMC Theatres amped up the movie subscription rivalry it has with MoviePass by announcing AMC Stubs A-List, a $20-a-month service that lets you see three movies per week.

The announcement didn't just ruffle the feathers of MoviePass, but made moviegoers pause for a brief moment and figure out if it was worth it to sign up for another service. 

AMC's service (launching June 26) may be double what MoviePass is, but you get more perks like being able to see IMAX and Real 3D movies, and see the same movie multiple times. However, with MoviePass you get to see more movies per month at less of the cost, and you can go to almost any theater in the US to use the service (not just AMC theaters). 

Conflicted? Us too. Here's the tale of the tape:

Honestly, there's no clear winner here. 

But if you're looking long term, it's possible AMC will be the better play. AMC is the largest theater chain in the world. That has its perks. Soon after announcing the launch of Stubs A-List, IMAX announced that it would be in full cooperation with the service and that there would be no added charge to see IMAX movies through the A-List service. 

And in an earnings call Wednesday afternoon, AMC CEO Adam Aron, while promising that "our program will be profitable," noted that those who come in early on the service will be guaranteed that $20 monthly price for the next year. Aron foresees the membership price going up or down depending on the marketplace.

SEE ALSO: "Jurassic Park: Fallen Kindgom" takes itself way too seriously, and that dampens the fun

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NOW WATCH: How to survive a snake bite

• The list of everything that will be coming to and leaving Netflix in July has been released.
• Among those joining the streaming site are "Jurassic Park," season 6 of "Orange Is the New Black," and "The Princess Diaries."
• Titles that will be removed include "V for Vendetta,""Tropic Thunder," and "Breakfast at Tiffany's."

July is the perfect time of the year to binge watch all your top shows and movies — especially since summer vacations are in full swing and school is no longer in session.

In July, Netflix will add Oscar-winning films like "Jurassic Park,""The Lost World: Jurassic Park," and "Jurassic Park III," which is perfect timing for fans who will be watching "Jurassic World: Fallen Kingdom"in theaters. 

Unfortunately, some fan-favorites will be leaving the streaming site. If you can't get enough of the "Bring It On" movies, now is your last chance to watch them before they're gone. Fans of action movies like "V for Vendetta" and "Tropic Thunder" will also be disappointed to know that they will be leaving Netflix.   

Here's a list of everything coming and going on Netflix in July.

Arriving in July

Arriving 7/1/18

"Blue Bloods" Season 8

"Bo Burnham: what."

"Chocolat"

"Deceived"

"Finding Neverland"

"Get Smart"

"Happy Gilmore"

"Hawaii Five-O" Season 8

"Interview With the Vampire"

"Journey to the Center of the Earth"

"Jurassic Park"

"Jurassic Park III"

"Madam Secretary" Season 4

"Menace II Society"

"NCIS" Season 15

"Pandorum"

"Penelope"

"Queens of Comedy" Season 2

"Rica, Famosa, Latina" Seasons 1 — 4

"Scooby-Doo"

"Scooby-Doo 2: Monsters Unleashed"

"Spanglish"

"Stealth"

"Swordfish"

"The Boondock Saints"

"The Lost World: Jurassic Park"

"The Princess Diaries"

"The Voices"

"Traitor"

"Troy"

"Van Helsing"

"We Own the Night"

"We the Marines"

"What We Started"

Available 7/2/18

"Dance Academy: The Comeback"

"Good Witch" Season 4

"Romina"

"The Sinner" Season 1

Available 7/3/18

"The Comedy Lineup" NETFLIX ORIGINAL

Available 7/5/18

"Blue Valentine"

Available 7/6/18

"Anne With an E" Season 2 NETFLIX ORIGINAL 

"Comedians in Cars Getting Coffee: New 2018: Freshly Brewed" NETFLIX ORIGINAL

"First Team: Juventus" Part B NETFLIX ORIGINAL

"Free Rein" Season 2 NETFLIX ORIGINAL

"Inside the World's Toughest Prisons" Season 2 NETFLIX ORIGINAL

"Sacred Games" NETFLIX ORIGINAL

"Samantha!" NETFLIX ORIGINAL

"Somebody Feed Phil: The Second Course" NETFLIX ORIGINAL

"The Fosters" Season 5 New Episodes

"The Legacy of a Whitetail Deer Hunter" NETFLIX FILM

"The Skin of the Wolf" NETFLIX FILM

"White Fang" NETFLIX FILM

Available 7/7/18

"Scream 4"

Available 7/9/18

"Lockup: Extended Stay" Collection 1"

Available 7/10/18

"Drug Lords" Season 2 NETFLIX ORIGINAL

Available 7/12/18

"Gone Baby Gone"

Available 7/13/18

"How It Ends" NETFLIX FILM

"Jim Jefferies: This Is Me Now" NETFLIX ORIGINAL

"Kevin Hart: Let Me Explain"

"Sugar Rush" NETFLIX ORIGINAL

"The Epic Tales of Captain Underpants" NETFLIX ORIGINAL

Available 7/15/18

"Bonusfamiljen" Season 2 NETFLIX ORIGINAL

"Going for Gold"

"The Joel McHale Show With Joel McHale" Part 2 NETFLIX ORIGINAL

Available 7/20/18

"Amazing Interiors" NETFLIX ORIGINAL

"Dark Tourist" NETFLIX ORIGINAL

"Deep Undercover" Collection 3

"Duck Duck Goose" NETFLIX FILM

"Father of the Year" NETFLIX FILM

"Fix It and Finish It" Collection 3

"Home: Adventures With Tip & Oh" Season 4 NETFLIX ORIGINAL

"Jimmy: The True Story of a True Idiot" NETFLIX ORIGINAL

"Last Chance U: EMCC & Life After" NETFLIX ORIGINAL

"Last Chance U: INDY" Part 1 NETFLIX ORIGINAL

"Luna Petunia: Return to Amazia" Season 2 NETFLIX ORIGINAL

Available 7/22/18

"An Education"

Disney's "Bolt"

Available 7/24/18

"The Warning" NETFLIX FILM

"Iliza Shlesinger: Elder Millennial" NETFLIX ORIGINAL

Available 7/27/18

"Cupcake & Dino — General Services" NETFLIX ORIGINAL

"Extinction" NETFLIX FILM

"Orange Is the New Black" Season 6 NETFLIX ORIGINAL

"Roman Empire: Reign of Blood: Master of Rome" NETFLIX ORIGINAL

"The Bleeding Edge" NETFLIX ORIGINAL

"The Worst Witch" Season 2 NETFLIX ORIGINAL

"Welcome to the Family" NETFLIX ORIGINAL

Available 7/28/18

"Shameless" Season 8

"The Company Men"

Available 7/29/18

"Her"

"Sofia the First" Season 4

Available 7/30/18

"A Very Secret Service" Season 2 NETFLIX ORIGINAL

Available 7/31/18

"Terrace House: Opening New Doors" Part 3 NETFLIX ORIGINAL

TBA

"El Chapo" Season 3

Leaving in July

Leaving 7/1/18

"Alive"

"Along Came Polly"

"An Honest Liar"

"Beerfest"

"Before Midnight"

"Bring It On"

"Bring It on Again"

"Bring It On: All or Nothing"

"Bring It On: Fight to the Finish

"Bring It On: In It to Win It"

"Cocktail"

"Extremely Loud and Incredibly Close"

"Lethal Weapon"

"Lethal Weapon 2"

"Lethal Weapon 3"

"Lethal Weapon 4"

"Little Women"

"Michael Clayton"

"Midnight in Paris"

"Mixed Signals"

"More Than a Game"

"Pandemic"

"Piglet's Big Movie"

"Rugrats Go Wild"

"Scary Movie"

"Scream 3"

"Terminator 3: Rise of the Machines"

"The Art of War"

"Tropic Thunder"

"V for Vendetta"

Leaving 7/2/18

"Breakfast at Tiffany's"

Leaving 7/8/18

"Alpha & Omega: Journey to Bear Kingdom"

"Real Husbands of Hollywood" Seasons 1 — 5

Leaving 7/9/18

"Ratchet and Clank"

"Serena"

Leaving 7/11/18

"Alice Through the Looking Glass"

Leaving 7/14/18

"Wild Hogs"

Leaving 7/15/18

"Convergence"

"Lockup: State Prisons" Collection 1

"Small Is Beautiful: A Tiny House Documentary"

Leaving 7/16/18

"Changeling"

"Wanted"

Leaving 7/29/18

"The Den"

Leaving 7/30/18

"A Cinderella Story"

"Hurricane of Fun: The Making of Wet Hot"

"Swing State"

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NOW WATCH: Four MIT graduates created a restaurant with a robotic kitchen that cooks your food in three minutes or less

• MoviePass is planning to add a "high demand" charge beginning in July for movies the app deems popular.
• By the end of August, it is also planning to launch a bring-a-friend option and a premium option to see movies in Imax or Real 3D.
• MoviePass CEO Mitch Lowe told Business Insider that AMC's recently announced monthly subscription plan was funny because the president of AMC told "everybody that our subscription was not sustainable, and then he comes out with a program that essentially could cost him $60 or $80 a month to pay the studios their minimums."

By the end of the summer, you'll see some major changes to your MoviePass subscription — and you're not going to like them all.

The movie-theater subscription service told Business Insider that by August members of the service would be able to add a friend when buying tickets through the app and would have the option, at an added price, to order tickets to Imax and Real 3D movies.

But the first change to the service will happen in the coming weeks, when MoviePass will start charging members what CEO Mitch Lowe calls "high demand" pricing.

The added charge will start at $2 for titles the app deems very popular with MoviePass subscribers, according to Lowe.

"At certain times for certain films — on opening weekend — there could be an additional charge for films," Lowe told Business Insider.

So don't be surprised if you have to pay a few dollars more for that next Marvel movie. Lowe said this decision was intended to let MoviePass' theater partners attract more traffic for big blockbusters in the middle of the week and on weekends after the movie's opening weekend. It was also designed to "make sure that we can continue to offer a valuable service and support the whole enterprise," Lowe added.

The company is also planning to roll out two new features later in the summer: a bring-a-friend option, which the company has been toying with for some time, and a premium price option to see movies in Imax or Real 3D.

With bring-a-friend, there will be an option on the app for MoviePass subscribers to add a ticket for a moviegoer who doesn't have MoviePass. That added ticket will cost "somewhere near the retail price of the ticket," Lowe said. The app will allow the MoviePass user to choose a seat for both people if assigned seating is available in a theater.

For the premium price, subscribers will be given the option to pay a fee to see a movie in Imax or Real 3D. Today, MoviePass offers subscribers only the option to see standard 2D movies. Lowe said the added price would range from $2 to $6.

Lowe said subscribers would eventually be able to use both the premium and bring-a-friend options for the same movie, but for the launch they would have to choose between the two. He added that both features would be available on the app by the end of August.

Lowe also said subscribers who signed up for the annual plan would not be subject to "high demand" pricing and could opt out of the bring-a-friend or premium-price features.

MoviePass' announcement comes on the heels of the news Wednesday that AMC Theatres, the largest theater chain in the world, was launching its own monthly subscription plan, AMC Stubs A-List, that for $20 a month would let subscribers see three movies a week, including Imax or Real 3D titles.

Lowe said the news "validates that subscription is really here to stay."

Though Lowe had a positive tone, MoviePass' Twitter handle didn't seem so welcoming that AMC was "jumping on board the movie subscription train.""We want to make movies more accessible, they want more profit," a tweet said.

"It's been tough when you have the president of AMC essentially for eight or nine months telling everybody that our subscription was not sustainable, and then he comes out with a program that essentially could cost him $60 or $80 a month to pay the studios their minimums and collecting $19.95," Lowe said, referring to AMC CEO Adam Aron. "So it is a little bit kind of funny that it's pretty clear what he wanted to do — clear the way for his own subscription program and not have competition."

At the same time, MoviePass' financial woes continue. Its parent company, Helios and Matheson Analytics, said in a filing with the Securities and Exchange Commission on Thursday that MoviePass' monthly losses soared to $40 million in May because of its subscriber growth (it passed 3 million this month). The company also said it expected its cash deficit to reach $45 million in June. That's up from nearly $23 million a month in the first quarter of this year.

Have a tip about MoviePass or anything else? Email jguerrasio@businessinsider.com.

SEE ALSO: We compared AMC's new monthly subscription plan against MoviePass, and it's a close battle

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"Jurassic World: Fallen Kingdom" may have thrown some new dinosaurs into the mix, including genetic hybrids that could never have existed in reality. But the film doesn't neglect the classics, like T. rex and giant sauropods. 

To get into the spirit of the film, we here at Business Insider wanted to know what it would feel like, size-wise, to stand next to one of these dinos. So we created this graphic, which includes some of the dinosaurs that appear in the film.

*Note that all of the numbers in this graphic, which are taken from a series of dinosaur sizes provided on this Wikipedia page, are measurements based on scientific excavation and analysis and don't necessarily resemble some of the scientifically inaccurate dinosaurs that appear in the film, such as the Velociraptor.

SEE ALSO: Each year the government asks 10 simple questions to test the public's knowledge of science. Can you correctly answer them all?

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Warning: There are some spoilers ahead if you haven't seen "Avengers: Infinity War."

Thanos goes to town on the heroes in "Avengers: Infinity War," but no one sees the extent of his brute force like the group of Tony Stark, Doctor Strange, the Guardians of the Galaxy, and Spider-Man.

A new behind-the-scenes video from the scene has hit the web showing what Benedict Cumberbatch, Robert Downey Jr., and Josh Brolin all looked like while filming the giant scene and it may just change the way you watch the fight on Titan.

At the least, it will change the way you see Brolin's Mad Titan.

Most of them aren't in costume. Rather, they're wearing grey motion-capture suits to capture their performances. And, admittedly, they're kind of goofy.

Downey Jr. had dots over his outfit while filming.

Cumberbatch was wearing his costume, sans cloak.

But it's Brolin as Thanos who really stands out. He wasn't just voicing the character from a remote location. He was there on set with Downey Jr. to actually act out the scene where Thanos stabs Tony Stark.

He had to wear a full suit and headgear. 

Not as menacing, right? 

And those things above his head? 

They're reference points for Thanos' actual head and eyes.

As a reminder, here's what Brolin looks like as Thanos.

The best part is that Brolin's suit says Thanos on the back of it.

Watch the behind-the-scenes footage below.

"Avengers: Infinity War" will be released August 14, 2018 on Blu-ray, and should include even more special features. 

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NOW WATCH: Learning to celebrate failure at a young age led to this billionaire's success

Movies will often use live bugs on camera instead of CGI to make their story feel more real and to get your skin crawling. But getting these insects to do what you want requires lots an understanding of how they function.  That's where Steven Kutcher comes in. He's an entomologist who has worked with insects on over 100 major projects including "Spider-Man, "Arachnophobia," and "Jurassic Park."  We spoke with Kutcher about how he gets these tiny actors to do what the directors want and how no one gets hurt during the production. Following is a transcript of the video.

Narrator: Some of the biggest stars in Hollywood are some of the smallest creatures on the planet. Real live insects like spiders, locusts, and butterflies play crucial roles in many memorable blockbuster films. But getting them to perform on camera is no easy task.

Steven Kutcher: Rosie, lift up your leg. This leg. Come on. Oh see, she did this one. Oh, there she goes. And that's just a little trick of putting a little pressure on her back leg that causes her front leg to come up.

Narrator: That's Steven Kutcher. He's an entomologist and the go to guy for all things bugs in Hollywood. He's worked with a variety of insects on over 100 films in his career including "Arachnophobia,""Jurassic Park," and "Spider-Man."

Kutcher: Understanding insect behavior is really the key. It's not training them because you don't have time to train them in the film industry. When you work with insects, you wanna corral the insects. You wanna be able to control them.

Narrator: He's used a number of different techniques to get the bugs to move in the right direction involving lights, air, and temperature.

Kutcher: Let's say you're a bug. How can I make you move? Well, I could blow air at you, like 60 miles an hour air. You're going to move. I could light a little fire under you or set you on something that's really hot. You're gonna get up out of your seat and move. I could chill down the room. 

Narrator: For example, let's take a look at one of the most famous and terrifying spider films of all time, "Arachnophobia."

Kutcher: The great thing about that film was it was before CGI. So we had to do everything real except for one shot.

Narrator: He devised a clever yet simple rig to get all the spiders where they needed to be.

Kutcher: They would say, "We want a spider to crawl into a slipper "from four feet away." So I came up with this idea of invisible vibrating wires. Chance of vibrating wires that you couldn't see, the camera couldn't see. But I could make the spider go directly to the spot I wanted it to go.

Narrator: Kutcher's first big Hollywood gig was on the "Exorcist II" and it involved working with three thousand live locusts.

Kutcher: There's a scene where James Earl Jones has to look at a cage of locusts and the locusts were all on the ground. But how do you move hundreds of locusts up on the screen? I said, "Get a light, a studio light that gives off heat "and shining against the side of the cage." And they did and all the locusts moved up onto the cage to be near the heat. Then they took the light away.

Narrator: In "Jurassic Park," Kutcher was the man responsible for the iconic dead mosquitoes in amber.

Kutcher: So it's supposed to be a mosquito. First, it's really a crane fly. And I put antenna from another insect on the crane fly. I took a bent insect pin and made it for its mouth part. I created the wings.

Narrator: And he worked with a live mosquito in the DNA Explainer video.

Kutcher: So I would chill the mosquito down so that it wouldn't move. And then I would drip honey on it. And then it got tumbled down with the honey.

Narrator: In the 2002 movie "Spider-Man," there's a scene where Peter Parker first gets bitten. Kutcher was actually above Toby McGuire with a paint brush.

Kutcher: And what the spider will do is it will crawl along the edge until it reaches this part and then it will hang on. And I would just tap it like this which would cause the spider to web down.

Narrator: While he says he rarely ever gets bitten or stung, he takes precautions to protect the other human actors. In "Roadhouse 66," Judge Reinhold is driving a car and I had to have a scorpion crawl over his shoulder. So I put a little cap on the scorpion's stinger that looked like the stinger so it wouldn't hurt him.

Narrator: And there's also a rule on set that no bugs are hurt during production. - In making of a movie, you can't harm a cockroach, or a fly, or a maggot. But if the fly flies to craft service, you can swat it. 

Narrator: He can get some of his bugs from pet suppliers, but most he goes out and collects himself. And Kutcher's home is also full of bugs, by choice.

Kutcher: Right now, I have mosquitoes, crane flies, caterpillars in my refrigerator. The world is filled with people who do not like insects which is a great opportunity to teach those people the joys and wonders of all of the arthropods in the world and how you can relate to them. And when you understand how they work, the world is a better place.

Kutcher: To make the spider go, I just tap her back legs. And this gets her to crawl up. To make her stop, I cover her eyes. She has eight eyes. She's just looking for a dark place.

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It's officially the first weekend of summer, and we're here to help you with your binge-watching plans, in case you're the kind of person that prefers air conditioning to the heat. 

Every week, we comb through Netflix's selection to find you a handful of movies to watch over the weekend.

We select a few that have come onto the service within the past week and mix in a couple of old favorites you might have missed.

From rom-com "How to Lose a Guy in 10 Days" to indie hit "Tangerine," these are some awesome movies on Netflix that you can watch over the weekend.

Here are seven movies on Netflix you should definitely check out or revisit (along with their Rotten Tomatoes scores and why you should watch):

SEE ALSO: Netflix is releasing 6 original romantic comedy movies this summer, as part of its plan to boost the genre

"Us & Them" (2018) — a Netflix original

Netflix description: Two strangers meet on a train and form a bond that evolves over the years. After a separation, they reconnect and reflect on their love for each other. 

Critic score: N/A

Audience score: N/A

This love story spans over a decade, and captures the evolution of a romantic relationship perfectly but in a unique, whimsical way. 

"The Imaginarium of Doctor Parnassus" (2009)

Netflix description: When a deal with the devil comes due, the immortal Doctor Parnassus must renegotiate the pact to save his daughter and right the wrongs of his past.  

Critic score: 64%

Audience score: 60%

This was Heath Ledger's last film. It also stars Andrew Garfield (before he was famous), Christopher Plummer, Johnny Depp, Colin Farrell, Jude Law, and Tom Waits. Imaginative but a bit messy narratively, this dark Terry Gilliam film perfectly represents his aesthetic, and is very reminiscent of his earlier work.

"Just Friends" (2005)

Netflix description: Years after high school, a once-portly nice guy comes home for the holidays and reunites with a former crush he still has feelings for. 

Critic score: 42%

Audience score: 71%

This slapstick comedy starring Ryan Reynolds turned him into the star he is because he carries the movie. It's slightly stupid, but just good enough that it's worth revisiting if you haven't seen it in a while. 

• The Showtime documentary "Love Means Zero" (airing Saturday) looks at the career of tennis coach Nick Bollettieri.
• But the main focus of director Jason Kohn's movie is the relationship Bollettieri had with his star student, Andre Agassi.
• Kohn talked to Business Insider about why he had to have a confrontational relationship with the coach to get the movie he wanted.

In the 1990s, there was no bigger coach in tennis than Nick Bollettieri. A charismatic motivator with an oversized ego, he also had a gift for molding raw talent into champions.

At his lauded tennis academy, he launched the careers of tennis legends like Jim Courier, Monica Seles, Mary Pierce, Serena and Venus Williams, Maria Sharapova, and Anna Kournikova. By his count, 180 grand slam titles would come out of players he coached.

But his crown jewel was Andre Agassi. 

Coming to Bollettieri’s school as a teenager, Agassi instantly caught the coach’s eye because he was different. His attitude, his game, it all just shouted superstar. Bollettieri, yearning to be a star himself, put Agassi under his wing and the two became inseparable as his pupil became the hottest thing in the sport. 

However, the good times didn’t last forever. Following two grand slam wins with Agassi, in 1993 Bollettieri shockingly left the player he said he loved like a son. And if that wasn’t heartbreaking enough for Agassi, Bollettieri didn’t give a passionate face-to-face goodbye but instead ended it all via a letter to his star. The two have not been on speaking terms since. 

Now decades later, at the age of 86, Bollettieri agreed to sit down with documentary filmmaker Jason Kohn (“Manda Bala (Send a Bullet)”) to talk about it all. But “Love Means Zero” (airing on Showtime Saturday) is hardly a conventional sports documentary that looks back on the highlights of a legendary career. It’s hard hitting and full of confrontation — just like its subject. 

Kohn admits he didn’t have major aspirations for the project. In many ways he saw it as an opportunity to practice storytelling. Unlike his debut feature film, 2007’s “Manda Bala (Send a Bullet),” a complex telling of corruption and kidnapping in Brazil (it won the documentary grand jury prize at the 2007 Sundance Film Festival), Kohn could see from the start how to tell the story of Bollettieri: be as real as possible.


“The biggest learning opportunity was figuring out how do I make this into a real story,” Kohn told Business Insider. “How do I make this into a protagonist who has really clear specific goals and desires with very clear moments of conflict?”

And that was the initial challenge for Kohn: getting Bollettieri to come on board with his idea.


“I was extraordinarily concerned that if I wasn't able to get something real with Nick that this was just going to be a conventional sports documentary, and that was a genuine fear,” Kohn said. “Even though I knew what the story was I didn't mention to Nick that I knew exactly what the story was I wanted to tell. Rather than say, ‘I want to exclusively tell the story about his relationship with Andre,’ what I told him is I wanted to tell a family story and that I wanted to tell a story about surrogate fathers and sons and the relationships between his players. At that point Nick said to me, ‘Well, what about French Open 1989 when I chose [to coach] Andre [Agassi] over Jim [Courier]? They were both my boys.’ And I was like, ‘Nick, that's a wonderful idea!’ Meanwhile, that was the treatment that I had written.”

With Bollettieri on board with the story, the other challenge was figuring out if Agassi would participate in the movie. Initially, Kohn had the project set up as a “30 for 30” documentary at ESPN. But it became clear that the network was only interested in the movie if Agassi was involved. After a year of back-and-forth discussions with Agassi's manager, Kohn finally got the "no"— Agassi would not be in the movie (Showtime snatched it soon after). 

What Kohn realized in that moment was he had been free of a major restriction: working with a temperamental superstar. He changed his story treatment from a 60-minute documentary to a 90-minute feature doc and began tracking down Bollettieri’s former students. 


Kohn’s confidence in the project came from knowing how he wanted to structure the storytelling of Bollettieri and Agassi’s relationship — using the battle sequences from the Akira Kurosawa samurai classic “Ran” as a model for how to showcase three key Agassi matches — and capitalizing on the on-camera personality that Bollettieri would bring.


But the latter turned out to be more than what Kohn bargained for. In an attempt to get Bollettieri out of his usual soundbite speak, the result was constant arguments caught on camera between the two that aren't just entertaining to watch, but a refreshing subplot to the movie. As most sports documentaries are helmed by directors too busy gushing over their subjects to get them to be revealing, Kohn can be heard off camera pleading with Bollettieri to give him genuine answers to his questions.

Kohn said the key to the whole movie was that his producer Amanda Branson Gill had Bollettieri agree to sit down for two days of interviews. It was vital, because what Kohn realized was almost the entire first day was the famous coach doing the shtick he’d done for interviews for decades.


“I was getting very frustrated,” Kohn said. “Nick is self-mythologizing and when you're taking to people who are good storytellers and who have told the same story over and over and over again the actual story becomes extraordinarily detached from what actually happened. It was pretty boring.”

With visions of a conventional sports doc flashing before his eyes, Kohn at the end of the first day finally began to get Bollettieri out of his interview speak by confronting his subject on camera. Kohn said at the end of filming the first day Bollettieri got out of his seat and said to the crew, “You see that? Jason and I are fighting, it's great!"

“I saw how well he responded to that so the second day of the interview I just went in with the idea that we're going to fight now,” Kohn said. "And that was great, I felt really liberated.”


The result is one of the most powerful sports documentaries you’ll see this year. Through the pressing by Kohn, Bollettieri opens up about the controversial decision to sit in Agassi’s box when he played fellow Bollettieri protégé Jim Courier at the 1989 French Open, why he sent Agassi the letter ending his time as his coach, and why his world-renowned academy ended up not making any money. 

But where we find the macho coach’s most revealing moment is when Kohn asks Bollettieri to read a passage from Agassi’s autobiography, “Open,” in which the star writes an emotional letter directly to his old coach. It shows a rare vulnerable side of Bollettieri leading to him finally saying how he feels about his protégé: that he still cares deeply for Agassi. 

Kohn said he offered Agassi a chance to see “Love Means Zero” at a private screening when it was completed, but the tennis legend declined. Though he would have liked to have known what Agassi thought of the movie, it was more important for Kohn to find out what Bollettieri thought. The director admitted showing the movie to his subject for the first time was a strenuous ordeal.

The small screening included some of Bollettieri’s friends, and at the end it seemed the coach liked it, as he then held court and told stories. Kohn snuck out feeling it all worked well. Then around 10:30 that evening, Bollettieri called Kohn.

“I’m thinking, s---, this is when Nick is going to pull his mafia persona," Kohn said. "And then he game me a world class Coach Bollettieri ‘I’m proud of you’ speech and I was extraordinarily moved. The fact that I was moved was the most surprising thing to me because I wasn't looking for Nick's approval with this picture. I wasn't looking to make him happy. But that was the last thing about Nick's power as a coach and a motivator that I couldn't grasp until it happened to me. To give me the kind of speech I can only imagine he gave some of his players, I loved it.” 

SEE ALSO: MoviePass is going to introduce surge pricing on popular movies by July

Join the conversation about this story »

NOW WATCH: Four MIT graduates created a restaurant with a robotic kitchen that cooks your food in three minutes or less

Warning: There are major spoilers ahead for "Jurassic World: Fallen Kingdom."

If you were expecting a whole lot of Jeff Goldblum in the "Jurassic World" sequel, you're going to be disappointed. 

The teasers for "Jurassic World: Fallen Kingdom" have shown off Goldblum's big return to the franchise as Dr. Ian Malcolm, but they probably should have left that surprise out of the trailers. 

This is your last chance to head back before big spoilers. 

If you were hoping to see Dr. Malcolm facing off against the dinos, maybe sit tight for "Jurassic World 3," because it didn't happen in this movie. Not even close.

In actuality, Goldblum is barely in the movie. 

In trailers, his character is shown testifying in court about whether or not the dinosaurs of Isla Nublar should be saved. When released, some fans joked that may be the only time we would see the actor in the sequel. It turns out, they weren't wrong. 

Dr. Ian Malcolm appears once at the beginning of the film and again at the sequel's very end in a courtroom to give his expert advice on the engineered dinosaurs.

As the first trial scene aired during a screening for the movie INSIDER attended, my astute younger brother leaned over to me and asked if this was the extent of Goldblum's big cameo. When I told him the truth, he was bummed and a bit annoyed; albeit not entirely surprised. I imagine that will be the reaction of most fans who will feel bait and switched on Goldblum's small return to the franchise.

The worst part? The majority of Goldblum's cameo has been revealed in trailers already.

Nearly every line Dr. Ian Malcolm says in "Fallen Kingdom" can be heard in the teasers and trailers Universal released ahead of the film's release. 

Here are the ones in the trailers:

• "These creatures were here before us, and if we're not careful, they're gonna be here after."
• "Life cannot be contained. Life breaks free. Life finds a way."
• "Welcome to Jurassic World."

Not only does it diminish Goldblum's return, but it makes his scenes lackluster because they've been played again and again on TV and online.

"We've entered a new era — Welcome to Jurassic World," has been heavily used in marketing for the movie. The line appears at the very end of "Fallen Kingdom" making it feel stale by the time you see it on screen.  

Imagine if the marketing solely focused on Chris Pratt, his old raptor pal Blue, and the new mysterious dinosaur unveiled in the movie. A Goldblum cameo would have been a sweet surprise, especially since it's so small. Instead, you have fans heading into this movie most likely believing he'll be in more of the movie.

The good news? We could get more of Goldblum.

The movie's end lends itself to Goldblum potentially returning in a larger role.

A lot of dinosaurs are unleashed into Northern California in the final minutes of "Fallen Kingdom." Others have been bought by bidders from around the world at an underground auction held during the film. 

So even though Dr. Ian Malcolm insisted on letting the dinos die on Isla Nublar, he may wind up coming face-to-face with them regardless in the next film. Of course, that's if Goldblum reprises the character again and the actor says he wants to come back.

"Who knows? I'm curious about it, you know. If nothing else happens I'd be entirely satisfied and nourished and lucky and thrilled to have done all of this, if I can be any service, that's my posture and authentic feeling," Goldblum said in an interview with Collider. "But I've kind of nosed around because I've had such a great time, and [Trevorrow] is so good, we did that jeep commerical, he directed that, he's awful good. I'd like to work with him more on anything."

And after his little amount of screentime in "Fallen Kingdom," it would be a welcome return.

"Jurassic World: Fallen Kingdom" is in theaters now.  You can read our review here. "Jurassic World 3" is set for a 2021 release.

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SEE ALSO: MoviePass' monthly losses ramped up to $40 million in May, and the company says it might need over $1.2 billion more in capital

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NOW WATCH: Four MIT graduates created a restaurant with a robotic kitchen that cooks your food in three minutes or less

When "Jurassic Park" came out in 1993, it was a groundbreaking marvel. It revolutionized CGI while telling a compelling story about cloning dinosaurs.

Jeff Goldblum, who played Dr. Ian Malcolm, in the original franchise reprises his role briefly in the new movie"Jurassic World: Fallen Kingdom." Goldblum has had a very successful career since the original movie came out 25 years ago. 

Keep reading to see the rest of the cast who helped bring the original classic to life.

Ian Phillips contributed to an earlier version of this story.

THEN: Sam Neill starred as leading paleontologist, Dr. Alan Grant.

Grant gets invited to the dinosaur-filled island home to Jurassic Park.

NOW: Neill reprised his role in "Jurassic Park III" and has appeared in TV series including "The Tudors."

Neill played Inspector Chester Campbell in the British gangster drama "Peaky Blinders." This past fall, he played Thor's father, Odin, in a play in "Thor: Ragnarok."

THEN: Laura Dern played paleobotanist Dr. Ellie Sattler.

She accompanied Dr. Grant on his trip to Jurassic Park.

Warning: There are spoilers ahead for "Jurassic World: Fallen Kingdom."

There's no denying the "Jurassic World" sequel is a ridiculous, silly popcorn movie. It's a fun movie and you'll have a good time watching it. But boy, are there some truly ridiculous moments in this movie.

Chris Pratt jumps through the jaws of a T. Rex and beats down a bunch of bad men single-handedly. And then there's the whole beginning of the movie. 

The far-fetched moments are what make us love these movies. We're not supposed to take them seriously. But when you get down to it, there are some really silly things in this movie that we need to discuss. Come on this journey with us.

8. Chris Pratt's character becomes a ninja and takes out multiple people with his bare hands.

One of the sequel's bizarre moments is when Owen easily takes down about a dozen or so men at the Lockwood Estate. At some point, the man who ran off to live with nature and build himself a cabin in the woods became an expert at defensive combat.

And he's not just punching people in the face. He's dodging electrified wands, knocking others out, and flipping people over. Did I miss this in the first movie or are all raptor trainers just really good at fending off bad men in the name of saving reptiles?

7. Maisie is a master climber and scales the estate.

When Maisie is locked inside her room against her will, she takes it upon herself to scale the Lockwood estate to get to her grandfather. Somehow the child manages to not slip or fall while treating the house like her personal jungle gym. 

Maisie looks like she's done this a million times before, and I can't imagine that's the case.

6. Owen gets within mere inches of lava, and is left unaffected.

One of the film's funniest moments comes when Owen is left for dead in the jungle.

He's been shot with a tranquilizer dart meant for dinosaurs and is left paralyzed on the island floor. He can't move an inch to save himself when a triceratops climbs over him to lick his face, but the moment lava comes, he suddenly regains some motion in his limbs. He then pulls himself limb by limb over a log and merely avoids getting touched by lava. 

How was he able to fight off the effects of a tranquilizer dart that easily? Was he experiencing an adrenaline rush?

• The director of "Superfly," Director X, is best known for his landmark music videos for artists like Drake ("Hotline Bling") and Rihanna ("Work").
• But he's now taking the skills he learned making music videos and commercials to build a career in Hollywood.
• He compares working for Madison Avenue or Hollywood to being a chef or mercenary who has been hired to follow through on an order.

Director X can easily recall the biggest cinematic moment of his youth.

“‘Empire Strikes Back’ is the movie that I remember affecting me immediately,” X, whose real name is Julien Christian Lutz, told Business Insider over the phone. “The Legos I used I was trying to recreate the spaceships from the movie. That’s the standout.”

Born and raised near Toronto, Director X said he was always a visual person. Around the time he was being amazed by the “Star Wars” saga, he was also running around with his friends in the neighborhood shooting little movies with a video camera. And when he wasn’t doing that, he was drawing in a notepad with dreams of one day getting into the comic-book business.

It’s that thirst for the visual arts that led him to cement himself as the premiere hip-hop music video director working today.

If you’re not familiar with his name you most certainly have seen his work: “Hotline Bling” (Drake), “Work” (Rihanna), “Excuse Me Miss” (Jay-Z), “Hot in Herre” (“Nelly”) aren’t just standouts because of the artists behind the music, but the look of the videos. They are crafted by X with polished production design and his trademark opening and closing of the videos with the horizontal or vertical frames of the shot, expanding to reveal the shot and closing in until the screen goes black.

Now X is getting his chance at a studio movie, as he’s director of the reboot of the Blaxploitation classic, “Superfly” (in theaters).

The plot points are similar to the original movie (1972 “Super Fly”) — a cocaine dealer named Priest (played by Ron O’Neal in the original movie and Trevor Jackson in the reboot) is out for one last major score — but the new version tweaked it to give it more of a 2018 feel. Instead of being set in New York City, it’s in Atlanta (the generous tax credit for shooting movies in the state of Georgia may have also motivated this change), and instead of the cops providing Priest with the massive amounts of cocaine to sell, like in the original, a Mexican cartel is the distributor.

These changes and the injection of hip-hop in the movie (the soundtrack was produced by artist Future) make it an experience at the multiplex that is extremely entertaining.

As X put it, “If you don’t know the song the cop is singing when he pulls Freddy over, you shouldn’t be seeing the film.” He was referring to when one of the members of Priest’s crew is pulled over and, while the police search his car, the officer sings Chamillionaire’s anthem, “Ridin’.” 

But even with the movie’s playfulness, X sprinkles in moments of seriousness. One gang leader dies at the end of a car chase by crashing into a Confederate statue, which is a nod to the string of monuments celebrating Confederate figures being torn down last summer around the country. And at the end of the movie, Priest has a fight with a cop, pummeling him with his martial-arts moves. It’s a moment that isn’t just borrowed from the original movie, but a recognition of Black Lives Matter.

“No one is under the illusion that what’s been happening lately is a new occurrence,” X said of police violence. “The original ‘Superfly’ was a moment of revenge, even if it’s a fantasy, you got to feel it. So this movie I feel is the same way. It’s a fun ride but really it’s the moment of fantasy to see somebody get their f---ing deserved a-- whipping.”

For X, the release of “Superfly” is a landmark moment in his career, as he ascends to a new level in filmmaking.

But he’s seen firsthand that it all can change drastically. One of his biggest mentors is legendary music video director Hype Williams. Like X today, he was behind the most ambitious videos by the biggest artists in the late 1990s (The Notorious B.I.G.’s “Mo Money Mo Problems,” Will Smith’s “Gettin’ Jiggy Wit It,” TLC’s “No Scrubs”) and early 2000s (Jay-Z’s “Big Pimpin’,” Kanye West’s “Stronger”).

At one point, it was Williams (along with fellow music video director Alan Ferguson) who gave X the pep talk he needed to stay in the business after a rough day of shooting on his first music video, in which he said “he got walked on” by everyone on the set.

“Hype’s main thing was that voice that you hear that you suck is the enemy and you can’t listen to it,” X recalled. “It was the inspiration that I needed to keep on going.”

A few years after that incident, Williams made the movie “Belly,” which X was a visual consultant on. Starring Nas and DMX, its highly stylized story of the drug game became a cult classic and a beloved work for many in the hip-hop community. But Williams has never since gotten another feature film made. X absorbed what Williams went through. He also built an understanding of how to work collaboratively with corporate executives over the years through countless music videos and commercial shoots, and seems destined to handle working for Hollywood better than Williams has.

Comparing himself in some moments to a chef and in others to a mercenary, either way X is making the point that he sees his job as completing a project using the blueprint formed already — whether by a marketing executive, screenwriter, or producer.

“Joel Silver has been trying to make ‘Superfly’ for 20 years, so who the f--- am I to take it out of his hands and act like it’s mine,” X said. “Studio pictures definitely have a lot of things flying around and the idea that the director is the one sole creative decision-making source is not real. It took me a long time to get that balance versus my vision.”

X pointed out that a sequence at the end of “Superfly,” where a flashback scene is used to drive home the connection Priest has with his mentor Scatter (Michael Kenneth Williams), exists because of note from the studio. Going forward, X sees his experience on Madison Avenue benefitting him greatly in Hollywood.

Going back to that chef analogy —

“This is the job, you are getting hired to prepare a meal, in a sense,” he said. “As a director you are in the kitchen cooking it up and if they ask for a steak you better bring them a steak. I approached ‘Superfly’ to fulfill the order that had been made.”

SEE ALSO: Ray Liotta on working with Jennifer Lopez, why he's been in only on Scorsese movie, and not believing the Woody Allen sexual-misconduct allegations

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NOW WATCH: This top economist has a radical plan to change the way Americans vote

If 2018 ended today, it would have been a very solid year for cinema.

From “First Reformed” to “Won’t You Be My Neighbor,” recent theatrical releases have provided plenty of reasons to celebrate the vitality of movies as an art form and an essential conversation-starter.

Of course, the fall is just a few months away, and it’s dense with a whole bunch of new possibilities sure to complicate any overview of the year’s highlights. December will look very different, and make it all that harder to recall those hidden gems the hidden gems that deserved more attention than they received.

While we continue to gather an ongoing list of the best indie movies of the year so far, we’re taking this opportunity to point out a handful of titles that have yet to land the appropriate exposure.

There were no hard-and-fast rules for qualifications here — festival favorites that have yet to score distribution made the cut, because we’ll take any opportunity to remind the world that they still need to get out there. As for the others: If you haven’t seen them yet, consider this our plea.

SEE ALSO: MoviePass' monthly losses ramped up to $40 million in May, and the company says it might need over $1.2 billion more in capital

“The World Is Yours”

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Romain Gavras’ “The World Is Yours” might take its title from a certain gangster classic — or its blood-soaked Brian De Palma remake, which only made a life of crime seem that much cooler — but this wildly infectious French heist comedy is pretty much the anti-“Scarface.” The story of a criminal who’s trying to break out of the thug life, Gavras’ film evolves into a hyper-stylish and unexpectedly sweet rebuke to the idea that screwing people is a good way to get ahead.

Held together by a killer score by Jamie XX and Sebastian, and topped off with hilarious performances from the likes of Vincent Cassel and Isabelle Adjani, “The World Is Yours” is relevant in every respect, and the rare movie that manages to address the crises of the modern age with a smile on its face. “The World Is Yours” is “Sexy Beast,” “Spring Breakers,” and “Little Miss Sunshine” all blended together and served with a lad-rock swagger; it’s the best movie that Guy Ritchie never made. —David Erlich

“Thoroughbreds”

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If the past two years have taught us anything, it’s that not giving a shit about other human beings is the best way to get ahead in life. Empathy is a weakness. It’s a virtue, of course — and hopefully part of our natural condition — but it’s also a weakness. Empathy is one of the few things that money can’t buy, and the only thing that the rich can’t afford. “Thoroughbreds,” Cory Finley’s delightfully vicious and mind-bogglingly confident first feature, is a pitch-black comedy about the danger of being around people of privilege when they first start to figure that out.

Set in the affluent suburbs of Connecticut, the film unfolds like “American Psycho” meets “Heathers” as directed by a young and extremely class-conscious Park Chan-wook. The story begins as a teenage girl named Amanda (Olivia Cooke) returns to society after euthanizing her family’s horse with savage indifference. Amanda’s sociopathic coldness makes her the ideal foil for her estranged childhood friend Lily (Anya Taylor-Joy), a prim and proper type who feels everything a bit too intensely. Together, they decide to murder Lily’s stepfather. What follows is a devious of work, an expertly crafted dark comedy that gets some much-needed sweetness from Anton Yelchin’s final performance. —DE

“Puzzle”

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The Sundance premiere is bound for a mid-summer release, and here’s hoping the charming midlife crisis drama stirs up more attention outside of the crowded festival field, where few took notice. Marc Turtletaub’s film revels in the possibilities of finding something new in a wholly ordinary life. For Agnes (played by the extraordinary Kelly MacDonald) that starts with the literal opening of a birthday gift, one that contains a 1,000-piece jigsaw puzzle that awakens her to her true talent. And Agnes is really, really good at puzzling, a quick worker who takes great pride in the finished product – before she breaks it all up to start again.

Agnes’ world is a tight circle, moving between home, church, errands, and back again. That first puzzle changes everything. Desperate for another large-scale puzzle – and mostly afraid of the possibilities of internet shopping, a subplot that also sees Agnes trying to navigate her very first iPhone – she heads to New York City. At the puzzle store, a small note hangs from the register: a champion puzzler is looking for a partner. Agnes’ entire life blows up. A coming-of-age tale for the older set, “Puzzle” is tender and honest, open-hearted in a way that few films (hell, few people) are willing to strive for these days. —Kate Erbland

• "Jurassic World: Fallen Kingdom" earned a $150 million opening weekend, domestically.
  
• That's the second-best ever opening for a Universal release.

Three years after "Jurassic World" gave Universal a surprising record-breaking opening weekend, the follow-up, "Jurassic World: Fallen Kingdom," took in an impressive $150 million at the domestic box office over the weekend, according to boxofficepro.com.

No one in Hollywood expected the fifth chapter in the "Jurassic World" franchise to perform the way 2015's "Jurassic World" did, but the weekend performance did exceed industry projections that the movie would earn between $130 million to $140 million.

The $150 million tally is the second best opening ever for a Universal release, trailing only "Jurassic World" ($208.8 million).

This adds to the movie's already very strong performance overseas.

Having taken in over $560 million abroad since it opened in many regions two weeks ago — including China where it had an over $100 million weekend — "Fallen Kingdom" took the unconventional route from most blockbusters by opening internationally before its domestic run.

The move certainly seems to have paid off — the movie's worldwide gross is now over $700 million.

And you can already mark your calendars for the next "Jurassic" movie. Universal has announced "Jurassic World 3" will open June 11, 2021.

"Fallen Kingdom" is just the latest big opening for a big summer movie release, something that the industry lacked last year. And because the major movies are performing as they are supposed to, the 2018 box office is looking strong.

Box office profits are up 6% from this time last year, according to CNN.

This is the combination of summer blockbusters performing as expected (so far) — "Avengers: Infinity War,""Deadpool 2,""Incredibles 2"— and big performers from earlier this year — "Black Panther,""Ready Player One," plus the surprise of the year "A Quiet Place."

SEE ALSO: Andre Agassi's troubled relationship with his coach led to this powerful new sports documentary you shouldn't miss

DON'T MISS: 'Jurassic World: Fallen Kingdom' takes itself way too seriously, and that dampens the fun

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NOW WATCH: 5 science facts that 'Jurassic World: Fallen Kingdom' totally ignored

If the director is the most important crew member on set, in most cases the cinematographer is the second-most important.

A skilled director of photography can turn a mediocre movie suddenly into a critical darling or a good movie into an Oscar contender. But unlike directors, who can have a breakout indie and suddenly get snatched up to do the next Hollywood blockbuster, cinematographers are in it for the long game.

Many have to work a decade or two on independent films, shorts, TV shows, and commercials before scoring a studio feature. And even at that point you still have to compete for work with the legends in the field like Emmanuel Lubezi, Robert Richardson, and Roger Deakins to land a job. 

Here are 11 cinematographers who are beginning to make their mark in Hollywood — including the visionaries behind "Moonlight" and "The Last Jedi."

SEE ALSO: "Superfly" director on how making music videos for Drake and Rihanna taught him how to thrive in the Hollywood studio system

Mike Gioulakis (“It Follows,” “Split”)

Gioulakis has found success in the thriller genre with the indie darling “It Follows” and M. Night Shyamalan’s latest hit, “Split,” being the standouts. For both, Gioulakis’ use of natural light and shadows to amp up the spookiness is a very useful tool.

James Laxton (“Moonlight”)

Jumping around from low-budget indies to a few Kevin Smith movies (“Tusk” and “Yoga Hosers”), Laxton reteamed with Barry Jenkins (he shot Jenkins’ debut feature “Medicine for Melancholy”) to make “Moonlight” — and the rest his history. The beautiful exterior shots of Miami are one of the reasons the movie went on to win an Oscar.

Jody Lee Lipes (“Manchester by the Sea,” “Martha Marcy May Marlene”)

In the early 2000s, Lipes was the guy at NYU everyone wanted to shoot their short films, and since he’s been in high demand on the professional level. From shooting episodes of “Girls” to lensing “Trainwreck,” he’s worked on every budget level. His standouts, though, have been his beautiful shooting of tough stories like Sean Durkin’s “Martha Marcy May Marlene” in 2011 and Kenneth Lonergan’s 2016 Oscar-winning movie, “Manchester by the Sea.”

• Christian Bale yelled at several members of the crew and threatened to leave the production of "Terminator Salvation."
• Jeremy Renner was so frustrated by playing the brainwashed version of Hawkeye that he asked the producers to off his character.

There was an infamous incident on the set of Terminator Salvation where Christian Bale snapped at the director of photography for changing the lighting levels during the filming of an important scene. Bale proceeded to yell at several members of the crew (including the director) and threatened to leave the production if things didn't change.

Christian Bale's tirade on the set of Terminator Salvation may sound like an overreaction to most people, but it can come off as just another day at the office to those who have worked on a movie set.

This is due to how stressful such productions are for all involved, especially as the length of time spent on set is costing the project more money with each passing hour.

The production of a major Hollywood movie can be stressful for all involved, so it's no surprise that certain scenes can cause actors to want to quit the movie industry altogether. There have even been times when scenes have been so hard to film that the actors have risked their career by walking off the set and going home.

We are here today to look at the movie scenes that caused famous actors to rethink their career options.

From the wizard of Middle-Earth who almost got on the boat to the West a few years early to the member of The Avengers who wanted to bow out during the team's finest hour, here are the 15 Movies That Made Actors Want To Quit!

"Fantastic Four: Rise of the Silver Surfer" - Jessica Alba

The Fantastic Four movie franchise seems to be cursed due to the numerous behind-the-scenes drama that has plagued each new entry in the series.

The Roger Corman Fantastic Four movie was a low-budget affair that was created to keep hold of the movie rights, while the recent Fantastic Four movie was critically panned and dogged by rumors of director Josh Trank acting like a lunatic during its production.

The two Fantastic Four movies that were made in 2005 and 2007 had their fair share of behind-the-scenes drama. There was one particular incident that almost made Jessica Alba quit acting altogether.

The incident involved a scene in the second Fantastic Four movie where Sue Storm was supposed to cry. According to Jessica Alba, Tim Story (the director of the movie) told her that her crying acting looked too real and too painful.

He wanted her to cry in a way that still made her look pretty, so he asked her to keep her face flat, as they could add the tears in later using CGI.

It was during the filming of this scene that Jessica Alba began to doubt her acting ability and was worried that Tim Story didn't trust enough in her instincts to work with her properly.

"Interview with the Vampire" - Brad Pitt

One of the most difficult aspects of making any vampire-centric movie or TV show is the lack of natural light. Vampires are burned by sunlight, which means that they exclusively hang out at nighttime or in dark venues. This can be tricky for movie productions, as it costs more money for film crews to work at night.

Brad Pitt has talked about how much he suffered on the set of Interview with the Vampire due to how he spent almost six months working in the dark.

Pitt spent the bulk of the production wearing an uncomfortable costume, as well as thick yellow contact lenses, but these were only a minor annoyance compared to his time in Pinewood Studios.

The production of Interview with the Vampire used the legendary Pinewood Studios in London for the scenes involving the Théâtre des Vampires, as well as the resting place of the Parisian vampires.

It was during the filming of these scenes that Brad Pitt seriously considered quitting the production, to the point where he called David Geffen (one of the producers of the movie) and asked how much money it would cost to quit the movie.

Geffen told Pitt that it would personally cost him over forty-million dollars to leave the movie at that late stage, which convinced Pitt to stay.

"The Hobbit: An Unexpected Journey" - Ian McKellen

The Fellowship of the Ring was made up of members that varied greatly in size, as Frodo and the hobbits were as small as children, while the rest were of a regular height.

This led to Peter Jackson and his crew using several forced perspective tricks in order to make it seem like the hobbit actors were a lot smaller than they actually were.

The Hobbit movies were filmed using specal cameras that recorded at forty-eight frames-per-second, which meant that a lot of the tricks used on The Lord of the Rings would no longer work. This meant that a lot of the trilogy had to be filmed using green screens in order to facilitate the higher quality of the visuals.

The increased usage of green screens came as a shock to Ian McKellen, who was now given a lot less material to work with as an actor.

He almost quit the production within the first few days of filming, as he felt that he couldn't do his job if he was acting on his own.

The crew of The Hobbit did their best to keep Ian McKellen's spirits high, which resulted in a "Gandalf Appreciation Day" for him. McKellen remained with The Hobbit movies and is considered to be one of the highlights of the trilogy.