First Draft of Screenplay for 'Terminator' Reboot Complete

Though I wouldn't consider this 'news', this little tidbit of information came out this past weekend, but was obviously overshadowed by Comic-Con.

Terminator franchise rights holder and producer, Megan Ellison, sent out this tweet last Friday:

Reading the first draft...no fate but what you make...

— Megan Ellison (@meganeellison) July 19, 2013

While I think it's great that we actually have a completed script for this new Terminator film, why are we just getting the first draft now when the film already has a release date of June 26, 2015?

So they set the release date without a completed 'first draft' - which is likely to be followed by who knows how many re-writes - along with not even having a director attached to the project yet?

This is why Hollywood churns out bad movies!

Doesn't it make more sense from a quality standpoint to actually have a director on-board, along with a completed, fully-approved script, and then set a release date?  Or do we really go by that old famous saying, "Hollywood doesn't make movies anymore, they make release dates."

I'm actually rather surprised by this news considering Ms. Megan Ellison (who owns her own production company, Annapurna Pictures) purchased these franchise rights well over a year and half ago. She's now just getting the 'first draft'?  What the heck has she been doing all this time?  I thought this woman was all about making quality films, and keeping that typical Hollywood BS away?  Now we're just getting more of the same for a franchise that has been kicked in the balls more times than Arnold Schwarzenegger's been unfaithful.

Yes, I understand that originally certain 'unknown' writers were brought in to work on a screenplay which was deemed to be going 'in the wrong direction' and then a new screenwriting duo of Patrick Lussier (Drive Angry) and Laeta Kalogridis (Shutter Island) came in to start from scratch.  They obviously just finished their screenplay, which again, is great.  But why did it take so long to get to this point?

Does it have to do with the fact that Ellison has to share the production duties of this film with her brother, David (also owns his own production company, Skydance Productions), as well as Paramount Pictures?  Was she not able to come up with a good enough story to do the franchise justice so she had to bring in the team that's given us such gems as G.I. Joe: Retaliation and World War Z?  You know what those films are?  Anywhere from lackluster to average, at best.

At least now we can expect a director to be brought on as I bet they were waiting on a completed script to start shopping it around to big-name talent.  Maybe that's why it's only a first draft?  To give the new director the ability to re-write as they see fit, even though a less than two year release date is hanging over their head?

I don't know, I just do not like where this project has been going.

Hopefully they land a solid director that actually inspires some confidence or else this thing is going to go downhill real quick.

Source: Twitter

Editorial: Off-peak months are profitable too

It's an unspoken rule in Hollywood that the summer blockbuster season (May-August) and fall holiday season (November/December) are the best and most lucrative opportunity to release a splashy big-budget tentpole due to kids being out of school and money to spend. Problem is, studios are leaping to claim the best spots 2-3 years ahead of time. More recently, studios like Disney, Fox, and Sony have jockeyed to book spots for their sequels and future animated films all the way up through December 2018 -- over five years early.

Another increasing problem is the overcrowding summer is becoming, like this season's crop of films. Five pricey films (After Earth, R.I.P.D., Pacific Rim, White House Down, The Lone Ranger), in addition to being badly received by audiences, are dropping off faster simply due to the overload of options in the marketplace. People only have so much to spend on movies nowadays… and occasionally these movies can benefit during typically slower months. 

As Paramount vice chairman Rob Moore puts it eloquently, "This […] certainly showed that the summer alone cannot sustain this number of tentpoles. The one thing that everybody has to re-evaluate is looking at the calendar and discussing when you have the best shot at being successful during non-peak times."

It's not like studios have just realized this recently, but it's been a gradual process during the past couple years. Warner Brothers first realized the potential of a big tentpole movie during the off-season when 300 made a whopping $456 million in March 2007 (before then March was mainly relegated to animated films). Disney piggybacked off that with Alice in Wonderland, which became the first $1 billion film to open in March 2010. Other studios got into the act, like Universal's The Lorax, Lionsgate's The Hunger Games, and Disney's Oz: The Great and Powerful. All three made blockbuster-sized coin during March Madness, but some were bigger than others.

Even a summer-to-spring date change shift was a benefit when Paramount moved G.I. Joe: Retaliation from its June 29, 2012 date to March 28, 2013. The lack of competition during the spring (instead of being placed between The Amazing Spider-Man and The Dark Knight Rises), plus 3D surcharges, benefited both movie and studio. In the end, Retaliation made more than its predecessor did back in August 2009… $60 million more. 

April is also gaining steam as another potential off-peak month. After releasing the third Fast & The Furious film in summer 2006 to middling returns, Universal Pictures scheduled its fourth and fifth installments for early and late April. To date, those two are the top highest-opening films in April domestically ($70 million and $86 million) and have grossed a collective $989 million worldwide. Even Marvel Studios and Disney are getting in the act, scheduling Captain America: The Winter Soldier for April 2014 in hopes of a similar-sized payday.

For the higher-ups, they'd think it silly that the whole calendar year is up for grabs, but a decent and reasonably budgeted film can turn a nice profit during iffier months like February, September, and October. (January is a trickier beast due to winter weather and robust December holdovers.) But for February, enticing counter-programming to chick flicks, like Journey 2: The Mysterious Island, Safe House and Shutter Island, all made a good profit. 

September can be a notoriously difficult time to make money, but Sony Pictures caught on when its animated Cloudy With a Chance of Meatballs and Hotel Transylvania each made over $240 million worldwide. Followups to both hit this year and 2015 on the same weekend, and two untitled Sony Pictures Animation projects are also penciled in for September 2016 and 2017 respectively.

October is mostly known for its horror films and the start of Oscar hopefuls, but audiences dig variety as well. DreamWorks Animation made a tidy profit on Puss in Boots, which opened to the tune of over $500 million worldwide. And the sequel effect also helped Taken 2, grossing a terrific $376 million against a $45 million budget. Older audiences cottoned to the geriatric action-comedy RED when it opened, turning it into a sizable $199 million hit. 

There's no real concrete answer to this problem, but bottom line is: Studios shouldn't feel pressured to fit their biggest movies into all the popular spots, but choose what's best for each movie individually. And better control over budgets, obviously.

X-Men: Days of Future Past Character Posters

Remember those face-crotch posters for X-Men: First Class? The mugs of James McAcoy and Michael Fassbender photoshopped on the nether-regions of Patrick Stewart and Ian McKellen silhouette and the great taglines "Before he was Professor X, he was Charles" and "Before he was Magneto, he was Erick."

These new posters for X-Men: Days of Future Past are in that spirit. Only they don't suck and communicate the idea clearly. Already off to a great start and following the reaction at Comic-Con Saturday, we could be in store for the X-Men movie to end (*cough*and restart*cough*) all X-Men movies.

Source: Entertainment Weekly

New Writers Set to Save/Fuck Up Star Trek 3

J.J. Abrams quit for another galaxy (reportedly far, far away...) and Star Trek Into Darkness underperformed. Those facts suggested whatever happened on Star Trek 3, it would not bare the imprints of writers Alex Kurtzman, Roberto Orci and Damon Lindelof let alone anyone else associated with Bad Robot. Someone had to be sacrificed to "pay" for the insubordination of J.J.

That's half right, according to Badass Digest. Yes, new writers are boldly going to pen the next Kirk/Spock bromance. But they have links to Abrams and were handpicked by K&O; Ashley Edward Miller and Zack Stentz who wrote for Fringe and authored Thor and X-Men: First Class.

I buy new writers. I don't buy Bad Robot having a say. That would be like Fox letting Bad Hat Harry hire one of Bryan Singer's go-to writers after he quit X-Men 3. That does not compute, unless it is part of their overall deal.

Paramount wants the third installment for 2016 to commemorate the 50^th anniversary. Again, that makes sense. They did the same thing to honor the 25^th and 30^th anniversaries too; following a pattern. That and utilize the Abramsverse cast before their contracts expire.

Wolverine Beats Up a Guy in Red Underwear

I'm not sure exactly what this guy did, but clearly the outfit alone was reason enough for what happens to him in this new clip from The Wolverine.  Also, we get some new interview footage of Hugh Jackman and director James Mangold discussing the scene as well.  Check out the clip below:

Love it.  The Wolverine arrives in theaters this Thursday night. 

Weekend Box Office: July 19-21

Courtesy of Box Office Mojo:

1.  The Conjuring - $41.5 million

2.  Despicable Me 2 - $25 million

3.  Turbo - $21.5 million

4.  Grown Ups 2 - $20 million

5.  Red 2 - $18.5 million

6.  Pacific Rim - $15.9 million

7.  R.I.P.D. - $12.7 million

8.  The Heat - $9.3 million

9.  World War Z - $5.2 million

10.  Monsters University - $5 million

For the second time this summer, the weekend was won by a horror movie.  The Conjuring opened with an excellent $41.5 million, which beats out the $34 million that The Purge opened with last month.  Even better, this ghost story earned an impressive "A-" CinemaScore rating from audiences, which is unusual for a horror film, and which is likely to give it some decent staying power in the weeks ahead.

The other releases this weekend may well have been haunted, as audiences seemed reluctant to show up for any of them.  The animated Turbo fared the best, opening in third place $21.5 million, but couldn't manage to topple Despicable Me 2, which held second place in its third weekend with $25 million, or come anywhere near Monsters University's $82 million opening a month ago.  Families have seemingly hit animated movie fatigue, at least from films that aren't from Pixar or feature any Minions.

That was the better news of the weekend for Ryan Reynolds, who was the voice of Turbo.  His other film opening this weekend, R.I.P.D., outright bombed with a lousy $12.7 million.  No way to put a positive spin on that one.  It's just another big-budget bomb, joining a long list of them this summer.

Red 2 opened with $18.5 million, which is just under the original Red's $21 million opening in 2010.  Like the first movie, the sequel will probably see a better life on video in a few months.

Any hopes for Pacific Rim's business to pick up were quickly dashed this weekend, as the robot/monster extravaganza dropped nearly 60% in its second weekend, earning just $15.9 million.  At just $68 million so far, it may have trouble reaching $100 million domestically, although it's already crossed that mark overseas with $110 million.

In limited release, The Way, Way Back picked up another 225 theaters and earned $2.2 million, while Fruitvale Station expanded into 34 theaters nationwide and earned $742,000.

We're not quite finished with superheroes yet, as The Wolverine arrives in theaters starting on Thursday night.  It won't have that much competition to deal with either, as the only big release also happening next weekend is the R-rated comedy, The To-Do List. 

Initial Thoughts on the Man of Steel Sequel and Why It Will All Be Fine (Probably)

Let’s get something out of the way, I love Batman and always have.

Since I was a kid, and my grandfather introduced me to the 60’s TV show with Adam West, I have followed the ups and downs of The Dark Knight’s career on the screen.  Superman is my #1 guy but Batman is a strong #2.  Growing up, I used to dream about seeing a Chris Reeve and Michael Keaton team-up and agonize over which character I most wanted to be for Halloween that year.

Yesterday’s news that Batman will indeed be in the sequel to Man of Steel sent shockwaves through social media  At first, I was so excited I could barely form a sentence.  The idea of my two favorite characters in pop culture in one film?  It’s the stuff geek dreams are made of.  This was to be my Avengers, something I’ve wanted to see since I was old enough to read my first comic book.  Why then, am I not overcome with excitement?

I’m sure part of the reason is because these characters have been such a part of my life for so long.  The idea of trying to rush something that so many have wanted to see done right on screen for so long is reason to worry.  At the same time, I wonder, who am I to say which way is the right way?  These characters have existed way before me and will continue on way after me.  When all is said and done, I have no say.  I can only hope that I enjoy what the filmmakers set out to do.  And, if I don’t life will go on. That said, I still worry.

It’s no secret that I loved Man of Steel.  It’s a version of Superman I’ve waited a long time to see.  As a fan of the Last Son of Krypton first and foremost, my biggest concern is that he will get shortchanged in his own sequel, or made to look inferior to Batman.  Many share this same fear, as silly as it may be.  Look, we know next to nothing about the direction the sequel is taking.  We know the bare minimum.  It’s easy to sit here and “what if” this thing to death, and I’m guilty of it, but all the concerns are born out of fear and assumptions.  Just because Zack Snyder chose to highlight a line from The Dark Knight Returns comic in the reveal doesn’t automatically mean that any part of that arc will be used in the movie.  I believe Superman fans know this deep down, it’s just that we have become so accustomed to Supes getting the shaft for a while now that many automatically assume the worst.

There have been seven Batman films during my lifetime, where there have only been three Superman films counting Man of Steel.  I think that’s where our inferiority complex comes from.  I wanted Superman to have his own series to rival what Chris Nolan did with the Dark Knight Trilogy.  Maybe that would have been possible years ago, but not in today’s world where the competition has beat DC and Warners to the punch in almost every possible way.  Like it or not, the game changed in 2008 when Marvel Studios released the first Iron Man and DC has been struggling to replicate their success since.

As a fan of both characters, I also have to keep in mind that these movies aren’t marketed to me anymore.  I’m 30 and considered on the older end of most demographics.  I still have trouble dealing with this fact, but it is what it is.  Whether or not I, or most of the people reading this, think it’s necessary, DC and WB will do whatever they can to keep their properties relevant to people much younger than me.  That said, I truly do believe that a team-up in the Superman sequel was WB’s plan all along.  There is just way too much money to be made for it to have been a rash decision.

Sure, there’s a chance that this could be a colossal misfire and tarnish much of the good will Warners gained with the Nolan series and Man of Steel.  That could happen, but what if it doesn’t?  What if it’s everything eight year old me wanted to see?  Well, besides Reeve and Keaton.

That second scenario is just as probable as the first at this period in time so I advise everyone to take a step back and breathe.  I understand how much these characters mean to so many.  I realize that they may have been among the first things to have opened your eyes to the greatness of cinema.  But, let’s try to have faith shall we?  People have been clamoring for a united DC universe on film for as long as I can remember and this is a HUGE step towards that.  Don’t let the negativity and assumptions of others take the fun out of this ride.  I’m not as excited today as I was yesterday, but who knows how I’ll feel tomorrow?  It’s an exciting time to be a DC fan,  and this golden age of comic book films won’t last forever.

Enjoy it.

A Reaction to Yesterday's Announcement that 'Man of Steel 2' Will Feature Batman

I cited the title of this article to specifically feature Man of Steel 2 because I think that's the one fact many are overlooking:

This is not Batman vs Superman or Superman vs Batman or World's Finest.  This is a sequel to Man of Steel that will feature Batman.  Just like the sequel to Batman Begins featured the Joker.

What does this all mean exactly?  Well, let's look at the facts of what we KNOW then we can get into what we think we MIGHT know.

First off, every main cast member from Man of Steel that was living by the end of the film will be back as their respective characters including, Henry Cavill (Kal-El/Clark Kent/Superman), Amy Adams (Lois Lane), Diane Lane (Martha Kent) , and Lawrence Fishburne (Perry White).

Secondly, the main crew behind MOS will be returning as well, though some will be in a somewhat different capacity.

Director Zack Snyder will be back at the helm along with co-writing the story this time, while writer David S. Goyer will be penning the screenplay just as before.  Christopher Nolan, on the other hand, will be merely executive producing this time (along with his wife, Emma Thomas) instead of co-writing the story and full-on producing the pic.  Producers Charles Roven and Deborah Snyder (Zack's wife) will be back in the same capacity as well.

Thirdly, the film is expected to begin production next year with an anticipated release date of summer 2015 (they'll complete pre-production by the end of this year).

Finally - and most importantly - Batman has NOT been cast yet.

Now that we've covered what we do know, let's discuss what we don't.

• Christian Bale will be back as Batman.

Possibly, but unlikely.  The dude has sworn up and down he's finished with the character, and even though I'm sure they offered him a ton of cash, I find it hard to believe he'll go against Christopher Nolan's wishes and somehow mar The Dark Knight Trilogy.

• Man of Steel 2 will be similar to the graphic novel, The Dark Knight Returns

No clue in regards to this.  Yes, Zack Snyder used this famous quote from the graphic novel to make the announcement:

"I want you to remember, Clark. In all the years to come. In all your most private moments. I want you to remember my hand at your throat. I want you to remember the one man who beat you."

However, he stated later on they won't be using this story exactly (thought it's pretty safe to assume Batman at some point in the film will discover Kryptonite and use it to kick Superman's ass).

• Lex Luthor will be in the film

While this hasn't been officially confirmed either, I think this is more of a sure bet then say, Bale coming back as Batman.  Lex Luthor is a fixture in the Superman universe and I'd be pretty shocked if he isn't in the MOS follow-up considering Lex Corp logos were plastered all over the first film.

So yeah, this pretty much sums up the facts and theories of yesterday's big announcement that we will finally be getting Batman and Superman on screen together.  I'll leave you too with my guess on who will be playing Bruce Wayne/Batman in the new film:

That's right, Jake Gyllenhaal.  He was David Goyer's first choice and runner-up for Batman Begins (fact), he's got that Oscar pedegree Warner Bros. loves and he's a great f*cking actor.

Stay tuned.

DAWN OF THE PLANET OF THE APES' Viral Marketing Kicks Off At SDCC.

 

Well I know you all are stll buzzing about Man of Steel 2, Justice League, and The Flash, but for those of us that have been hyped up for 20th Fox's Dawn of the Planet of the Apes, the viral marketing has kicked off emphasizing the Simian Flu, that we see slowly spreading across the world at the end of 2011's Rise of the Planet of the Apes. From the film's Official Facebook Page. 

The Office of Public Health Awareness website offers a video about the flu, a very grim projection of the flu's spread, symptoms, and more.

The website also leads to another site, Before the Dawn, which has a small 'prequel' "comic" that seems to set up the world through some nice imagery.

 

15 years after Rise of the Planet of the Apes, Caesar leads a band of genetically evolved apes, but the humans that survived the deadly virus a decade earlier threaten their existence. A truce is formed, but things quickly spin out of control as war breaks out in the fight for dominance. Jason Clarke (Zero Dark Thirty), Gary Oldman (The Dark Knight Rises), Keri Russell (Mission Impossible III), Judy Greer (The Descendants) also star, with Toby Kebbell (RocknRolla) and Enrique Murciano (Traffic) star.

Comic Con 2013: Two New "Edge Of Tomorrow" Character Posters

The story unfolds in a near future in which a hive-like alien race, called Mimics, have hit the Earth in an unrelenting assault, shredding great cities to rubble and leaving millions of human casualties in their wake. No army in the world can match the speed, brutality or seeming prescience of the weaponized Mimic fighters or their telepathic commanders. But now the world’s armies have joined forces for a last stand offensive against the alien horde, with no second chances.

Lt. Col. Bill Cage (Cruise) is an officer who has never seen a day of combat when he is unceremoniously demoted and then dropped—untrained and ill-equipped—into what amounts to little more than a suicide mission. Cage is killed within minutes, managing to take an Alpha down with him. But, impossibly, he awakens back at the beginning of the same hellish day, and is forced to fight and die again…and again. Direct physical contact with the alien has thrown him into a time loop—dooming him to live out the same brutal combat over and over.

But with each pass, Cage becomes tougher, smarter, and able to engage the Mimics with increasing skill, alongside Special Forces warrior Rita Vrataski (Blunt), who has lain waste to more Mimics than anyone on Earth. As Cage and Rita take the fight to the aliens, each repeated battle becomes an opportunity to find the key to annihilating the alien invaders and saving the Earth.