Friday, December 15, 2017
Movie News
Movie News

pet sematary Pet Sematary remake sets 2019 release date

Pet Sematary will rise again in 2019.

Paramount Pictures announced Thursday that its new adaptation of Stephen King’s 1983 horror novel about an ancient burial ground where the dead don’t rest in peace will arrive in theaters April 19, 2019.

As reported in October, Starry Eyes filmmakers Kevin Kolsch and Dennis Widmyer are directing the project, working from a script by Jeff Buhler.

Pet Sematary was previously brought to the big screen in 1989 by director Mary Lambert and King himself, who wrote the screenplay. A sequel followed in 1992 but was a critical and commercial dud. King stories have been enjoying a resurgence of late in theaters and on TV, with recent adaptations including The Dark Tower, ItGerald’s Game1922, and Mr. Mercedes.

Pet Sematary currently has its 2019 release date to itself.

Paramount also scheduled the Mark Wahlberg and Rose Byrne comedy Instant Family for Feb. 15, 2019. Sean Anders (Daddy’s Home movies) is directing the movie, about a married couple who adopt three wild children through the foster care system.

star wars Star Wars: The Last Jedi — What the Critics Are Saying

The reviews Star Wars: The Last Jedi are coming in at light speed.

Anticipation for the film from writer-director Rian Johnson could not be higher, so all eyes have been waiting for reviews to drop ahead of the pic’s Friday release. Here’s what the critics are saying about The Last Jedi.

The Hollywood Reporter‘s Todd McCarthy writes: “Loaded with action and satisfying in the ways its loyal audience wants it to be, writer-director Rian Johnson’s plunge into George Lucas’ universe is generally pleasing even as it sometimes strains to find useful and/or interesting things for some of its characters to do.” He notes that at 162 minutes, this is the longest Star Wars film ever, and perhaps that’s not a good thing: “Maybe the film is a tad too long. Most of the new characters could use more heft, purpose and edge to their personalities, and they have a tendency to turn up hither and yon without much of a clue how they got there; drawing a geographical map of their movements would create an impenetrable network of lines. But there’s a pervasive freshness and enthusiasm to Johnson’s approach that keeps the film, and with it the franchise, alive, and that is no doubt what matters most.”

The New York Times critic Manohla Dargis praises Johnson for tackling “the difficult business of putting his fingerprints on a franchise that deliberately resists individual authorship,” adding “Mr. Johnson largely succeeds despite having inherited an elaborate ecosystem with a Manichaean worldview divided between heroes (a.k.a. the Resistance) and villains (the First Order).” Dargis notes that that it rarely feels like Johnson is checking boxes you’d expect form this franchise. “About the only time it feels as if Mr. Johnson is checking Star Wars boxes is in some of the fights, especially during an impasse that turns into a slow-moving game of space chess,” she writes. “He may be checking off some those boxes in an ode to George Lucas; whatever the case, Mr. Johnson only infrequently comes across as dutiful or as overtly brand-expanding (as with a troika of calculatingly cute tykes who unnervingly suggest this series really will go on forever).”

Vanity Fair‘s Richard Lawson praises the film for how Johnson handles The Force. “The Force is, to me, still silly Star Wars mumbo jumbo, but Johnson finds a way to underscore it with humanity, with a classical Greek rumble of true pathos. On that front, The Last Jedi is a pure success, accessing the molten core of its drama and grappling with it in nuanced ways,” Lawson writes of the pic, adding, “Johnson expands the psychology of Star Wars, bringing shading and moral ambivalence to this mythic tale of dark versus light. No Star Wars has ever made a better case for the Force than this film, which finally mends the damage done by the midi-chlorian humbug introduced in the disastrous prequel films.”

thelastjedi Star Wars: The Last Jedi — What the Critics Are Saying
Star Wars: The Last Jedi Luke Skywalker getting lightsaber from Rey Photo: Lucasfilm Ltd.
© 2017 Lucasfilm Ltd. All Rights Reserved.
Courtesy of Walt Disney Studios Motion Pictures

The Washington Post‘s Ann Hornaday has praise for Carrie Fisher’s final performance as Leia, calling her work a “magnificent and wryly funny final turn.” She highlights a moment between Leia and Vice Admiral Amilyn Holdo (Laura Dern), promising it will  “bring a lump to Star Wars skeptics and superfans alike, as will frequent callbacks to the original films — including a particular whopper — that feel like Johnson offering a reassuring ‘I got you’ to a core audience that’s been burned too often in the past.”

IndieWire‘s Eric Kohn declares the film is the “most satisfying entry in this bumpy franchise since The Empire Strikes Back in 1980.” Kohn highlights the push and pull between Johnson’s indie filmmaking roots and the world of blockbusters: “Though there’s plenty of discussion about the spiritual prospects of the force, and the philosophical justifications for fighting through dire times, Johnson doesn’t shy from calling out the entertainment value in play (‘Permission to jump in an X-wing and blow things up?’), acknowledging that the series’ essence lies as much in the art of spectacle as in its epic world-building. From the astonishing light-and-color show in the opening minutes, the movie never lets up, communing with a cinematic tradition that has its roots in Lucas’ original ambitions in the avant garde.”

Los Angeles Times‘ Justin Chang notes that like Force Awakens director J.J. Abrams, Johnson is a lifelong Star Wars fan, but one who doesn’t let that get in the way of doing smart work. “[T]his time the nods feel less like obligatory acts of fan service than mythological reverberations, signaling a deeper, more intricate narrative intelligence at work,” writes Chang. He notes that Mark Hamill’s grizzled take on Luke Skywalker allows the actor to shine: “To a degree that even Fisher and Harrison Ford couldn’t fully manage in The Force Awakens, Hamill’s unexpected gravitas, offset by a faint twinkle of humor, acts as a kind of veteran’s seal of approval, setting the tone for fine performances across the board.”

NPR‘s Glen Weldon gives Johnson credit for tapping into what makes Star Wars great without the film feeling formulaic: “The Last Jedi is fun and fast, rollicking and suspenseful. It supplies us with all the things we expect — nay, demand — in a Star Wars movie, and manages to surprise us by revealing that this fictional universe, in which we’ve already clocked so many hours, can still surprise us.” Weldon adds that the film is able to add interesting new layers the the classic light vs. dark battle of the franchise, writing, “There is a welcome attempt, in The Last Jedi, to depict characters and their motivations in less stark and increasingly nuanced terms.”

Io9‘s Germain Lussier notes the film is able to land surprise after surprise: “Any time things seem to be going one direction, they don’t just zig or zag, they blast off into another dimension entirely. And it happens again and again,” he writes, adding, “For example, parts of the film are very funny — like, almost too funny. The humor can, at times, feel overboard from what we’re used to in Star Wars. And yet it works. Then there are parts of the film that are incredibly weird and almost surreal — moments that seem more fit for an avant-garde movie. But they work too, because the very nature of Star Wars is that anything is possible. From scene to scene, Johnson is basically saying, ‘Look, if we can have talking slugs, laser swords, and lightspeed, why can’t I do this?’ And then he does it.”

The Associated Press‘ Jake Coyle called the film a “welcome disturbance in the Force.” He points to Johnson’s 2012 time-travel movie Looper for why it’s not surprising he’s been able to make a movie “full of clever inversions.” But, Coyle adds, “before its considerable payoff, The Last Jedi feels lost and grasping for its purpose. Unlike the earlier films, the less tactile The Last Jedi isn’t much for world building, and its sense of place isn’t as firm. As an intergalactic travelogue, it’s a disappointment.” Despite some complaints, he notes that with the writer-director “breaking down some of the old mythology, Johnson has staked out new territory. For the first time in a long time, a Star Wars film feels forward-moving.”

New York Daily News‘ Ethan Sacks praises the daring narrative places the film goes, but slightly dings its running time, noting audiences will have to “sit through a solid, but not spectacular, first half of the 2.5-hour movie to see for themselves” where the film goes. “That’s about when the greatest lightsaber battle in Star Wars history kick-starts one of the most exciting cinematic stretches Earthlings have ever seen,” he adds.

USA Today‘s Brian Truitt also noted the runtime, writing that the film “tries to do a little too much in its overlong 2½ hours, yet writer/director Rian Johnson still turns in a stellar entry that owes much to George Lucas’ original films while finding a signature vibe of its own and unleashing a few welcome twists.” He also has much praise for Adam Driver’s Kylo Ren, noting, “The Last Jedi is Driver’s to rule as much as Force Awakens was Ridley’s, and he’s awesome in it — Kylo is blockbuster cinema’s most magnetic and unpredictable antagonist since Heath Ledger’s Dark Knight Joker.”

thelastjedi 2017 Star Wars: The Last Jedi — What the Critics Are Saying
Star Wars: The Last Jedi..L to R: Rose (Kelly Marie Tran) and Finn (John Boyega)..Photo: David James..©2017 Lucasfilm Ltd. All Rights Reserved.
Courtesy of Walt Disney Studios Motion Pictures

Chicago Sun-Times‘ Richard Roeper has largely positive things to say, though he doesn’t quite think it tops Force Awakens. “Although it doesn’t pack quite the same emotional punch and it lags a bit in the second half, this is still a worthy chapter in the Star Wars franchise, popping with exciting action sequences, sprinkled with good humor and containing more than a few nifty ‘callbacks’ to previous characters and iconic moments.” He calls it a “stepping stone” to 2019’s Episode IX, but notes, “Still, this is no mere placeholder of a story. Huge, important things happen to characters secondary and primary. Surprises big and small abound.”

Time Out New York‘s Joshua Rothkopf calls The Last Jedi a “work of supreme confidence: witty, wild and free to roam unexplored territory. If J.J. Abrams’s franchise-rebooting The Force Awakens (2015) was the creation of a boy who lovingly dusted off old toys and put them through their expected poses, its superior sequel is made by a more inventive kid — maybe one with a sideline as his block’s most inspired D&D Dungeon Master — who asks: Why can’t a Rebel fleet be commanded by Laura Dern in a purple wig?”

Vulture‘s David Edelstein had particular praise for Johnson’s directing of a key lightsaber battle: “He has the fighters go at it in breathtakingly long shots, their whole bodies charged. It feels like the first time since The Empire Strikes Back that the Force has extended to the director.” He has praise for Ridley’s Rey, but reserves highest marks for Driver’s Kylo “who ranks with cinema’s most fascinating human monsters.”

Time‘s Stephanie Zacharek acknowledges the multiple storylines proved challenging: “Johnson has to deal with the classic Star Wars franchise problems—you’ve got to find something meaningful for all these characters to do, and all of it must cohere into an at least semi-meaningful plot. At times the movie feels cluttered. How could it not be? But Johnson makes the most of individual scenes, shaping each with care and vigor.”

george lucas George Lucas Thinks The Last Jedi Was Beautifully Made

Matt Winkelmeyer/Getty Images
George Lucas
George Lucas has seen The Last Jedi, and he was highly impressed.

The Star Wars creator recently screened the highly-anticipated upcoming installment and thought it was “beautifully made,” Connie Wethington, a rep for Lucas told Heat Vision.

“And in speaking with director Rian Johnson after viewing was complimentary,” she added.

Lucas created the world of Star Wars and directed the initial film, A New Hope, which launched the space adventure franchise in 1977.

Lucas also wrote and directed the prequels.

In 2012, Disney acquired Lucasfilm for $4.05 billion.

Lucas said in interviews after the sale that he had ideas for future installments, but that Disney was going to do it own thing. Director J.J. Abrams-helmed The Force Awakens, which was a monster success in 2015.

The Last Jedi opens Thursday night. Reviews for the film were released Tuesday. Currently, the film holds a 94% on Rotten Tomatoes.

golden globes Golden Globes nominations: Read the full list Here!

Welcome to awards season: Monday morning, the Hollywood Foreign Press Association announced their nominees for this year’s 75th annual Golden Globe Awards, an event that annually honors the best in television and film.

Guillermo del Toro’s The Shape of Water led the pack with seven nods total, while The Post — which arrives in theaters Dec. 22 — and Three Billboards Outside Ebbing, Missouri tied for second with six nominations. Lady Bird followed with four total, while Call Me By Your Name, The Greatest Showman, All the Money in the World, Dunkirk, and I, Tonya each nabbed three.

In the television categories, HBO’s Big Little Lies, which was just renewed for a season 2, dominated with six nominations. FX’s Feud: Bette and Joan followed with four, with This Is Us, Fargo, and The Handmaid’s Tale tying for third place with three nods each. In terms of network, HBO nabbed 12 nominations total, while Netflix followed with nine and FX with eight.

See the full list of nominees below, and stay tuned for EW’s full analysis. The Golden Globes, hosted by Seth Meyers, air Jan. 7, 2018 on NBC.

Best Motion Picture – Drama
Call Me By Your Name
The Post
The Shape of Water
Three Billboards Outside Ebbing, Missouri

Best Motion Picture – Musical or Comedy
The Disaster Artist
Get Out
The Greatest Showman
I, Tonya
Lady Bird

Best Motion Picture – Animated
The Boss Baby
The Breadwinner
Loving Vincent

Best Motion Picture – Foreign Language
A Fantastic Woman
First They Killed My Father
In the Fade
The Square

Best Performance by an Actress in a Motion Picture – Drama
Jessica Chastain, Molly’s Game
Sally Hawkins, The Shape of Water
Frances McDormand, Three Billboards Outside Ebbing, Missouri
Meryl Streep, The Post
Michelle Williams, All the Money in the World

Best Performance by an Actor in a Motion Picture – Drama
Timothée Chalamet, Call Me By Your Name
Daniel Day-Lewis, Phantom Thread
Tom Hanks, The Post
Gary Oldman, Darkest Hour
Denzel Washington, Roman J. Israel, Esq.

Best Performance by an Actress in a Motion Picture – Musical or Comedy
Judi Dench, Victoria & Abdul
Helen Mirren, The Leisure Seeker
Margot Robbie, I, Tonya
Saoirse Ronan, Lady Bird
Emma Stone, Battle of the Sexes

Best Performance by an Actor in a Motion Picture – Musical or Comedy
Steve Carell, Battle of the Sexes
Ansel Elgort, Baby Driver
James Franco, The Disaster Artist
Hugh Jackman, The Greatest Showman
Daniel Kaluuya, Get Out

Best Performance by an Actress in a Supporting Role in any Motion Picture
Mary J. Blige, Mudbound
Hong Chau, Downsizing
Allison Janney, I, Tonya
Laurie Metcalf, Lady Bird
Octavia Spencer, The Shape of Water

Best Performance by an Actor in a Supporting Role in any Motion Picture
Willem Dafoe, The Florida Project
Armie Hammer, Call Me By Your Name
Richard Jenkins, The Shape of Water
Christopher Plummer, All the Money in the World
Sam Rockwell, Three Billboards Outside Ebbing, Missouri

Best Director – Motion Picture
Guillermo del Toro, The Shape of Water
Martin McDonagh, Three Billboards Outside Ebbing, Missouri
Christopher Nolan, Dunkirk
Ridley Scott, All the Money in the World
Steven Spielberg, The Post

Best Screenplay – Motion Picture
Guillermo del Toro and Vanessa Taylor, The Shape of Water
Greta Gerwig, Lady Bird
Liz Hannah and Josh Singer, The Post
Martin McDonagh, Three Billboards Outside Ebbing, Missouri
Aaron Sorkin, Molly’s Game

Best Original Score – Motion Picture
Carter Burwell, Three Billboards Outside Ebbing, Missouri
Alexandre Desplat, The Shape of Water
Jonny Greenwood, Phantom Thread
John Williams, The Post
Hans Zimmer, Dunkirk

Best Original Song – Motion Picture
“Home,” Ferdinand
“Mighty River,” Mudbound
“Remember Me,” Coco
“The Star,” The Star
“This Is Me,” The Greatest Showman

Best Television Series – Drama
The Crown
Game of Thrones
The Handmaid’s Tale
Stranger Things
This Is Us

Best Television Series – Musical or Comedy
The Marvelous Mrs. Maisel
Master of None
Will & Grace

Best Television Limited Series or Motion Picture Made for Television
Big Little Lies
Feud: Bette and Joan
The Sinner
Top of the Lake: China Girl

Best Performance by an Actress in a Limited Series or Motion Picture Made for Television
Jessica Biel, The Sinner
Nicole Kidman, Big Little Lies
Jessica Lange, Feud: Bette and Joan
Susan Sarandon, Feud: Bette and Joan
Reese Witherspoon, Big Little Lies

Best Performance by an Actor in a Limited Series or Motion Picture Made for Television
Robert De Niro, The Wizard of Lies
Jude Law, The Young Pope
Kyle MacLachlan, Twin Peaks
Ewan McGregor, Fargo
Geoffrey Rush, Genius

Best Performance by an Actress In A Television Series – Drama
Caitriona Balfe, Outlander
Claire Foy, The Crown
Maggie Gyllenhaal, The Deuce
Katherine Langford, 13 Reasons Why
Elisabeth Moss, The Handmaid’s Tale

Best Performance by an Actor In A Television Series – Drama
Jason Bateman, Ozark
Sterling K. Brown, This Is Us
Freddie Highmore, The Good Doctor
Bob Odenkirk, Better Call Saul
Liev Schreiber, Ray Donovan

Best Performance by an Actress in a Television Series – Musical or Comedy
Pamela Adlon, Better Things
Alison Brie, GLOW
Rachel Brosnahan, The Marvelous Mrs. Maisel
Issa Rae, Insecure
Frankie Shaw, SMILF

Best Performance by an Actor in a Television Series – Musical or Comedy
Anthony Anderson, Blackish
Aziz Ansari, Master of None
Kevin Bacon, I Love Dick
William H. Macy, Shameless
Eric McCormack, Will & Grace

Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television
Laura Dern, Big Little Lies
Ann Dowd, The Handmaid’s Tale
Chrissy Metz, This Is Us
Michelle Pfeiffer, The Wizard of Lies
Shailene Woodley, Big Little Lies

Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television
David Harbour, Stranger Things
Alfred Molina, Feud: Bette and Joan
Christian Slater, Mr. Robot
Alexander Skarsgard, Big Little Lies
David Thewlis, Fargo

The 75th annual Golden Globes, hosted by Seth Meyers, air Jan. 7, 2018 on NBC.

the last jedi Star Wars: The Last Jedi scores major praise in first reactions from premiere
Star Wars: The Last Jedi Rey (Daisy Ridley) Photo: Lucasfilm Ltd. © 2017 Lucasfilm Ltd. All Rights Reserved.

There was a great disturbance in the Force late Saturday night in Los Angeles, as Star Wars: The Last Jedi had its world premiere at the Shrine Auditorium in Hollywood — and wowed the first audiences to see the eighth installment in the Star Wars franchise.

Starring Daisy Ridley, John Boyega, Adam Driver, Oscar Isaac, Laura Dern, Benicio Del Toro, Kelly Marie Tran, and returning Star Wars legends Mark Hamill and the late Carrie Fisher, The Last Jedi arrives in theaters on Friday. Before general audiences get to see Rian Johnson’s film, however, check out these spoiler-free reactions from the premiere below.1 Star Wars: The Last Jedi scores major praise in first reactions from premiere









golden globe What time are the Golden Globes nominations? And other burning questions answered!
THE 75TH GOLDEN GLOBE AWARDS — Pictured: “The 75th Golden Globe Awards” Key Art — (Photo by: NBC)

Next week, Christmas will come early for a few of Hollywood’s biggest stars, who will wake up to find a great big shiny Golden Globe nomination in their stocking (or at least, like, in their email).

That’s right — awards season is officially in full swing, and the next stop on the whole statuette circuit is coming up fast. So if you don’t want to be a minute behind the news of which movies and series will be battling it out for the Hollywood Foreign Press Association’s top honors, read on for the answers to all of your burning questions about the Golden Globe nominations, below!

When are the Golden Globes nominations?

The nominations for the 75th annual Golden Globe Awards will be announced on Monday, Dec. 11, bright and early at 5:15 a.m. PT/8:15 a.m. ET.

How can I watch?

You can stream the presentation live on the Golden Globes website or in a Facebook Live that will take place on the Golden Globes Facebook page. For more exclusive content from the announcement ceremony, check out the Golden Globes Instagram Story on Monday.

Who is announcing them?

The HFPA has assembled a starry quartet to share the big news: Alfre Woodard, Garrett Hedlund, Kristen Bell, and Sharon Stone will announce the nominees. Joining them for the event at the Beverly Hilton Hotel in Beverly Hills will be new Golden Globe Ambassador Simone Garcia Johnson (a.k.a. Dwayne Johnson’s daughter), HFPA President Meher Tatna, and Executive VP of Television at Dick Clark Productions Barry Adelman.

What and who will be nominated?

Of course, nobody actually knows quite yet — but we certainly have a few ideas about which names we expect, and hope, to hear Monday morning. One thing we do know: If Jordan Peele’s genre-bending social satire Get Out picks up some nods (and it really, really should), they’ll be in the comedy/musical categories rather than drama.

What about the ACTUAL Golden Globes?

Hollywood’s biggest party of the year (and accompanying awards presentation) will take place on Sunday, Jan. 7, 2018. Seth Meyers will host the ceremony, which will air on his home network, NBC. That gives you less than a month! Now don’t you have some movies to watch?

dunkirk The 10 best (and 5 worst) movies of 2017

Robin Hood Taron Egerton takes aim in Robin Hood first look
Robin (Taron Egerton)


No mud. No pitchforks. And definitely no “guys in tights running around swashbuckling.” Director Otto Bathurst (Peaky Blinders) knew he would need to lay down a few ground rules if he was going to blow the cobwebs out of Sherwood Forest. But hold on to the hero: “You don’t become a legend for 800 years if you’ve just stolen a few bags of money from rich people to give to the poor,” Bathurst told EW on the Budapest set in April. “In my mind, Robin Hood was this sort of seriously militarized anarchist revolutionary, a freedom thinker and a truth seeker. And the more I got into the story, it just became startling how utterly relevant it is to what’s going on in society now.”

His Robin, 28-year-old Taron Egerton, agrees: “I was approached not long after the first Kingsman movie had come out, and my initial response, to be totally honest, was ‘Why?’ [But] Otto told me he wanted to do something entirely revisionist, something that can’t be tied down to a medieval universe. The first act of the movie, these scenes crusading in Syria, were written like something from The Hurt Locker. It was fantastic, and that was enough to convince me.” Also on board: Merry Men Jamie Foxx (Little John) and Jamie Dornan (Will Scarlett), and The Knick‘s Eve Hewson as Maid Marian. And Ben Mendelsohn steps into the Sheriff of Nottingham’s boots — a role that for many is still defined by the late Alan Rickman in 1991’s Robin Hood: Prince of Thieves. “I ain’t gonna be outdoing him,” he admits. “That performance is a delightful tour de force, and I knew and loved the man. But I get a kick out of [sharing it], and I think he would have too.”

Robin Hood 2 Taron Egerton takes aim in Robin Hood first look
Robin (Taron Egerton) and Marian (Eve Hewson)

Foxx, for one, is already a Mendelsohn superfan: “He’s venomous. So good. There are some people that can just whup your ass. Him, Samuel Jackson, Viola Davis: ass whuppers.” And he says he too felt galvanized by Bathurst’s vision, freed from the constraints of period-perfect accents, costumes, and soundtrack cues. “I wanted to be part of it because it’s hood, not Robin Hood. He’s making it new and interesting, and it gives it weight.” Though one early promise might have been broken, Egerton admits with a laugh: “I did initially say the only thing I wouldn’t do was wear tights, and the pants did sort of get tighter and tighter… Let’s just call them jeggings now.”

Incredibles 2 1 Incredibles 2 first look: Holly Hunter’s Elastigirl takes the lead
The Incredibles 2
Bob Parr/Mr. Incredible (voice by Craig T. Nelson), Helen Parr/Elastigirl (voice by Holly Hunter), Dashiell ‘Dash’ Parr (voice by Huck Milner), Jack Jack Parr, and Violet Parr (voice by Sarah Vowell)

No, your eyes aren’t duping you — this is indeed a first glimpse at Incredibles 2, which, despite 14 years having passed in the real world, will find the superpowered Parr family exactly where you last saw them way back in 2004, only much sharper and slicker.

Incredibles 2 picks up, literally, where the first film left off, with Mr. Incredible and Elastigirl battling The Underminer, while Violet and Dash are stuck with babysitting Jack-Jack,” says writer-director Brad Bird, who has kept plot details about the highly-secretive sequel to his Pixar blockbuster under tight wraps. Save for a brief tease at Disney’s D23 fan expo this summer, “that’s all we’re saying for now,” Bird continues, “but rest assured, there are a lot more superheroics in store for our ‘family dynamic.’”

Being a story of superheroes, secrets have always been part of the DNA of The Incredibles. Identities, however, are out — original voice cast members Craig T. Nelson (Mr. Incredible/Bob), Holly Hunter (Elastigirl/Helen), Samuel L. Jackson (Frozone/Lucius), and Sarah Vowell (Violet) are all returning for the June 15, 2018 sequel, with newcomer Huck Milner now stepping in to voice speedy pre-teen Dash.

On the plot front, a chain of events in Incredibles 2 sends Elastigirl into the center of the action while Mr. Incredible, at home in the family’s sleek new hideout headquarters, must contend with baby Jack-Jack’s burgeoning new powers, as revealed in November’s record-breaking teaser trailer.

“Helen’s appetite for adventure comes to the fore,” says Hunter. “Whereas before, she was driven to become Mrs. Incredible out of necessity, where she went into it to save her husband, I think this time she really meets her own ambition head-on. The ambition of being an adventure is something that we get to explore.”

For Hunter, recording the first Incredibles film was a mysterious, abstract experience, as it can often be in the lengthy, fluid process of feature animation; after seeing the “stunning” end result, the Oscar winner was more than eager to fall back into the mystery again, especially as Bird’s sequel story revealed itself over time. “It’s always interesting when you have a storyteller who can take off the way that Brad can, and in a way, I feel that his storytelling abilities acquired a different kind of lift-off with this movie,” says the actress. “This time was so much fun because I know Brad so much better, and the way the story unfolded for me in the recording sessions has been kind of stratospheric. Brad’s imagination veers off into intensely funny stuff, and I find that so fresh. And of course, that also includes the character development of Helen throughout this second movie. It just feels really rich, and like… this guy is a true feminist.”

Helen/Elastigirl’s journey is, as Hunter puts it, “full-fledged,” filling in certain blanks about the super-mom’s life that Hunter relished uncovering, including “a real incredible sense of competitiveness and ambition. She throws down the gauntlet in this one. It’s so much fun to see a woman luxuriating in those two arenas, because women have for so many generations been brought up to not be ambitious or to not be competitive, and it’s fun to see Helen basking in those two arenas in much the same way that we give men license to do.”

What’s also exciting is seeing Mrs. Incredible (who, let’s add, deserved far more cred for being a game-changing movie superhero back in 2004) reappear onscreen at a time when female icons like Wonder Woman and Battle of the Sexes’ Billie Jean King are still reverberating in cinemas. “It feels like women are reasserting their strength in different ways,” says Hunter. “I just think it’s beautiful that Incredibles 2 is allowing Mrs. Incredible to reveal all these other different colors of who she is.”

Make no mistake, though: Red is definitely her color.

The Post The Post Named Best Film by National Board of Review

Courtesy of Niko Tavernise/Twentieth Century Fox
‘The Post’

This year’s honors will be presented during a January gala at New York’s Cipriani 42nd Street, hosted, as they were last year, by NBC News’ Willie Geist.

The National Board of Review on Tuesday announced its 2017 award winners, naming The Post as the best film of the year. The Steven Spielberg-directed film about the Pentagon Papers saga also scored best actor and actress prizes from the group for its lead performances by Tom Hanks and Meryl Streep.

The accolades are the first major awards for the Fox and DreamWorks film, which is set to be released Dec. 22 in select theaters.

The NBR also bestowed the first major awards on Paul Thomas Anderson’s Christmas release, Phantom Thread. The film, which marks Daniel Day-Lewis’ final acting role, was honored with the best original screenplay prize and was named one of NBR’s top films.

Greta Gerwig earned best director honors for her acclaimed feature-helming debut Lady Bird (also named one of NBR’s top 10 films), with the dramedy’s Laurie Metcalf also nabbing a supporting actress award. The honor comes less than 24 hours after Lady Bird star Saoirse Ronan won the Gotham Award for best actress.

The Florida Project‘s Willem Dafoe was named best supporting actor.

The best adapted screenplay prize went to The Disaster Artist‘s Scott Neustadter and Michael H. Weber, with the movie also being named one of NBR’s top 10 films. The honors came the day after star James Franco was named best actor at the Gotham Awards.

Less than 24 hours after Get Out won three Gotham Awards, the Jordan Peele-helmed racially themed horror film won best directorial debut for Peele and best ensemble honors. And following Call Me by Your Name‘s best feature Gotham Award, star Timothee Chalamet won the NBR’s breakthrough performance prize for his role in the Luca Guadagnino-directed coming-of-age romance. Both films were also named to NBR’s list of top films.

Other notable NBR winners include Coco (best animated feature), Wonder Woman‘s Gal Gadot and Patty Jenkins (Spotlight Award) and Angelina Jolie’s First They Killed My Father (one of two Freedom of Expression Awards).

The Post is a beautifully crafted film that deeply resonates at this moment in time. We are so thrilled to award it our best film as well as to honor the wonderfully talented Greta Gerwig as our best director,” NBR president Annie Schulhof said in a statement.

The winners will be recognized during a Jan. 9 gala at New York’s Cipriani 42nd Street, hosted, as they were last year, by NBC News’ Willie Geist.

The NBR awards are voted on by a group of film enthusiasts, professionals, academics, young filmmakers and students.

Last year, NBR selected Manchester by the Sea as its best film. The previous year it picked post-apocalyptic blockbuster Mad Max: Fury Road, starring Charlize Theron and Tom Hardy, which earned a number of critical accolades and awards and won six Oscars.

In 2014, NBR named A Most Violent Year as its best film, but the J.C. Chandor-directed drama about New York in 1981 was completely snubbed by the Oscars. The year before, NBR chose Spike Jonze’s Her as its best film. That movie won only one Oscar, for best original screenplay. Previous NBR best film winners include Zero Dark Thirty (2012), Hugo (2011), The Social Network (2010) and Up in the Air (2009).

A complete list of this year’s NBR winners follows.

Best film: The Post
Best director: Greta Gerwig, Lady Bird
Best actor: Tom Hanks, The Post
Best actress: Meryl Streep, The Post
Best supporting actor: Willem Dafoe, The Florida Project
Best supporting actress: Laurie Metcalf, Lady Bird
Best original screenplay: Paul Thomas Anderson, Phantom Thread
Best adapted screenplay:  Scott Neustadter & Michael H. Weber, The Disaster Artist
Best animated feature: Coco
Breakthrough performance: Timothée Chalamet, Call Me by Your Name
Best directorial debut: Jordan Peele, Get Out
Best foreign language film: Foxtrot
Best documentary: Jane
Best ensemble: Get Out
Spotlight Award: Wonder Woman, Patty Jenkins and Gal Gadot
NBR Freedom of Expression Award: First They Killed My Father
NBR Freedom of Expression Award: Let It Fall: Los Angeles 1982-1992

Top Films

Baby Driver
Call Me by Your Name
The Disaster Artist
The Florida Project
Get Out
Lady Bird
Phantom Thread

Top 5 Foreign-Language Films

A Fantastic Woman
Summer 1993
The Square

Top 5 Documentaries

Abacus: Small Enough to Jail
Brimstone & Glory
Eric Clapton: Life in 12 Bars
Faces Places
Hell on Earth: The Fall of Syria and the Rise of ISIS

Top 10 Independent Films

Beatriz at Dinner
Brigsby Bear
A Ghost Story
Lady Macbeth
Logan Lucky
Loving Vincent
Norman: The Moderate Rise and Tragic Fall of a New York Fixer
Patti Cake$
Wind River

the post Steven Spielbergs The Post praised in early reactions

A journalism drama in the age of President Trump was bound to strike a chord, but film critics coming out of early screenings for Steven Spielberg’s The Post are calling it one of the most important films of the year — though, not necessarily the best.

In what one critic called “the best Spielberg movie since Munich,” the director shines a spotlight on a story from 1971 when the free press was demonized by a sitting U.S. president: The Washington Post publisher Katharine Graham (Meryl Streep) and editor Ben Bradlee (Tom Hanks) team up to catch up to The New York Times with the reveal of The Pentagon Papers, a document comprised of thousands of pages about U.S. involvement in Vietnam.

If Trump claiming mainstream media to be the “enemy of the American people” sounds familiar, it’s because of Richard Nixon, who served as president during this time of The Pentagon Papers and said something similar.

“[The Post] is best of all a vital and timely reminder that a free press must remain free, and that the burden to protect that freedom belongs to everyone,” L.A. Times writer Jen Yamato tweeted amid a flurry of critical reactions on social media late Monday night.

Others praised the performances of Streep (“her best in years”) and Hanks (he “rips his role to shreds”), along with a shoutout to Bob Odenkirk. But while The Post proved to be surprisingly “feminist” and shot like “Robert Zemeckis on a coke bender,” according to some, many agree this likely Oscar contender isn’t the best film they’ve seen this year.

“[The Post], as everyone else is saying, is dynamite,” Jordan Hoffman writes. “As good as [The Paper]? As good as [Lincoln]? I dunno. Probably.”

The A.V. Club‘s A.A. Dowd adds, “Can’t entirely put my finger on why [The Post] left me a little cold. I think maybe it’s that this story, while brimming with topical import, is tougher to dramatize than the last two true tales that Spielberg tackled.”

The Post, opening in theaters on Dec. 22, also features Alison Brie, Carrie Coon, David Cross, Bruce Greenwood, Tracy Letts, Sarah Paulson, Jesse Plemons, Matthew Rhys, Michael Stuhlbarg, Bradley Whitford, and Zach Woods.