See Chris Rock, Adam Sandler Bicker in New Wedding Comedy The Week Of

Chris Rock andAdam Sandlerplay hilariously passive aggressive fathers of a soon-to-be-married couple in the new trailer forNetflix original movie,The Week Of.

The Robert Smigel-directed comedy chronicles the chaos of two families coming together the week before a wedding. The new trailer highlights plenty of that madness from magic tricks gone awry to Steve Buscemi inexplicably smoking a cigarette while lying on a chimney. The action is centered around Sandler and Rock having a very fatherly fight over whether to turn on the car air conditioner.

Im just saying, A/C would be great, says Rock. You say it, well turn it on, Sandler replies, prompting Rock to deadpan, I said it. When Sandler acquiesces, he cracks, Hows this, let me turn it on for you better? Ok, lets turn it off.

The Week Of premieres April 27th on Netflix. The film marks Sandlers fourth movie for the streaming service, following The Ridiculous 6, The Do-Over and Sandy Wexler. Last year, Sandler and Netflix inked another deal for four more movies.

Slender Man: Watch Disturbing First Trailer for Meme-Based Horror Film

UPDATE: Bill Weier, the father of Anissa Weier who was one of the two girls at the center of the Slender Man trial, said that making the movie was in extreme poor taste and has asked theatres not to show it, per Associated Press.

An unnerving dread permeates the first trailer for Slender Man, a horror film adaptation of the infamous creepypasta meme that inspired an actual attempted murder. Javier Botet stars as Slender Man in the Screen Gems film, which hits theaters May 18th.

Director Sylvain White (The Losers) cycles through a series of disturbing images: young girls standing in a cemetery, distraught parents, flashlights scanning a forest at night and crawling maggots. Where is my daughter? a mans voice intones. People dont just disappear, another adds.

The clip builds toward a disturbing climax as the titular supernatural villain appears to possess several characters. One girl screams while restrained to a hospital bed; another stabs herself in the face with a scalpel during anatomy class. He gets in your head, like a virus, one of them explains.

The Slender Man (or Slenderman) character a lanky, faceless, suit-clad man developed on the Something Awful forums in 2009 and developed a devoted online following. However, the story took a frightening turn into real life when, in 2014, two 12-year-old Wisconsin girls attempted to murder their classmate as a sacrifice to the fictional monster.

Watch Deadpool Pay Homage to Princess Bride in Once Upon a Deadpool Trailer

In an homage to The Princess Bride, Deadpool abducts a grown-up Fred Savage in the teaser trailer for Once Upon a Deadpool, a PG-13 edit of the R-rated Deadpool 2 catered to holiday audiences.

Fox has been asking for a PG-13 basically since the start in 2006, star Ryan Reynolds previously told Deadline. Ive said no since 2006. Now, this one time, I said Yes on two conditions. First, a portion of the proceeds had to go to charity. Second, I wanted to kidnap Fred Savage. The second condition took some explaining

In the teaser, a nod to the bedtime story framing of The Princess Bride, Savage pokes some meta fun at Deadpools tenuous place in the Marvel Cinematic Universe. Youre Marvel licensed by Fox. Its like if the Beatles were produced by Nickelback, Savage tells Deadpool. Its music, but it sucks.

For every ticket sold for Once Upon a Deadpool, $1 will go to the charity Fudge Cancer previously known as Fuck Cancer, who have graciously changed their name to be more PG-13 friendly for the 12 days of Once Upon A Deadpools release, the film states with Savage adding in a statement, While my participation in this film was anything but voluntary, I am happy to learn that Fudge Cancer will be the beneficiary of this shameless cash grab.

Once Upon a Deadpool, which reportedly features new footage along with considerably less less cursing and gore than Deadpool 2, opens December 12th.

Instant Family Review: Adoption Comedy Cant Balance Sentiment, Satire, Sobs

This year has blessed us with a beautiful film about a longtime childless couple who suddenly find themselves grappling with the prospect of parenthood. That movie, of course, is Private Life, a comedy-drama featuring deft, touching performances from Paul Giamatti and Kathryn Hahn, which came out on Netflix last month. You should watch that instead of Instant Family, which is superficially similar and equally heartfelt but not nearly as insightful or hilarious.

Director Sean Anders the director of Daddys Home and co-writer of Were the Millers has celebrated so-called unconventional and fractured families, wringing laughs from the insecurities that can develop in the wake of divorce and remarriage. (What was so clever about Were the Millers was that Jason Sudeikis criminal crew pretended to be close-knit kin and ended up being far more functional than anyone around them.)

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Anders drew from his own life for this laugh-through-your-sobs story: He and his wife adopted three siblings through foster care, which is the same scenario that befalls the films affluent couple, Pete (Mark Wahlberg) and Ellie (Rose Byrne) Wagner. Overcome with do-gooder spirit, the duo decide to take in surly teenager Lizzy (Isabela Moner), as well as her younger brother Juan (Gustavo Quiroz) and sister Lita (Julianna Gamiz). The Wagners flip houses for a living, and so they flatter themselves by viewing these adoptions as a kind of spiritual renovation, bravely rescuing troubled children and giving them a better life. The word hero gets thrown around far too often, but Pete and Ellie wouldnt object if you labeled them as such.

Instant Familys early stretches are its strongest as Anders who co-wrote the film with frequent collaborator John Morris balances genuine sentiment with a slightly satiric tone, mocking the newbie parents self-satisfaction by assaulting them with the cold reality of childrearing. (For example, Juan is a klutz whos never far removed from his next emergency-room visit; Lita wont eat anything other than potato chips and she needs them now, etc.) Byrne, a comic master who remains underrated, is especially good in communicating growing frustration: Why wont these damn kids realize how lucky they are to have such a wonderful mother? The Wagners are forced to check their privilege while the film outlines the sometimes inexplicable processes involved with navigating the foster-care system; Pete and Ellie meet the siblings through a discomforting adoption fare thats not significantly different from picking a stray dog from the pound. Such specificity gives the movie its ring of truth as well as a decent supply of laughs, acknowledging how awkward this strange arranged marriage (a rose by any other name ) is for both the adults and the children.

Alas, Instant Familys penchant for broad jokes and formulaic resolutions undercut any good intentions. We get a hint early on that well eventually get to some tear-jerking melodrama the childrens birth mother has to show up at some point, right? but the whole shebang is too saccharine to elicit the desired emotional response. Plus, the screenplay dodges the thornier question of who these kids real parents are by offering a cheap narrative cop-out at the end.

Theres no question this subject matter is personal for Anders and with an ace supporting cast that includes Octavia Spencer and Tig Notaro as social workers, the movies often likable even when its not especially good. Still, its a shame that Instant Family reduces the complexity, pain and joy of parenthood to a multiplex-palatable family comedy. The real story is probably far more interesting and hopefully funnier.

Watch Mary J. Bliges Soulful Mighty River Performance at Oscars

Mary J. Blige unleashed a stunning performance of Mighty River at the 90th Academy Awards Sunday. The track for Dee Rees Mudbound earned Blige a Best Original Song nomination, while she also picked up a Best Supporting Actress nod for her turn in the film.

Blige began her performance alone onstage before a small gospel choir joined her as footage of an ominous storm hovered above them. As the clouds lifted, Blige and the choir moved towards the climactic peak of Mighty River, where the R&B star unleashed a torrent of stunning a capella vocal runs.

Mighty River will compete in the Best Original Song category against Andra Day and Commons Stand Up for Something from Marshall, Sufjan Stevens Mystery of Love from Call Me By Your Name, Remember Me from Coco and This Is Me from The Greatest Showman.

Bliges pair of Oscar nods for Mudbound made her the first woman ever to receive multiple Academy Awards nominations in the same year. Her work on the film also earned her a pair of Golden Globe nominations for Best Original Song and Best Supporting Actress. Blige released her most recent solo album, Strength of a Woman, in 2017.

The Cured Review: Zombie Movie Adds Guilt, Regret to Gross-Out Genre

Its such an ingenious idea for a zombie movie that youre surprised no ones thought about it before. A global epidemic turns massive amounts of the worlds population into flesh-craving ghouls. An antidote is found, which allows most of these everyday-people monstrosities to come back from the equivalent of the walking, chomping dead. (Most but not all.) The catch is that these former mindless killing machines remember every horrible thing they did under the influence of the Maze Virus and they have to live with their memories, their regret, their guilt and their shame. As for folks who suffered loss at the grasping hands and gnashing incisors of these murderers, they have neither forgotten nor forgiven what happened either. And the facade that now everyone is supposed to pretend everythings back to normal with clean consciences and no consequences is destined to fall apart.

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Thats the basic conceit of The Cured, an Irish entry in the living-dead canon technically, an infected movie, the genres younger, wilder sibling that nudges the durable horror-film staple into previously untrod truth-and-reconciliation territory. How does society come back from a collective trauma and start healing?, it asks. How does one reintegrate while dealing with the fallout from bloodlust crimes perpetrated under mass duress? And how the hell do you face your neighbor when theyve tried to eat your child?

For survivors like Abbie (Ellen Page), the solution is to put your head down, make sure your son gets to his reopened school safely and compartmentalize to the max. For Senan (Sam Keeley), the idea is to put the pieces of his interrupted life back together and do what he can to reintegrate into society as well as atoning for consuming his brother, who was also Abbies husband. And for Conor (Tom Vaughan-Lawlor), a fellow ex-infected who was once a prominent lawyer and now must make do with custodial work, the goal is to avoid the near-fascistic military forces surveilling the 75-percent of cured citizens and keeping the 25-percent resistant quarantined. Meanwhile, the streets are filled with protestors, TV pundits fret over a potential Outbreak 2.0 and a reformed-zombie support group slowly morphs into a militant army with Molotov cocktails and a rather chilling end game in mind.

The fact that The Cured takes place in Irish director David Freynes country of origin a nation with no small history of resistance movements, rebel groups and regional civil warring is, of course, anything but coincidental. Yet his feature debut could be relocated to Rwanda or Romania, Serbia or South America, a post-Brexit Britain or a country divided over electing a divisive commander-in-chief and still make its down-with-the-sickness mojo work. Ditto the numerous stand-out details and stylistic touches that add layers to his after-the-apocalypse landscape, which range from morbidly mordant (a sign on a bus lists viral symptoms as loss of reason, numbness, cannibalism) to downright chilling (a pre-attack moment when the soundtrack mutes everything but the infecteds rapid, hungry panting).

Zombie movies have always been fertile ground for subtle-to-sledgehammering social commentary, whether its the civil-rights analogies and consumerist critiques of Romeros early Dead gross-outs or the one-civilization-breakdown-fits-all blues of the post-28 Days Later renaissance. You cant even call The Cureds populism paranoia and self-admitted explorations of social divisiveness subtext they suck up too much oxygen, take up too much of the spotlight. Its a moody horror movie that favors metaphor over mayhem until its violent, chaotic final third, at which point the screaming starts in earnest. A bit more balance between gnawing guilt and plain old gnawing would have done this scare-parable wonders. Its bark is worse than its bite. But you hear every point that bark is making loud and painfully clear.

Watch Alec Baldwin, Salma Hayeks Money Schemes in Drunk Parents Trailer

Alec Baldwin and Salma Hayek reunite on the screen to play an upper-middle class couple scheming to afford their daughters college tuition in the wacky new trailer for Drunk Parents. Jim Gaffigan and Joe Manganiello also star in the film, which hits theaters on April 19th.

The clip opens with the couple, Frank and Nancy Teagarten, dropping their daughter off on her first day of college. But their emotional family moment is soured when they return to their lavish house and find the repo man waiting for them.

Determined to stay afloat financially, they launch a web of neighborhood schemes like selling all of a neighbors possessions and renting out his mansion. That plan turns grows complicated when their new tenant, Carl (Gaffigan), shows up at their door and introduces himself as a registered sex offender.

In a rapid-fire montage, the trailer previews some of their subsequent antics including Frank throwing a rock through a car window and hitting a man in the face, Nancy crawling through a dog door and the couple gagged and held at gunpoint in the woods.

Fred Wolf (Saturday Night Live, Grown Ups) directed and co-wrote the film, which co-stars Ben Platt and Michelle Veintimilla.

Watch Kirk Hammett, Black Keys Talk Creem Magazine Legacy in New Doc Teaser

Metallicas Kirk Hammett, the Black Keys Patrick Carney, actor Jeff Daniels and more discuss the revolutionary work of Creem magazine in the teaser for the upcoming documentary, Boy Howdy! The film is set to premiere March 10th at SXSW in Austin, Texas with additional screenings to follow.

The new clip captures the ethos and aesthetic of Creem, which sought to cover rock and roll while simultaneously deconstructing it in the most radical ways possible. Hammett recalls reading album reviews that barely discussed the actual album, while Carney hails the way Creem simultaneously played up and tore down the rock star image.

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Buying Creem was a little bit like buying Playboy, Daniels says. You didnt want your parents to see either one of them.

Speaking with Rolling Stone, Boy Howdy! director Scott Crawford said he first encountered Creem in the Eighties and bought back issues from the magazines Seventies heyday at a local record store. It was a history lesson of sorts for me, he says. There was an undeniable punk aesthetic and its bite-the-hand-that-feeds editorial approach resonated with me instantly. The writing was inspired and bratty (yet thoughtful) and encouraged me to listen to music in a way that I hadnt previously known how to do.

Crawford and Jaan Uhelszki a Creem alum, who also co-wrote and -produced the film teased some of the treasures they discovered while digging through the Creem archives as well. Uhelszki recalled finding old letters to the editor, including one in which Patti Smith called Lester Bangs a pig fucker after he wrote a bad review of a Bob Dylan album.Crawford also said the film will feature never-before-seen footage of Bangs at the Creem offices in Detroit.

Boy Howdy! was also co-produced by JJ Kramer, Creems current CEO and the son of late founder, Barry Kramer. Making this film opened my eyes to so many things about my father and the magazine, JJ said. The good: He was brilliant, a visionary, and left an indelible mark on almost everyone he came in contact with. The bad: He was an antagonistic provocateur with a Detroit-sized chip on his shoulder, which helped to create the beautiful chaos at Creem.

Following its March 10th premiere at the Alamo Lamar, Boy Howdy! will screen two more times at SXSW: March 14th at the Alamo Ritz and March 15th again at the Alamo Lamar. In April, it will screen during the opening night of the Freep Film Festival in Detroit, Michigan, while itll also be shown May 29th at the Rock and Roll Hall of Fame in Cleveland, Ohio. Additional information is available on the films website.

Why Smokey and the Bandit Was the Ultimate Burt Reynolds Vehicle

The first time we lay eyes on Burt Reynolds truck-driving legend Bo Bandit Darville in 1977s Smokey and the Bandit, hes sprawled out in a zebra-striped hammock, lazily napping when he should be hustling to make a buck by posing for pictures for a discounted 75 cents.

Looks like a legend and an out-of-work bum look a lot alike, Daddy, quips Paul Williams Little Enos Burdette to his father, Big Enos Burdette, whos dressed in the same outlandish suit, ascot and cowboy hat as his diminutive offspring. Reynolds, owning the moment, looks up from his slumber and offers that laugh. You know the one the Im a confident S.O.B. cackle that helped establish him as a hero to aspiring wiseasses everywhere. Oh, I love your suits, Bandit replies, relishing one of a number of politically incorrect zingers he lets fly in the film. It must be a bitch getting a Size 68 extra fat, and a 12 dwarf.

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Reynolds died Thursday at age 82, leaving behind a series of indelible performances, from the heroic Lewis in Deliverance to the Oscar-nominated turn as porn director Jack Horner in Boogie Nights. But its his scenery-chewing escapades in Smokey and the Bandit that made pre-teen boys in the Seventies and, via premium cable, the Eighties want to snub authority, drive fast and get the girl. Directed by stuntman Hal Needham, whose 2011 memoir Stuntman! offers some glorious tales from the set, Smokey and the Bandit is the ultimate Reynolds charm vehicle. He swaggers, winks, lets his (chest) hair down and looks directly into the camera to flash the most shit-eating of grins.

But Reynolds Bandit wasnt just a one-dimensional smart aleck, as Jackie Gleasons Sheriff Justice derided him in Smokey. Even when he was comparing Sally Fields legs to a carrier pigeons Last time I saw legs like that they had a message tied to them or crowing about his own good looks We both like half of my face the actor allowed glimmers of Bandits humanity to seep through. Yes, he was a Pontiac-driving prima donna, but also a wandering soul whose search to fill the void ate up miles and miles of open road. Why else would one accept a bet to bootleg cases of Coors from Texas to Georgia?

An underrated actor who would be denied the Oscar in 1998, Reynolds sold Bandits emptiness too, whether he was goading old pal Cletus Snow (the fast-talking Jerry Reed) Bandits longest relationship into joining him on his boozy heros journey, trying to coyly woo Fields Frog during a woodsy pit-stop, or pausing to pay Justice a compliment for the doggedness of his interstate high speed pursuit. Ive been chased by the best of them, says Bandit, and son, you make em look like theyre all runnin in slow motion.

By movies end, Reynolds beloved and beguiling performance made it clear: it wasnt Big Enos money that Bandit needed, but the thrill of the chase.

The Happytime Murders Review: Puppet Raunchfest Is Dead on Arrival

A few critics are calling it the worst movie of the year. Unfair! The Happytime Murders, the R-rated look at a serial killer running wild in a puppet-populated L.A., has what it takes to be a contender for worst of the decade. Directed by Brian Henson (son of the late, great Sesame Street and Muppets icon Jim Henson) and starring a painfully stranded Melissa McCarthy, this toxic botch job deserves an early death by box office. Its not that smutty puppets are a bad idea (see: Team America: World Police, Meet the Feebles, Ted or the musical Avenue Q), its just that Henson and flailing screenwriter Todd Berger dont have a clue how to make the damn thing funny. Instead, they play it like randy kids who snuck into the Henson workshop and thought it would be cool to see a puppet pecker splooge a geyser of Silly String. Then theres the dialogue: For 50 cents Ill suck your dick, says a hunk of felt to McCarthys L.A. cop Connie Edwards. Its a great price, says McCarthy. Almost makes me wish I had a dick for you to suck. Bada-boom.

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The plot turns on a series of murders victimizing the cast of a 1980s childrens show called The Happytime Gang. Most of the onetime stars are on now the skids, lurking in an L.A. underworld where they co-exist tensely with the human population before being picked off one by one. Is a point about race and inclusion being made here? You wish. Henson and Berger dont engage in subtext.

Connie is assigned to solve the murders with the help of puppet detective Phil Philips (voiced and manipulated by Bill Barretta), once Connies partner until the LAPD canned him for shooting a puppet civilian in the line of duty. Connie, who nearly died during the incident, was the proud recipient of a puppet liver as a result. The liver bit serves as a desperate attempt at plot development and its not even the worst example.

Phils other human contacts include his former girlfriend Jenny (Elizabeth Banks), the only flesh-and-blood actor on The Happytime Gang, and his loyal secretary Bubbles, played by Maya Rudolph, who acts like shes in a much better, wittier movie, which this one is whenever shes onscreen. Sadly, Henson is far less interested in wit than in shooting up puppets until their insides explode in a shitstorm of felt and cotton. The Happytime Murders is the first film from The Jim Henson Companys new division, the adult-themed Henson Alternative. Maybe its gargantuan god-awfulness is not a exactly a sin against cinema. But throw away your money on a ticket and youre in for two hours of certain hell.

Watch Exclusive Clip from New Joan Jett Documentary, Bad Reputation

Bad Reputation, the new documentary chronicling the wild life of Joan Jett, hits theaters nationwide September 28th.

Best known for timeless hits like I Love RockNRoll, Joan Jett is one of the greatest guitarists to have walked the earth and she is no stranger to the silver screen. She landed her first movie role opposite Michael J. Fox in the 1987 musical drama, Light of Day, and went on to play herself in many others. In 2010 her former band of teenage drama queens, The Runaways, got the Hollywood treatment in the biopic of the same name,in which Jett was played by Kristen Stewart, co-starring Dakota Fanning as lead singer Cherie Currie. Now in her upcoming documentary, Bad Reputation, Jett airs out the good, the bad and the downright ugly of her coming of age as a young woman in rock & roll.

Youd get spit on, Jett explains in an exclusive clip. I felt like I couldnt leave the stage The other girls got tired of it, and I dont blame em. Its just that, to me, it felt like that was what I had to do.

Directed by Kevin Kerslake, Bad Reputation made its world premiere at the 2018 Sundance Film Festival. The film unveils archival footage from Jetts freewheeling years as a punk, to scenes from her present day as a seasoned rock star and activist. It also features colorful commentary by Jett herself, who is joined byher trusted songwriter-producer Kenny Laguna, Billie Joe Armstrong, Debbie Harry, Iggy Pop, Pete Townshend,Miley Cyrus and more.Bad Reputationwill also be available for streaming on iTunes and on Amazon Prime.

Tell me I cant do something, says Jett, and you be sure Im gonna be doing it.

In Praise of Annihilation and the Modern Weird Sci-Fi Renaissance

In the spring of 1968, film critic Roger Ebert reviewed Stanley Kubricks2001: A Space Odyssey. The critic couldnt fathom everything hed just seen: What were those monoliths? What was that final sequence in that creepy hotel about? Who or what, exactly, was the Star Child? Ebert didnt care; he knew hed just seen a masterpiece. Still stunned and overwhelmed, he leaned on a line from e.e. cummings to articulate his disoriented state: listen theres a hell of a good universe next door; lets go.

Thats an inexact but also kinda perfect way of encapsulating what the greatest sci-fi films do to you. They knock you out of your comfort zone, challenge your grasp on reality, and leave you with more questions than answers. You dont know what youve seen, but you know you want to see it again to wrestle with it, try to decipher it, figure out if you could ever unlock its mysteries. This sensation doesnt happen very often, but when it does, its like the gift that the monolith gives David Bowman at the end of 2001: It transforms your consciousness into something incredible and new. Suddenly, a whole new universe opens up for you.

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Annihilation is the latest in whats been a bumper crop of excellent recent-ish sci-fi films that could be described as cerebral, challenging or straight-up trippy. Those kinds of adjectives scare some viewers not to mention executives who get antsy about the financial bottom line. Back in December, Deadline ran a story claiming that the filmsproducer David Ellison freaked out over Ex Machina writer-director Alex Garlands dizzying adaptation of the acclaimed Jeff VanderMeer novel, featuring Natalie Portman as a scientist entering into a surreal, brain-scrambling alternative reality (known as the Shimmer) filled with horrifying mutant beasts and brain-scrambling visual wonders. Ellison reportedly called the film too intellectual and too complicated for mainstream audiences. Changes were apparently requested.

Thankfully, Ellison didnt get his way. Part of the reason why Annihilation is such an exhilarating film is because, well, it is intellectual and complicated an elegant existential jigsaw puzzle about existence and mortality thats catnip to fans of smart, provocative sci-fi. From a crass, dollar-and-cents perspective, the bean-counters fears were well-founded: Saddled with a C from CinemaScore and grossing only an estimated $11 million in its opening weekend, Annihilation may be too weird for the multiplex. But, as history has repeatedly shown, momentary audience indifference eventually fades as a films lasting cultural legacy takes hold and subsequent viewers embrace what was once dismissed as weird. Todays sci-fi head-scratcher is often tomorrows masterpiece, speaking to its times even if audiences werent quite ready to receive the message.

You can pinpoint Kubricks take on humanitys evolution from apes to cosmic entities as the Rosetta stone for modern difficult sci-fi movies, a divisive work for some crowds and critics alike. (The ponderous blurry appeal of the picture may be that it takes its
stoned audience out of this world Thank you, Pauline Kael.) Never mind the haters: Every major sci-fi filmmaker who came in 2001s wake notably George Lucas, James Cameron and Steven Spielberg adored it. Soon, filmmakers around the globe were attempting their own variations on 2001s so-called ponderous blurry appeal, whether it was Alejandro Jodorowskys 1973 fantasy The Holy Mountain,Nicolas Roegs excursion into the Bowieverse The Man Who Fell to Earth (1976) or Andrei Tarkovskys twin salutes to metaphysical torment, Solaris (1972) and Stalker (1979). The point wasnt tight plots or easily relatable characters they were more interested in blowing your mind. Even amidst the far more mainstream sci-fi of Star Wars and Close Encounters of the Third Kind, these films acknowledged that there was something profoundly unknowable about the human condition and our place in the universe.

And by not filling in all the blanks, these filmmakers demanded that the audience engage in a way that felt like a shared experience. Tarkovsky was once asked how he came up with the idea for Stalker which finds three mismatched men entering into a forbidding and strange realm known as the Zone. The revered Russian director admitted that his hypnotic, meditative drama was a mystery even to him. Naturally it occurs that certain images emerge suddenly, he offered. But then they change, perhaps inadvertently, as in a dream, and often they transform, vexingly, inexorably, into something unrecognizable and new.

Modern mind-bending sci-fi like Annihilation owes a debt to Stalkers experimentation not to mention its through-the-looking-glass story of ordinary people venturing into alien terrain, their consciousness warped by the strangeness they encounter. Interestingly, Garlands reasons for being drawn to VanderMeers novel are eerily reminiscent of the Russian filmmakers intuitive methods: It was the atmosphere, he explained. I found that reading the book was a weirdly similar experience to having a dream.

For much of this century, Garland has tested the boundaries of enigmatic science fiction, writing the thought-provoking screenplays for Danny Boyles 28 Days Later and Sunshine and then making his directorial debut with Ex Machina, which asked questions about power, gender inequality and the evaporating line between man and machine, letting viewers sort out their feelings for themselves.

His open-ended, daring films are in good company with other great recent left-of-center sci-fi, most of which bombed at the box office or were micro-budget productions hiding on the margins. Before Darren Aronofsky scandalized viewers with mother!, his greatest provocation was 2006s The Fountain, a gusty, loopy sci-fi romance about a doctor (Hugh Jackman) trying to save his wife (Rachel Weisz) from cancer. But its not just about that: The moviemoves between parallel storylines involving a conquistador and a baldheaded cosmic traveler (both played by Jackman) that eventually intersect. Audiences stayed away in droves, but the boldness of The Fountains vision overcame its flaws, attaining that rare sensation of bewildered exultation that only really trippy sci-fi can produce.

Expressing something personal while simultaneously reaching for the cosmic is a strategy also utilized by Shane Carruth, a former software engineer with an itching to get into filmmaking. His first effort,Primer(2004), ingeniously stripped away the gee-whiz euphoria around the possibility of time travel, crafting a despairing, labyrinthine logic maze that inspired every geek in the world to try to unscramble its twisting timeline. But Carruth created a code even tougher to crack with his follow-up, an equally unfathomable film that chronicled the inscrutability of love. His follow-up,Upstream Color (2013),presented us with two characters who find each other after separate traumas, and while the movie didnt feel like science fiction no robots, no time travel, no laser guns its woozy, mind-altering approach to dramatizing a troubled romance honored the genres commitment to boldly going where others wouldnt.

These and other recent films including Duncan Jones space-madness marathon Moon (2009) and Jonathan GlazersUnder the Skin(2013), which pays affectionate homage toThe Man Who Fell to Earth are making this a new golden age of unclassifiable, challenging science fiction. But why now? If 2001 was a product of its LSD times, whats driving modern filmmakers and their adventurous audiences to go on these surreal journeys?

The answer might be that, while recreational drugs remain part of our lives, people are finding new ways to expand their minds. All of us now exist in multiple dimensions online: Whether its on social media, videogames or comment pages, weve become more accustomed to navigating other realities separate from ourselves. Meanwhile, our entertainment is more actively encouraging our interaction. And then theres the growing interest in virtual reality, with everyone from Alejandro G. Inarritu to Disneys new Star Wars: Secrets of the Empire VR exhibit asking audiences to abandon their passivity and become part of the experience.

Mood, mystery and dreamlike lucidity are among the chief selling points of Annihilation, which declines to satisfy all its riddles or even provide a clear roadmap of its thematic interests. Is the film a lament about ecological disaster? A cogent reminder that all our technological advancements cant protect us from a natural world out to destroy us? Is it an action-horror movie or a domestic drama? The appeal is that those answers arent obvious even the films quiet final image is a puzzle open to multiple readings.

I would hope it gives [an audience] respect, Garland said recently when asked about his desire to withhold clear-cut answers. That they dont need to be spoon-fed. But it also creates a requirement, which is that the film is not going to do everything. The audience member is a participant in the narrative, and if the inferences are going to be understood, and the connections are going to be felt even if theyre different inferences and different feelings they are going to be brought by the audience member. Its like you have to join the party. And so, I think the ideal audience member for a film like that, and other films like it, is one with an open mind whos not there just to be entertained for two hours. Theres a two-way process theyre willing to engage in.

Thats why Annihilation like 2001, like Stalker, like any great work of WTF sci-fi is far from ponderous or too intellectual. For these films to succeed, they need our active involvement and reward us for our participation. At their heart, these masterpieces of disorientation are tapping into our collective craving to find fresh methods of deciphering the unsettling strangeness of existence. By stepping away from the strictures of narrative with their resolved conflicts and pat lessons, films such as Annihilation encourage us to abandon our comfortable passivity and enter into the twisty logic of dreams, where the emotions are more primal and the experiences can feel realer than real life.

Indeed, theres no shortage of opportunities nowadays to plug into extreme or alternative realities, but the mind-bending pleasures of weird sci-fi offer an endlessly riveting journey into the unchartered regions of our consciousness. These films electric ambiguity is a doorway to the parts of ourselves that we cant articulate, giving us a shared language that transcends the literalness of the everyday and speaks to something far deeper and cosmic. All we have to do is be willing to take the trip.

Venom Review: This Mess of a Marvel Supervillain Movie Bites

In the first scene of Marvels utterly unmarvelous Venom, an alien space ship crashes and burns on earth leaving behind a slithering mass of defanged, digitalized slop. Thats also a fair description of this puddle of simplistic, sanitized PG-13 drivel that Marvel has released instead of the scary, dark-night-of-the-soul thunderbolt fans had the right to expect. Tom Hardy and a massively overqualified cast, including Michelle Williams and Riz Ahmed, have been reduced to putting on a clown-show for kiddies in a shameless corporate product where the creativity stopped with the balance sheet. This year gave us the best and most imaginative Marvel film in Black Panther. Now we have the worst.

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What went wrong? Everything, actually. Crudely directed by Ruben Fleischer (remember the bliss of Zombieland?) from an aggressively blockheaded script by Jeff Pinkner, Scott Rosenberg and Kelly Marcel, this superantihero tale seems to take a twisted pride in missing the point. Hello! The title character is an alien symbiote (that tongue! those teeth!) who bites off heads and feeds on human brains. The damn thing needs a human host to survive. In Spider-Man 3, Topher Grace played the villain with a capital V. But in this lame origin story, Venoms accidental target is a crusading, San Francisco TV journalist named Eddie Brock (Hardy). He cares about his fellow man, so there should be a chill think Jekyll and Hyde when Venom possesses Brock and starts leaving broken bodies in his wake. Its the stuff of nightmares. Not here. Our hero actually carries on a dialogue with his mental roommate, telling the monster to ease up. There are Deadpool-style laughs here, and theyre welcome, until you realize the comic side is all there is. The hard-charging reporter and the annihilating counterpart are actually cuddlebugs. Yuck!

This leaves the movie with nowhere to go. Its hell watching the mega-talented Hardy struggle with a mumbly American accent and a script that chokes the vibrant life out him. Williams is stuck in the paycheck role of Eddies former fiance Anne, a lawyer who has moved on to romance with a doctor (Reid Scott). If that doesnt send you into a snooze, wait till to see what this movie does to Ahmed. This brilliant actor (Nightcrawler, The Night Of) cant do a thing with the villainous Carlton Drake, a billionaire entrepreneur whos obsessed with melding aliens and humans. Since this movie takes all the terror out of those implications, Ahmed never looks more than mildly annoyed; its more like hes on a Shark Tank panel and no one has any solid business ideas.

The action? Its repetitive enough to bore you breathless. And the special effects are strictly bottom shelf. Social media has been all over Venom, accusing fans of stuffing the Web with fake bad reviews so A Star Is Born wont whack it at the box-office. Dont sweat it. No one has to fake a bad review of this. The ending suggests theres a Eddie/Venom buddy sequel in the offing. Someone needs to bite the head off that idea pronto. Audiences have suffered enough.

Johnny Depp Settles Multi-Million Dollar Lawsuit Against Managers

Johnny Deppsettled one of the many high-profile lawsuits in which hes entangled that were detailed in a recent Rolling Stone story. The actor sued the Management Company where his former business managers work for $25 million last year for fraud. They decided to settle on Saturday at a mediation session, Deadline reports.The case was set to go to court on August 15th. No settlement terms have been announced.

In the suit, Depp alleged that the company improperly managed his money for nearly two decades. He claimed they didnt keep proper books or pay his taxes in a timely fashion, loaned his money without his permission and pursued conflicts of interest on his dime, investing his money in their own business ventures.

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The company, run by Joel and Robert Mandell, then countersued the actor. They claimed theyd admonished Depp for living beyond his means, saying he had an ultra-extravagant lifestyle that knowingly cost [him] in excess of $2 million per month. Among his expenditures were $30,000 a month on wine, $50,000 in storage warehouses and $200,000 for a private jet. Deadlineclaims Depp is also in a lawsuit with his onetime transactional lawyer.

The judge on the case would not push the suit back farther on the calendar, leading to the mediation.

In other news surrounding Depps legal battles, the actor was recently the target of a suit by a location manager on the film City of Lies, who alleged Depp punched him on set. He was also sued by two former bodyguards, who claimed hed put them in toxic situations and that he didnt pay them properly.

Spider-Man Cast Reveal Their Scripts Are as Redacted as the Mueller Report

Five members of the upcomingSpider-Man: Far From Home cast stopped byJimmy Kimmel Liveon Thursday night to discuss the film and the end of the Marvel Cinematic Universe as we know it with the release of Avengers: Endgame.

Tom Holland, Jake Gyllenhaal, Zendaya, Cobie Smulders and Jacob Batalon were all extremely careful to tiptoe around spoilers for bothEndgame andFar From Home. But they did share that half of the time, the cast doesnt even know whats going on, either, or whats already been revealed to the public. Holland said that when he and dozens of other MCU cast members shot a pivotal funeral scene inAvengers: Endgame, he thought it was for a wedding. And Smulders revealed that even though theBlack Panther cast was there that day, their film hadnt even come out yet at the time of shooting.

At one point, Kimmel asked if the scripts the Marvel cast received were all redacted like the Mueller report. Zendaya confirmed that this was true, to an extent.

We would get sides, and you have to learn your lines, obviously, before the next day at work, she said. And anything that had spoilers in it was blacked out. So most of the script was blacked out. Its kind of hard to learn your lines when you cant see them.

Tilda Swinton on Tilda Swinton: Breaking Down 8 Roles

I never, ever, ever intended to act, Tilda Swinton says, laughing, as she sits down in a Beverly Hills hotel suite. I still dont intend to act. I mean, Im thoroughly distracted from what I really want to do, which Im never gonna really get to if I dont stop doing this stuff.

Well, its too late to stop now. Over a 30-plus-year career, what she dismissively refers to as this stuff has proven to be some of the most electrifying and resonant screen acting of recent memory. Swinton, who turns 58 next week, is often reduced to a handful of clichs: the fearless, artsy, eccentric, slightly alien-like shape-shifter wholl happily don prosthetics or pull out an accent if the role requires it. And her turn in Luca Guadagninos Suspiria, in which she plays the severe artistic director of Berlins acclaimed Markos Dance Academy, is likely to see those same descriptions trotted out once more. (Its not her only part in the remake; well get to that in a moment.)

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But to go back through her dexterous rsum is to see a performer of passionate feeling from the very beginning. Shes always brought a crushing immediacy to her characters theyre fully-realized but evolving individuals (literally, in some cases see Orlando), bursting with life but in conflict with surroundings that force them to change. Thankfully, she was willing to play tour guide touching on everything from the early art-house experiments to her Oscar-winning performance in Michael Clayton, from monstrous villains to stressed-to-the-max mothers. Here, in her own words, is a look back at whats kept her thoroughly distracted and left audiences enthralled.

Edward II (1991)
Swinton frequently collaborated with Derek Jarman, who died in 1994 at the age of 52, starting with her first movie role in 1986s Caravaggio. Not sure if she really wanted to keep acting after doing theater during her university years, Swinton then met the experimental, political filmmaker. His 1991 work Edward II, a modern retelling of the Christopher Marlowe play, typified their provocative pairings.

What Derek opened up to me with the kinds of work that he was involved in and also the environment of his work it was just home . I knew that I wasnt interested in being an industrial actor; I knew I wasnt interested in being an industrial theater-maker. I was always an experimentalist, and I couldnt find it, really, in the theater.

At that time in the U.K., cinema was the sort of Merchant-Ivory corsets type what I call nostalgia cinema, which I was definitely not interested in being a part of. There was a very well-respected television industry at the time, and there were big international filmmakers like David Lean and people like Alan Parker, and I just couldnt imagine myself in any of those worlds. And then there was Derek. Derek was something else. He was from the art world, and I was from the art world. We just met and clicked. He made it possible for me to work. I was a part of the creation of [his films] I wasnt acting at all. We were making work as a sort of home-movie scenario, really. It was performance art. He made it possible for me to do my thing without being a professional actor.

Conversations, particularly around a certain kind of political activism, gave rise to the films. There was a time in the late Eighties when there was a political situation where the Tory government were attempting to bring in all sorts of hideous restrictive laws. There was this thing called Clause 28, which was about restructuring the cultural life of gay people. We were very involved as political activists, and out of that conversation came, What film could we make? Shall we make Edward II? Because Edward II is about a gay king. It was definitely a response to the times.

Orlando (1992)
Swinton teamed up with director Sally Potter to adapt the Virginia Woolf novel about a character who travels from lifetime to lifetime and switches gender along the way.

If you read two sentences on Orlando, you think its about difference you think its about a change of gender and living through many different centuries. It didnt take me long to figure out that, actually, what I wanted to do was to look at the similarity look at something very simple and very unchanging so that [the character] doesnt actually change. Orlando is a persistent spirit: The changes of gender apparatus move around, but Orlando stays the same.

And when we were discussing all of this, this is where Sally Potter and I started to develop this key thing, which was looking into the camera this dialogue with the audience so that the face, the gaze, that direct look stayed the same. Didnt matter whether it was the 16th century or the 20th century that was the same. A massive wig or a motorbike, that all changed, but this stayed the same. And once we hit on that, it was not only clear in terms of the practicalities of how to do it and how to play it, but also I found it really informative about what [Orlando] was about. Its about spirit, actually.

Michael Clayton (2007)
Swinton had never been nominated for an Academy Award before playing the high-strung attorney Karen in this character drama-cum-thriller. (Amazingly, she hasnt been nominated since.) But when its mentioned that the film was part of her transition to studio films, Swinton will politely demur. And dont bring up her Oscar win.

The reason I dont think of it as a studio picture is because it was in New York and because it felt fairly intimately made. Of course it was a studio picture, and it had a massive film star in it, but it didnt really feel [like that]. I noticed a while ago that the studio pictures that I had made up until that time in fact, it still goes on theyre all experimental films. Theyre all pretty out there. Theyre all made by film geeks who are trying something new, whether its [Shrek director] Andrew Adamson making his first live-action film [The Chronicles of Narnia] when hes only made animation, or David Fincher making Brad Pitt younger [in The Curious Case of Benjamin Button].

What was different there was that the tenor the caliber of the narrative and the kinds of performances that it asked for [was] much finer, much more naturalistic, much less fantastic, much less expressive. That was a bit of a departure. It was really interesting to work with something really naturalistic. Women like [Karen] really do exist, and they really walk about and dress like that and talk like that. That was a bit of an adventure for me.

[Michael Clayton filmmaker] Tony Gilroy is an unbelievable writer. He was not only looking at the way in which this woman was working with her faade, but then you had her alone. I was completely hooked, because thats what Im really interested in.

[The Oscar speech] I have no memory of it, and please dont remind me of what I said. Funnily enough, at that time, Id never seen the Oscars on the television. I knew that it was a big deal, but it didnt have any real impact in my life. I remember being a little bit disappointed that it wasnt more magnificent, [that] it wasnt in a bigger room. And then I thought, Why are you disappointed? I realized it was because my reference was The Bodyguard with Whitney Houston that was the only time Id ever seen the Oscars, and it was in a much pumped-up version. Nobody ran across the stage or got shot or anything!

I Am Love (2009)
Swinton first worked with Suspirias Luca Guadagnino on his 1999 thriller The Protagonists, but the filmmakers breakthrough was this sensuous, tragic drama about a woman embarking on an affair. It took several years for this particular collaboration to go into production, although the delays never bothered her. In fact, she sorta likes them.

Ive worked a lot with first-time filmmakers, and I always feel Im sort of put on this earth to say to them, Its okay that weve been pushed back another six months. You will be grateful for this time later on. You will never regret having another year to develop the script. Im very lazy. I dont mind waiting.

Its about figuring out really carefully what the character is going to look like, how theyre going to move, how theyre going to talk, what theyre going to say, the environment theyre going to be in, and what choices theyre going to make about whats going to occupy their rooms. [Her character Emma] walked in the most uncomfortable Salvatore Ferragamo shoes I shouldnt really say that, but Im afraid its true. And she was a little bit protective. [Swinton suddenly juts forward her shoulders, pushing her midsection back] She walked a little bit with her shoulders forward, protecting her heart, and quite carefully as if shes on eggshells.

We Need to Talk About Kevin (2011)
Lynne Ramsays adaptation of the Lionel Shriver novel concerns a woman who discovers shes not suited for motherhood. Its a theme that connects several of Tildas films from that period, she says.

It had something not everything to do with the fact that I had children myself. I was very interested in what it is to be a mother and all the different predicaments that one can find oneself in as a mother. The Deep End, We Need To Talk About Kevin, I Am Love, Julia: There was a sort of quartet at the time, which were very much about being a mother.

I was really, really fortunate in my own life it is a piece of luck that, for whatever reason, I lucked out with my kids. I was ready to be a mother. Its all been great. But the interesting thing that I noticed when they were born I had twins when I first saw them, I remember this moment of feeling a real surge of love. The second thing I felt was relief that I felt the surge. I remember thinking, Huh? Why are you relieved? You mean, it might have been different? It was like my psyche knew that it mightve gone the other way. And I have known women for whom it has gone the other way that was something I was really, really interested in exploring.

Only Lovers Left Alive (2013)
Another frequent collaborator is Jim Jarmusch; Swinton plays the female half of a vampire couple going through your basic immortal-bloodsucker ennui. She says that her and the New York-based indie-film godhead have always just clicked.

I love that film. I hadnt seen it for a while its so beautiful, and its just gonna burn forever, that film. [Jim] is a great artist. I had an early attachment to his cinema: Stranger Than Paradise was the first American independent film that I saw. And it was about America, but it was about being an alien. It was before Id come here, so it really meant a lot to me. And I think he does that for the globe as an American hes there for the aliens.

I really, really love being in that movies world. Hes a rock star. Hes an outsider artist, and hes so central but retains his outsider status. I really value that as an artist who came from the outside and lives on the outside. Hes like my homeland, really. But hes an American, and thats significant for me, because hes my sort of my American cousin.

Snowpiercer (2013)
When approaching Minister Mason, the bizarre, twisted figurehead of Bong Joon-hos dystopic sci-fi/action movie aboard a non-stop train, Swinton thought of the 20th centurys greatest monsters. At the time, her Snowpiercer performance seemed outlandish, comical. But thinking about it now in the light of recent events, Swinton can only shake her head.

Its terrifying, isnt it? We were dealing with satire, and we were dealing with something so extreme. We were drawing on Gaddafi and Thatcher and Mussolini its sort of eye-watering, really. But, yeah, we pushed it, we pushed it and we pushed it. One of the things that I thought of from the very beginning was Chaplins The Great Dictator.

This is a joke thats gone sour I hope anyway we take these despots and we make clowns out of them to make them somehow more palatable. We find them amusing. I think for a while that was the power of George W. Bush people found him kind of hilarious, all those memes and all those jokes. He was worth it, somehow, for the amusement value. But theres not much amusing going on now.

Suspiria (2018)
Swinton is a commanding presence as Madame Blanc in her latest collaboration with Guadagnino. All anyone wants to talk to her about, however, is one Dr. Josef Klemperer, the movies wizened, grieving male therapist. For months, the star and director denied she played the role (its credited to first-time actorLutz Ebersdorf). She finally admitted that yes, that is her beneath the prosthetics which has left her with mixed feelings.

Everyone has to be reminded that my original plan was never, ever to talk about anything other than playing Madame Blanc. But those old truth-hungry people have made us come clean. Im happy to come clean, because the last thing I want is for anybody to think were going to lie or deal in fake news.

Lutz Ebersdorf was a new face it was very important that it wasnt an actor, anybody recognizable at all. It was very important in terms of the grain of the performance that it should be not remotely showy, that it should be basically somebody sort of learning the lines and turning up. [It had to feel] I cant believe Im saying this authentic and not grandstanding in any way and also rather mysterious.

The thing about Klemperer is that he is inhabited by his [dead] wife. His grief means that hes inhabited by a woman, and that meant something to us when we started to develop the idea.

[The remake] I always said from the beginning, Its a cover. The problem with the idea of remake is that theres an assumption that it is somehow dissing the original or in some way trashing it because it wasnt any good. We were so clear that we didnt want to do that. And lets face it: Nobody covers a song that they dont love. Nobody says, Oh, its a bit rope-y lets make it better. If they do, its not gonna work. You need that innate love and respect. And we had that for Dario Argentos film.

X-Men: Dark Phoenix: Sophie Turner Savors Mutant Powers in New Trailer

Jean Grey, played by Rolling Stone cover star Sophie Turner, relishes the destruction of her mutant powers in the final trailer for Dark Phoenix, the upcoming X-Men spinoff film. Somethings happening to me, she says in the trailer during a teary speech. When I lose control, bad things happen. But it feels good.

The clip shows the origin of Greys transformation into Phoenix, gaining telepathy and telekinesis after a near-death experience during a NASA rescue mission. A villainous alien shapeshifter (Jessica Chastain) consults with Turners character, marveling My power destroyed everything it ever came into contact with. Until you. Meanwhile, Professor X (James McAvoy) worries that Phoenix will kill [them] all.

Simon Kinberg wrote and directed Dark Phoenix, which follows 2016s X-Men: Apocalypse and hits theaters on June 7th. The film, which features a Hans Zimmer score, also stars Jennifer Lawrence, Michael Fassbender, Nicholas Hoult, Tye Sheridan, Alexandra Shipp, Kodi Smit-McPhee and Evan Peters. Following the recent Disney/Fox merger, it is expected that Dark Phoenix will be the last installment in this X-Men saga.

Trailers of the Week: Marvelous Mrs. Maisel, Bird Box, Vox Lux

This week: Its an early look at Netflixs dystopic drama du jour starring Sandra Bullock; teasers for not one but two big Amazon shows this season; a pop-eats-itself drama starring Natalie Portman; a look at upcoming TV docs on the N.B.A. and abuse allegations surrounding R. Kelly, respectively; and the final trailer for the Queen biopic Bohemian Rhapsody. Get to viewin, folks.

Bird Box
Blindfolds, bells and Sandra Bullock wandering in a forest, yelling Please dont take my children! Ok, you have our attention. This Netflix-distributed dystopic thriller concerns an epidemic, an entity that takes on the form of your worst fears and the complete breakdown of civilization as we know it. Bullock, Moonlights Trevante Rhodes and John Malkovich, along with the actresss screen kids, have to survive come hell or high water. (Cue scenes of them river-rafting on high water.) Its out Dec. 21st, assuming our own society makes it that long.

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Bohemian Rhapsody
Fox drops one last look at the long-in-the-making Queen biopic, throwing together a lot of Rami Malek vamping as Mercury, the band sticking together through thick and thin, and some quick glimpses of the Live Aid performance recreation, all set to Under Pressure. Best of all are the opening moments in which you see the actor done the sunglasses and go full-on Freddie. Opens Nov. 2nd.

Homecoming, Season One
Hands down, the best trailer of the week: A nerve-jangling, WTF-is-going-on look at Amazons new conspiracy thriller starring Julia Roberts, playing a counselor at a center for returning veterans. Only, whats really going on there? Why is Bobby Cannavale chasing here? Whats up with the changing aspect ratios? Could this show possibly be as tense as it looks here? (Answer: yes.) Its from Sam Esmail, the man behind Mr. Robot; it starts Nov. 2nd; youll want to check this one out.

The Marvelous Mrs. Maisel, Season 2
Shes back! The Emmy-winning breakout hit of last year returns, with more vintage stand-up comedy, great Rachel Brosnahan line readings, those outfits and that set design, Alex Borstein sidekicking like a champ, eloquent smart-ass dialogue (Alone, I am a spitoon, with you I am a somebody!) and overall small-screen marvelousness. Dec. 5th cant come soon enough.

Shut Up and Dribble
Ah yes, you may remember that statement from good ol Laura Ingraham, in regards to pro-athletes expressing their opinions. This multi-episode Showtime doc on the modern history of the N.B.A. reclaims the dig as a mantra and a title in terms of pro-basketball players being agents of social change, the movie suggests, shutting up is thankfully the last thing they plan on doing. Everyone from LeBron to Kareem, Magic Johnson to James Harden get their moment in the trailers spotlight. Even if youre not a die-hard b-ball fanatic, this series looks compelling as hell. It premieres Nov. 2nd.

Surviving R. Kelly
Theres a difference between R. Kelly and Robert, were told. Ones a fun-loving guy; the other is the devil. This three-night, six-part Lifetime event (starting on Jan. 3rd) promises to get into the nitty gritty of the child-pornography accusations, the sex cult rumors, the mind games and manipulation, the payouts, the complicit folks around him the whole enchilada. And judging from the clip, there are a lot of people ready to talk on the record.

Vox Lux
Ah, 2018 when Gaga becomes a serious actress and Natalie Portman plays a Gaga-like pop star. The trailer for this fall festival favorite (its coming to a theater near you on Dec. 7th) plays up the characters diva-like behavior: reading the riot act to a music journalist, throwing attitude at a press conference, falling over in hallways, giving good mean-girl glare, pounding a restaurant table when someone asks for an autograph. Theres other stuff that happens too, but if nothing else, the clip gives you a sense of the pop-singer schadenfreude of director Brady Corbets drama.

Man Who Killed Don Quixote Review: Terry Gilliam Tilts at Windmills and Wins

Its been plagued by endless delays, natural disasters, dying actors, greedy financiers and good old-fashioned Icarus-level hubris. Its been called one of the most cursed film productions ever. Most folks assumed that Terry Gilliams Don Quixote project would never, ever be made, much less see the light of day. (This demographic included the director himself.) And, having finally slouched its way to completion and a contested premiere at Cannes in 2018, The Man Who Killed Don Quixote knows that an against-the-odds backstory is as much a marketing tool as a millstone around its neck. And now after 25 years in the making and unmaking, declares an introductory disclaimer; rather than deny its storied stop-start-stop-again history, it leans in hard to acknowledge the unlikeliness of it all. That opening statement is a victory lap. Its existence at all is a bona fide miracle. Now comes the hard part: The damn thing has to stand on its own and simply work as a movie.

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Terry Gilliam on the Madness of Don Quixote

Which makes us the messengers, i.e. the ones who have a nagging tendency to get shot. Not surprisingly, after a quarter century of revisions and musical-chair casting games and so much chasing of imaginary giants, the end result is messy, ragged, uneven, all over the place. There are exchanges that feel baked to a crisp followed by sequences that feel slightly undercooked. But its also the single best Gilliam film to hit theaters in 20 years, and while thats admittedly not a high bar to clear us fans have had to put up with works ranging from highly compromised to cringeworthy it should be considered a major cause for celebration. Rather than adapt Cervantes story, the Monty Python alumni and cinefantasist has used it as the starting point for a riff on artists haunted by the ghosts of earlier works and an old man stuck pursuing an impossible dream. We expected a pet project, just not such a personal one.

The artist is Toby Grisoni (Adam Driver) no relation to cowriter Tony Grisoni, but probable superego relation to the movies other creator with the same initials a filmmaker trying to stage his own When-Don-Met-Sancho epic. Nothing is going right, from the stunt co-ordination to the communication between American and Spanish crew members. Toby himself is a bit of a Hollywood blowhard, bellowing insults into a cell phone and barking orders. Then, one evening at dinner, a mysterious Romani man comes bearing bootleg DVDS. Nestled in between the blockbusters happens to be the young directors student film, a Quixote tale in miniature starring nonprofessional locals that he shot nearby a decade ago. So he heads to the village where he once coerced Javier, (Jonathan Pryce), a shoemaker, into playing the crazy knight errant and convinced Angelica (Joana Ribeiro), a tavern waitress, that she could be a star. Upon arriving, Toby discovers that his actress has long since fled to Madrid. As for his lead? He still believes hes Quixote, destined to keep chivalry safe one tilted windmill at a time.

Let the misadventures begin! Gilliam sends his delusional knight and the confused cineaste, who Javier/Don keeps mistaking for his sidekick, into situations that require the defense of honor and the suspension of disbelief. Some are topical, such as a squatters encampment thats giving sanctuary to refugees; eventually, Spanish inquisitors show up, which no one was expecting. Some are surreal, like the set piece involving a horses corpse, a hidden paradise and a bathing beauty who happens to be Angelica. There are sword attacks on cop cars and costume parties run by Russian oligarchs, a flock of sheep that Quixote mistakes for Muslim holy men and a sleazy European producer (Stellan Skarsgrd) subbing in for every money man thats ever screwed Gilliam over. As for the grotesque creatures running toward Toby from across the horizon? They might be giants.

That shot of a trio of ogre-like men filmed from below feels like the one main holdover from Quixotes past, such as the aborted attempt chronicled in the 2002 documentary Lost in La Mancha. Occasionally, Gilliam lards The Man Who Killed Don Quixote with references to his own finished works, from a line suggesting an armored rival has probably just wet himself (cue Holy Grail flashbacks) to a humiliating prank that brings to mind The Fisher Kings Red Knight nightmares. The man loves his beautiful dreamers, as anyone whos seen Brazil a dozen or more times can attest. His usual visual flourishes all those warped wide-lens shots and cluttered set designs are here, though they are doled out sparingly for once; whats most shocking is how muted things seem for a Gilliam joint, even with the black-and-white student movie bits and the climaxs bric-a-bracfilled set piece. Females, in the form of the bosss wife Jacqui (Olga Kurylenko) and Angelica, represent the siren song of Hollywood and artistry sacrificed on the altar of commerce, respectively. It have been nice if theyd been actual characters, too.

Even Pryces dotty old Don sometimes comes off like a raw sketch of someone under the grip of Method acting run amuck rather than some sort of divine madness, which says less about the veteran stage actors chops than it does Quixotes role being more of a mere Catalonian catalyst. For Gilliam, its all about the filmmakers, both the ones in front of and behind the camera. Hes much more interested in Tobys journey to scratch some existential itch, which, lucky for him, is Adam Drivers specialty. The actor has been killing it lately were still thinking about his BlacKkKlansman turn almost a year later and this performance extends his winning streak. He can do sublime or ridiculous, or in the case of an impromptu Eddie Cantor impersonation to prove hes not an Sancho Panza impostor (long story), both at once. Driver is the anchor the film needs from turning into nothing but a flight of fancy, though given what the director is after, i.e. following Quixote 1.0s narrative of holy fools chasing after ideals and ghosts, such flights make sense here.

Gilliam has said that every time he was working on something else over the years, he knew that the tale of the knight errant was waiting for him around the corner. And now that this decades-in-the-unmaking project has been committed to film and finally laid to rest, he would miss having that unbeatable for to fight. What he does have, however, is a tangled yet touching story of needing giants to fight before one goes off to meet the Great Cervantes in the Sky. The movie nearly killed him. Yet the victory isnt just that he finished it, but that hes fashioned something so magnificent in its messiness. He should be proud as well as relieved. The impossible dream is dead. But long live The Man Who Killed Don Quixote.

10 Best Movies to See in May: Solo, Deadpool 2 and Killer Kubrick Doc

April showers bring May flowers and end-of-April blockbusters apparently bring larger, more expensive May blockbusters. Movies, mainstream and otherwise, will be swimming in Avengers: Infinity Wars wake for a good long while, but that doesnt mean Hollywood Inc. is taking a month off. In the next 30 days, were going to get a pair of franchise pictures, one from the most gonzo-profane corner of the superhero universe and the other an origin-story from a long time ago, in a galaxy far away. Also on deck: documentaries analyzing Ruth Bader Ginsburg and Stanley Kubricks right-hand man; romances between waifish young lovers (Ronan or Fanning, take your pick!); and harrowing indies dealing in the currency of brutal justice. Heres what will be playing near you in the merriest of summer months.

Deadpool 2 (May 18th)
The Merc With A Mouth is back, and hes armed to the teeth with more pop-cultured potty humor and fourth-wall breakages than you can shake a katana at. Marvels insolent self-aware stepson returns in this sequel to form a hit squad of unlicensed creative properties (sorry, young mutants) to combat the time-traveling soldier Cable (Josh Brolin, up one glowing eyeball). While the trailer has confirmed that this franchise will hold sole dominion over the descriptor of irreverent for the near future, the addition of John Wick co-director David Leitch should kick the action sequences up several notches. Start heating up those chimichangas.

Filmworker (May 11th)
In the Seventies, as Stanley Kubrick receded from the public eye, he allowed a little-known actor by the name of Leon Vitali into his inner circle. After casting the young man in his epic period piece Barry Lyndon, the director took a shine to the fellow and adopted him as an all-purpose minion. Vitali was entrusted with tasks great (he found the creepy set of twins that tied The Shining together) and small (Kubrick liked his coffee Just. Exactly. So). Filmmaker Tony Zierra worked closely with his subject on this new documentary chronicling his extraordinary time spent with the late great filmmaker, featuring a treasure trove of private photographs, footage and never-before-seen documents. Kubrick prided himself on being unknowable; this film takes us all a step closer to figuring him out.

First Reformed (May 18th)
The world is ending, and only one man can stop it. No, its not the latest capes-and-tights blockbuster more like a slow, quiet, intense character study of a country priest concerned about Mother Earth. A haunted man of the cloth (Ethan Hawke) counsels a parishoner (Amanda Seyfried) who fears that her eco-radical husband may turn to terrorism. Cue existential ennui, crises of faith and some of the best acting youre likely to see this year. Even in a career as storied as director Paul Schraders, the final half-hour ranks as the most powerful work hes ever produced.

How to Talk to Girls at Parties (May 25th)
Hedwig and the Angry Inch director John Cameron Mitchell adaptsNeil Gaimans short story a junior punk (Alex Sharp) slam-dancing his way through the anarchic Seventies in London. He makes the acquaintance of an enchanting girl named Stella (Elle Fanning); they get along famously; and, of course, shes actually an alien organism attempting to lay low in the weirdest scene on Earth. Did we mention that a punk-as-fuck Nicole Kidman plays a chaarcter called Queen Bodicea? Come for the young love, stay for Her Kidmajestys awesome eye makeup.

On Chesil Beach (May 18th)
Hows this for a mishmash of mediums: For his first foray from the stage to the screen, theatre veteran Dominic Cooke tackled a novella with a distinctly literary structure. Ian McEwans original text jumps between eras in its depiction of the ill-fated relationship between Edward (Billy Howle) and Florence (Saoirse Ronan, great as usual), from their failed honeymoon in 1962 to their lives apart over the following years. Prim and proper and British all over, the drama begins with a single incident that ripples out to color the rest of their lives, sexual anxiety and social propriety in direct competition with one another.

Overboard (May 4th)
From the extremely unlikely remakes file: A redo of the 1987 vehicle for then-couple Kurt Russell and Goldie Hawn, starringAnna Faris and Eugenio Derbez. To director Rob Greenbergs credit, he mixes up the formula here by flipping the genders and adding a racial wrinkle: Derbez is a playboy from one of Mexicos wealthiest families, and Faris is the overtaxed single mom that convinces him theyre married after a tumble off a cruise ship wipes his memory. Alls fair in love and brain injuries.

RBG (May 4th)
This documentarys unmistakable shorthand title is itself a testament to Ruth Bader Ginsburgs celebrity beyond her station as a Supreme Court Justice. Her surprisingly vast fandom has also likened them to the Notorious B.I.G., a comparison speaking to her reputation as a take-no-shit boss-ass bitch. This film celebrates Ginsburg as a feminist icon, tracking her fight for womens rights from her appointment during the Clinton administration to the present day, but it makes room for inquiry into Ginsburg the woman, too.

Revenge (May 11th)
With a title like that, an exploitation movie makes a tacit promise that something seriously sick is just around the corner. Fortunately for B-movie aficionados, French first-timer Coralie Fargeat makes good on the title, and then some and then some more. Its pretty simple: An American socialite (Matilda Lutz) on holiday with her piggish boyfriend gets raped by one of his friends, pushed off a cliff and left for dead. Then she comes back and murders the living daylights out of them. Every generation gets theI Spit on Your Graveit deserves and now we have ours.

Solo: A Star Wars Story (May 25th)
Hail, hail, the gangs all here. Alden Ehrenreich leads this Star Wars prequel as the most ruggedly charming smuggler in all of space during the pre-Harrison Ford days. Plus weve got Donald Glover maxing out his smooth-operator vibe as a young Lando Calrissian; Emilia Clarke as the new-to-this-particular-dragonless-universe character Qira; Woody Harrelson as Hans sensei in crookery; and Chewbacca as Chewbacca. This motley crew gallivants through the cosmos in what early promotional material has characterized as a Western, to the same extent that Rogue One was a war film. A mid-production directorial shakeup that replaced Chris Miller and Phil Lord with Ron Howard had some fans worried about discord, but with this long-awaited release comes [ahem] a new hope. Hello, is this thing on?

Tully (May 4th)
Those women in minivan commercials make it look so glamorous, but maternal/domestic bliss aint all its cracked up to be. Marlo (Charlize Theron) is straining under the pressure of raising two children while pregnant with a third; her workaholic husband (Ron Livingston) has essentially checked out. Enter the effervescent Tully (Mackenzie Davis), a free spirit that instantly perks up Marlos life all over in her capacity as the new help. To say more about this prickly dramedy from Juno duo Diablo Cody and director Jason Reitman would run the risk of ruining it; well just say that Theron makes the most of her role.Happy, er, Mothers Day?

Framing John DeLorean Review: Muscle Cars, Meta-Docs and Alec Baldwin

General Motors division head, muscle-car godhead, the auto industrys No. 1 noncomformist, glamorous jet-setter, busted (but not convicted) cocaine trafficker: American rise-and-fall stories dont get any juicier than John DeLorean. He was the golden boy of Fifties gray-flannel-suit idealism, before morphing into a Sixties speed-demon enabler and symbol of Seventies sideburned rebellion and, because every decade gets the Icarus it deserves, ended up as the perfect parable of Eighties excess. Even if the tall, handsome maverick who shook up the Motor City had never given the world the DMC-12 (that sleek design! those wing-like doors!) and Marty McFly had to travel back to the future in, say, a Ferrari Berlinetta Boxer, DeLorean would be still be both a singular corporate hero and cautionary tale.

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Not surprisingly, people have been trying to make a movie about his life for ages. Documentarians Don Argott and Sheena M. Joyce kick off Framing John DeLorean, their portrait of the late business titan, with a flurry of producers and screenwriters whove worked on competing, unmade De Lorean projects over the years. Which may explain why, in addition to throwing dozens of talking-head experts and vintage interviews and TV clips into the mix, theyve also included re-enactments of key moments featuring Alec Baldwin as the disgraced auto mogul. Every so often, the actor and some of his fellow performers Morena Baccarin, Josh Charles will weigh in on how to play these real-life figures, what might have made them tick, how to do certain line readings, etc. Call it a DeLorean doc with benefits.

A few questions: Why do we need the benefits part? Unless youre purposefully trying to one-up all of these Hollywood types whove tried and failed to make the Great DeLorean Movie haha, we managed to pull it off and while making a nonfiction film on him to boot! why include these sequences at all? Especially if some of them replicate bits of the real thing that are already included in your documentary? Did you not have enough faith in the existing material you had at your disposal? Does the addition of these through-the-looking-glass asides really help pave over any potential gaps in the narrative or pad out the bigger picture? You have numerous folks crowing over how Johns story is pure Hollywood-biopic gold so why not just make that movie? And given their prominence in so many scenes and the amount of screen time they get, are Baldwins bushy fake eyebrows now eligible for SAG-AFTRA membership on their own?

This is what goes through your mind as you watch Framing John DeLorean, and the more these queries suck up your bandwidth, the more you wish the filmmakers had simply constructed the definitive doc on him. (There was a previously made mini-portrait of DeLorean in 1982, courtesy of D.A. Pennebaker and Chris Hegedus; given that it was done before the fall, however, the chance to do a 360-degree look at their subject was right there.) Because not only are Argott and Joyce accomplished documentarians see the duos The Atomic States of America (2012), or the formers solo joint The Art of the Steal (2009) they have a lot of solid archival gold. A picture is worth a thousand words, and the shot of DeLorean, his incredibly young model wife by his side and his shirt open to the navel while standing next to a buttoned-up fellow executive, tells you everything you need to know about why this man irked the conservative car industry. Youre not going to get anything more dramatic than Johns grown son, Zachary, sitting in a DMC-12 and sifting through a lifetime of conflicted emotions.

And while the arrest and trial take up the bulk of the films focus, no amount of famous folks mouthing lines can compare to the compelling, grainy black-and-white clips of the real-deal DeLorean getting busted by the feds. No offense to Baldwin this is the kind of how-the-mighty-has-fallen role he excels at. And no one is asking for vrit purity here. Its just that most of these sequences dont need to be here, much less Acting 101 tips and other meta-doc touches. The movies title offers itself up to any interpretations: DeLorean being set up to go down for drug-dealing; the prominent figure being contextualized within a car culture he helped revolutionize, a youth-obsessed culture he helped fuel (and later chased) and a greater era of ambition and corruption; and how someone playing DeLorean and/or telling his story might place him within the camera eye. It tries to delve into all three versions. It only needed to concentrate on the one that really mattered.

Oscars to Recognize Popular Movies Now

It may be time to dress Oscar in a cape. The people behind the Academy Awards announced Wednesday that they will be adding a category to the program that recognizes an outstanding achievement in popular film. It did not elaborate on how it would distinguish a popular film, telling voters thateligibility requirements and other key details will be forthcoming.The Academy revealed the news in a letter to its board of governors, which included changes to its broadcast.

The ceremony, as seen on TV, will run a mere three hours when it airs on February 24th, 2019. To trim the running time, presenters will hand out a portion of its 24 statuettes during commercial breaks. The wins will be filmed and edited and broadcast later in the show. This years broadcast ran nearly four hours and its viewership was down by almost 20 percent year over year.

We have heard from many of you about improvements needed to keep theOscarsand our Academy relevant in a changing world, Academy president John Bailey and CEO Dawn Hudson wrote in a note to members. The Board of Governors took this charge seriously.

The changes follow increased scrutiny on the trophy toss in recent years. In addition to controversy over the dearth of people of color who are nominated for awards, spotlighted online with the hashtag #OscarsSoWhite, the industry was shook up this year by the #MeToo movement and further scrutiny on the lack of gender parity in Hollywood. The Academy has said it aims to double the number of women and minorities among its ranks within the next two years.

Watch Hilary Duffs Creepy Visions in The Haunting of Sharon Tate Trailer

Hilary Duff stars as the terrified titular actress in the new trailer for The Haunting of Sharon Tate,the horror film that views the Manson family murders through Tates perspective. Five people Tate and her unborn child, Jay Sebring, Wojciech Frykowski and Abigail Folger were killed on August 8th, 1969.

After an expansive aerial shot over the Hollywood sign, the clip soundtracked by the Zombies Time of the Season opens with a pregnant and paranoid Tate at her home in the Benedict Canyon area of Los Angeles, California. As the film star awaits the return of her husband, filmmaker Roman Polanski, she suffers bleak visions of her own death.

The trailer serves as a disturbing montage showing Tate awaking from a nightmare, shadowy figures appearing at her front door and the infamous crime scene message HELTER SKELTER written in blood on a wall. This person, these people theyre a threat to my safety and to the safety of my baby, Tate cries.

Daniel Farrands (The Amityville Murders) wrote and directed The Haunting of Sharon Tate, which hits theaters on April 5th. The cast also includes Jonathan Bennett (as Sebring), Lydia Hearst (Folger), Tyler Johnson (Watson), Pawel Szajda (Frykowski) and Ben Mellish (Manson).

Maiden Review: An All-Female Crews Sail of the Century

Gender bias gets knocked backwards on its ass in this rousing doc named after the first ship crewed by an all-female team in the Whitbread Round the World Race. The year was 1989, when male chauvinists were dripping with disbelief that these girls could survive a nine-month yacht race, much less emerge as real contenders in a 32,000 nautical mile sailing sprint from Southampton, England, and back.

You dont have to know port from starboard to build a rooting interest in the dazzling portrait that director Alex Holmes (Stop at Nothing: The Lance Armstrong Story) has put together with invaluable help from editor Katie Bryer. Hes raided the archives and included interviews with the participants, who look back in terror and joy on their adventure as well as flipping the bird to the fools who said it couldnt be done.

The film rightly puts its focus on Tracy Edwards, the Maidens 24-year-old British captain who came up from deck-hand jobs and cooking on charter boats to lead her crew. The men of the media laughed and called the Maiden a tin full of tarts. Meanwhile, Edwards was winning financial support from King Hussein of Jordan and retooling a scarily un-seaworthy vessel into a shipshape contender that could handle the treacherous trek from Uruguay to Australia.

There are laughs to be had, especially when the females aboard pose for photos on deck wearing skimpy swim suits to clown the media for its sexist attitude towards them. Mostly, though, tension is the operative word. The ocean is always trying to kill you, says Edwards early on. Shes not kidding.

Some of the footage, shot by crew members, radiates hold-your-breath suspense, especially when the Maiden pushes through the ice floes of the Southern Ocean, near Antarctica. Youll have your heart in your mouth as the yacht enters the final stretch. So sounds the trumpets and roll out the cheers for these female pioneers. Theyre still a cause for celebration.

Ridley Scotts All the Money in the World: Watch Thrilling Final Trailer

In the riveting new trailer for Ridley Scott crime-thriller All the Money in the World, Christopher Plummer the last-minute replacement for a fired Kevin Spacey plays a cold-hearted oil tycoon who refuses to pay his grandsons ransom. Everything has a price, his character, billionaire J. Paul Getty, intones in the clip. The great struggle in life is coming to grips with what that price is.

For Getty, that price is more. The trailer opens with 16-year-old John Paul Getty III (Charlie Plummer) conversing with his captors, who threaten physical violence. Fast as you can swallow, one of his abductors, Cinquanta (Romain Duris) tells the teenager, extending a bottle of alcohol. You drink enough, you cant feel a thing.

After the elder Getty refuses to pay up, Johns mother, Gail, (Michelle Williams) plots a rescue attempt with former CIA operative Fletcher Chase (Mark Wahlberg).

The films producers removed Spacey from his starring role following allegations of sexual misconduct against the actor. Scott quickly re-shot all of the characters scenes with Plummer, managing to uphold the films December 25th release date.

Chris Cornell Documentary Produced by Brad Pitt in the Works

A new documentary chronicling the life of Soundgarden singer Chris Cornell is in the works, according to a report in Variety. Peter Berg best known for the films Lone Survivor and Deepwater Horizon will direct. It will be produced by Cornells widow Vicky along with Brad Pitt, Bergs partner in the production company Film 45.

Last month, Cornells life and music was honored at the I Am the Highway tribute concert in Los Angeles. It features an incredible lineup of artists, including the Foo Fighters, Metallica, Miley Cyrus, Brandi Carlile, Chris Stapleton and the surviving members of Soundgarden, Audioslave and Temple of the Dog. One of the highlights was Miley Cyrus soaring rendition of Say Hello 2 Heaven.

Cornell died by suicide hours after a Soundgarden concert at Detroits Fox Theater on May 17th, 2017. A coroners report concluded that drugs did not contribute to his death, but Vicky has pinned blame on the prescription painkillers and anti-anxiety medications that were found in his bloodstream and she has filed a lawsuit against a physician for negligently and repeatedly prescribing her husband dangerous mind-altering controlled substances.

His sudden death was a major shock to the tight-knit Seattle rock community. He wasnt just a friend, he was someone I looked up to like my older brother, Eddie Vedder said weeks after his death. I will live with those memories in my heart and I will love him forever.