Above, you can view the new trailer for Disney’s live-action remake of Cinderella. The film marks the third such reimagining, following this year’s hugely successful Maleficent and 2010′s Tim Burton-directed Alice in Wonderland. If Cinderella proves successful, which seems to be a foregone conclusion, the question becomes: which other Disney classics might lend themselves to a live-action treatment?
Not every old Disney film stands as an ideal candidate. Many feature talking animals as their main characters and, if you were to try to translate them into CGI within a live-action setting, wouldn’t prove that much different than their animated originals.
Weeding those out, let’s rank what’s left. Here are 10 Disney classics which deserve a live-action remake.
Anyone who’s ever watched a Seth Rogen movie knows that great comedy can be long on laughs, short on plot. Try to recite the story of Pineapple Express from beginning to end in coherent English and you’ll see what I mean. But paper-thin plotting wasn’t invented in 2008. Ancient Greek comedies made about as much narrative sense as a James Brown interview. Add in 2500 years worth of cultural change, and you get scripts that read like a Japanese knock-off of a Will Ferrell film written by someone on ‘shrooms. Ranked from weirdly confusing to utterly incomprehensible, here are ten ancient plots that made more jokes than sense.
Warner Bros. recently announced an aggressive slate of films based upon DC Comics properties which will share a single cinematic universe, an answer to the successful franchise which Marvel Studios has built since 2008’s Iron Man. The DC slate opens with 2016’s Batman v. Superman: Dawn of Justice, and will continue the same year with Suicide Squad, which director David Ayer recently described as “The Dirty Dozen with supervillains.”
In the comics, the Suicide Squad boasts DC’s B-list villains, characters like Deadshot and Captain Boomerang. However, if rumors now circulating prove true, the cinematic interpretation of Suicide Squad may boast A-list villains like Lex Luthor and the Joker. Reports claim that bombshell actress Margot Robbie has been cast as Harley Quinn, and that Oscar-winner Jared Leto is in talks to play Joker.
In any case, the roster of DC Comics villains portrayed in live-action film is about to explode. Before that happens, let’s consider where the existing rogues gallery ranks. Here are the top 10 cinematic portrayals of DC Comics villains.
#10. Cillian Murphy’s Scarecrow
When it was announced that Christopher Nolan would be rebooting the Batman franchise years after Joel Schumacher piloted it into the ground, no one could have predicted how definitive the result would become. Among the bold moves made in re-imagining the property was featuring lesser known villains, including the Scarecrow.
Actor Cillian Murphy took what could have easily been a camp character and grounded him in a believable reality. Dr. Jonathan Crane served a vital narrative purpose befitting his nature as a criminal psychologist obsessed with fear. Fear stood as the dominant theme in Batman Begins, as Bruce Wayne turned his fear against the criminals holding an unholy grip upon Gotham City.
They are veterans not victims. Every once in a while, Hollywood captures the nobility of the American veteran. Coming home may not always be easy, but those who have worn their country’s uniform have done much to nurture, shape, and enrich this nation. Here are 10 movies that tell their story.
1. The Searchers (1956)
This story of a complex and conflicted veteran “hero” fighting his personal demons and a savage frontier is widely regarded as one of the greatest American films ever made. It’s based on a novel by Alan Le May which draws from actual events that occurred in 1836. On film, the story is moved to after the Civil War. John Wayne plays one of the three million veterans who came home after the conflict. When his niece is abducted during an Indian raid, Wayne embarks on a violent 10-year search to find her. In the end, he rides off into the sunset, triumphing over both hatred and adversity.
Some of you were probably too busy voting Democrats out of office to notice that a terrific new trailer for the Haunting Melissa sequel came out on YouTube last week. HM was director Neal Edelstein’s innovative ghost-movie-in-an-app that climbed the App Store bestseller list in 2013. The script to that film was by your humble correspondent as is the script to the sequel, Dark Hearts: The Secret of Haunting Melissa, which is due out later this month:
Download the free app here.
Movie trailers released throughout October preview some huge titles coming to theaters in near weeks and months. Everything from quirky independent romance to blockbuster action adventure is represented here. Which trailer came out on top? You’ll be surprised.
#10. Life Partners
A narrative born of modern themes, to be sure, Life Partners follows the relationship between two female friends, one of whom happens to be gay. As each wind their way in and out of romantic entanglements with others, the relationship between them is tested and reevaluated.
It will be curious to see how sexual orientation is handled in this film. If these two friends end up together in spite of one of them being straight, which certainly seems to be the trajectory drawn in this trailer, doesn’t that kind of run up against the militant “born that way” narrative?
The Dark Knight director Christopher Nolan made his conservative leanings clear in that film and in The Dark Knight Rises, which earned the sobriquet of “reactionary vision” from the leftist newspaper The Guardian. Is Interstellar as unabashed in its conservatism? No, but there is a political subtext to the film that’s visible to the discerning. It may not be showy about being conservative, but it’s conservative just the same. Let’s look at five ways the film aligns with conservative philosophy and values.
1. Human beings are not just another animal.
Once this proposition would have been uncontroversial, but not anymore. Today liberals hasten to remind us that we’re just one among many species. “Human beings are no more special than a butterfly, a gazelle or a paramecium,” opined a onetime senior White House science policy analyst at the Huffington Post. “Our species is nothing but a normal consequence of natural selection, and certainly not the pinnacle of evolution. We are nothing special. God is just not that into us.” Nonsense, says Interstellar: the hero of the film, a pilot played by Matthew McConaughey, says humans have a special gift for adjusting and overcoming the sometimes dire circumstances of nature. Man is unique.
Editor’s Note: This is an expansion of Kyle Smith’s list of the 10 best films of the 1970s published here in June. I’ve asked Kyle to expand his series as PJ Lifestyle begins offering more lists, articles, essays, and blog posts exploring culture, art, technology, and history by decade. Recently he expanded his ’80s list to a top 20 here, his ’60s list here, his ’50s list here, and his ’40s list here. Do you disagree with Kyle’s choices? Do you have your own ideas for lists of movies or other cultural subjects? Which years and what subjects would you most like to see covered at PJ Lifestyle? Email: DaveSwindlePJM [@] gmail.com. Also check out Kyle’s top 10 movie picks for the ‘30s, ’90s, and the ’00s before he expands them to top 20s. Click here to read “What Makes a Great Movie?,” Kyle’s essay explaining his criteria for these lists.
20. The Way We Were (1973)
Mistakenly confused in the memory with the sentimental theme song, the film is actually a barbed character study that explores how politics can become a kind of obsession that in this case drives a wedge between a happy-go-lucky, apolitical screenwriter (Robert Redford) and his stridently leftist wife (Barbara Streisand) during the McCarthy period.
Most Hollywood science fiction isn’t really all that “out there.” Take the computers on the original Star Trek. They operated a lot more like creaky 1960s IBM mainframes than 21st century iPads. Nevertheless, Hollywood has often been the inspiration for how militaries think about future wars. Here are 10 films that impress by their ability to presage the next weapons of war.
1. The Fabulous World of Jules Verne (1961)
The 19th century novelist pretty much single-handedly invented science fiction—and in the process he forecast military weapons from submarines to super bombs. The single best effort to bring his imagination to the screen was a 1958 Czech film, later released in the U.S. and dubbed in English. What makes this film so engaging is a unique visual style called “Mystimation” which combined flats that looked like Victorian engravings with live actors.
Editor’s Note: This is an expansion of Kyle Smith’s list of the 10 best films of the 1940s published here in July. I’ve asked Kyle to expand his series as PJ Lifestyle begins offering more lists, articles, essays, and blog posts exploring culture, art, technology, and history by decade. Last month he expanded his ’80s list to a top 20 here, his ’60s list here, and his ’50s list here. Do you disagree with Kyle’s choices? Do you have your own ideas for lists of movies or other cultural subjects? Which years and what subjects would you most like to see covered at PJ Lifestyle? Email: DaveSwindlePJM [@] gmail.com. Also check out Kyle’s top 10 movie picks for the ‘30s, ‘70s, ’90s, and the ’00s before he expands them to top 20s. Click here to read “What Makes a Great Movie?,” Kyle’s essay explaining his criteria for these lists.
In the 1940s, patriotic films meant to rally the nation competed for attention with escapist fare and wonderfully felt nostalgia, but some of the best films of the decade are the uncharacteristically dark ones that were far ahead of their time. Here’s one critic’s expanded list of the 20 best films of the decade.
20. Red River (1948)
An ambitious rancher (John Wayne) and the boy (Montgomery Clift) he adopts and turns into his heir clash on a massive cattle drive north on the Chisholm Trail. Howard Hawks’s film is a rambling, broad-shouldered Western that captures the courage, resourcefulness, self-sacrifice and the sometimes extreme measures involved in the building of great American fortunes. Wayne’s thorny, complicated hero give the lie to those who would claim his performances lacked depth.
Friday the 13th may be the series that popularized the slasher movie genre, but Halloween is where it started. Before Jason Voorhees, audiences were terrified by Michael Myers, also known as The Shape, and the Boogeyman. Unlike his fellow members of the genre’s “Big 3,” Jason and Freddy Krueger, Michael Myers’ story is one that has been re-imagined, splintered, and rebooted probably more than any other besides Universal’s stable of classic movie monsters like Dracula and Frankenstein. What follows is a look at the various films in the Halloween franchise, grouped by what’s worth watching sober to when a drinking game is necessary.
Classic Duology: Halloween I and II
Halloween is considered a classic, and the pieces are all there for one: iconic villain, haunting score, and a terrifying scenario are all present. Michael Myers may not be as flashy as Jason or Freddy, but he can be more frightening in his simplicity. John Carpenter’s original finds horror in the mundane, showing Jamie Lee Curtis’s character Laurie and her friends being boringly normal as Michael lurks in the background, unseen as his prey goes about their lives in blissful ignorance.
The formula slashers continue to follow to this day in some regard is laid out here as Michael stalks his victims one by one as the obsessed and arguably, equally unhinged Dr. Loomis tries to enact the solution he felt should have been used all along to end Michael’s reign of terror– murder. The climax is one of the most tense and horrifying in the history of the genre, as one madman tries to save Laurie Strode from another.
If you’re still operating under the false notion that pop culture doesn’t have a real impact on everyday life, take a look at America’s oldest example, Sleepy Hollow, New York.
When Washington Irving penned The Legend of Sleepy Hollow in 1820 under the pseudonym Geoffrey Crayon, he probably had no idea that his short story would inspire the beloved town of his youth to turn itself into a living homage to his tale. Settled in the late 1600s, the village was originally an agricultural and manufacturing zone of Tarrytown, New York. Nicknamed “Sleeper’s Haven” by early Dutch settlers, Washington Irving picked up on the Anglicized version of the name, “Sleepy Hollow” when staying with family in the area as a boy. Eventually millionaires like John D. Rockefeller would build mansions around the industrial zone that would become known as North Tarrytown at the turn of the 20th century. But it was Irving’s story that proved eternal when, in 1996, the village voted to rename itself Sleepy Hollow.
Street signs are orange and black, as is one of the village’s fire trucks. The Headless Horseman is the school mascot who, dubbed the nation’s “scariest high school mascot”, runs through every football game at half-time. Police cars and fire trucks also bear the Headless Horseman logo with pride. Halloween is celebrated throughout October with haunted hayrides, street festivals, a parade encompassing both Sleepy Hollow and Tarrytown’s main streets, several ghost tours and performances of the Washington Irving legend. The Great Jack O’Lantern blaze puts Christmas light spectaculars to shame and Horseman’s Hollow turns a 17th century Dutch mill into a gory homage to the headless Hessian.
The Old Dutch Church, Ichabod Crane’s presumed safe haven, stands guard over a vast “garden cemetery” designed to allow Victorian families to picnic with their dearly departed. Tours of the cemetery can be taken both day and night and feature stops at the graves of Washington Irving and those who inspired characters in his tale. A fair runs every weekend alongside the cemetery, providing tour groups with the opportunity to walk the grounds with alcohol in hand. The gas station on the other side of the infamous bridge hawks t-shirts and other assorted Headless Horseman souvenirs. And if you’re hungry, there’s always The Horseman Restaurant, a hole in the wall diner that promises you’ll “lose your head” over their milkshakes.
New Line Cinema is known as “The House That Freddy Built”, and rightfully so. The A Nightmare on Elm Street films were slow but steady in permeating America’s wider pop-culture, making child-murderer and punster Freddy Krueger into a household name. Freddy is a horror legend, and one of the “Big 3” of the slasher genre along with Jason Voorhees and Michael Myers. While having fewer films than those two, Freddy arguably has the best track record for being entertaining, if not actually being imaginative and scary. What follows is a look at the A Nightmare on Elm Street films, going from horror classics to diminishing returns.
A Nightmare on Elm Street 3: The Dream Warriors
Dream Warriors beats out the original film largely because it’s one of the few to have Freddy hit that sweet spot between horror and ham without diminishing either. The cannon fodder is probably the most likable cast in horror movie history, and that adds to the terror and the sadness when any of them get offed by Freddy.
Speaking of, Freddy isn’t as on his A-game with the nightmare settings when he goes to work on his victims, but his subtle manipulations of the environment to get at them has never been better. The paranoia invoked by this creative decision masterfully displays the dream logic of the scenes in which Krueger appears, and makes them that much more terrifyingly plausible as a result. Freddy takes out his victims methodically and with a twinge of dark humor that makes their deaths that much more disturbing, instead of the punchline they would later become.
We also get the return of Heather Langenkamp as Nancy, now older, wiser, and more prepared to deal with Freddy once she unintentionally finds herself back in his sights with the new teens. The film has been compared to Jason and the Argonauts, but I prefer Freddy Vs. X-Men. Dream Warriors succeeds as both horror and adventure, and it’s arguably the best performance Robert Englund gave as Krueger.
As a fan of slasher movies, I know they don’t have the best rep. Shallow plots, lame characters, laughable acting (literally in some cases, intentionally or not) — that’s just the tip of the iceberg of what’s not to like in a slasher movie, depending on your morals, anyway. But the genre has its fans for many reasons, whether the monster designs, the mythology and characters, or how convincingly the effects work can portray horrifying deaths. Or, let’s be real, just boobs and gore do it for some.
Anyway, John Carpenter’s Halloween (1978) was the first to codify this horror-subgenre, but Friday the 13th with its iconic villain Jason Voorhees is the archetype that more often comes to mind. Each film in the series, while by no means great works of art, have their charms and their downsides as pieces of horror fiction. What follows is the list of what are
IN MY VAGUELY HUMBLE OPINION
the films of the Friday the 13th franchise, from best to worst.
If you were expecting the first movie in the series to be here, well, you were wrong. “Aged like a fine wine” would be kind of haughty and pretentious to say, but well, I already did. The Final Chapter is Friday the 13th at its best, and in its purest form, before it would resort to gimmickry in order to keep the series on life-support.
This film is where the series would get its first major recurring character that wasn’t Jason himself: Tommy Jarvis. Played by a pre-Goonies Corey Feldman, he would be the first, and despite the title’s protestations, not the last to take down Jason for good. Hell, he did it twice, actually. Part 4 is also the first of an internal trilogy of sorts for the series, with parts 5 and 6 that I like to refer to as the Tommy Jarvis Saga. Tom Savini is back for some of the most impressive gore effects the series has to offer, lovingly crafted and staged for the film’s inexplicably likeable cast of characters.
Part 4′s hapless group of cannon fodder is drafted to be not much different from any of the other previous casts. However, their portrayals, while somewhat amateurish on occasion, are earnest, and thus I found them entertaining. Of note is a pre-Back to the Future Crispin Glover, with one of the most spastic dances ever put on film being a particular highlight. All said, if someone wanted to watch a dictionary definition-quality slasher film or the best example of a Friday the 13th movie, you could do worse, as you’ll soon see.
Anticipation following the first Avengers movie was so thick you could cut it with a knife.
That anticipation was dimmed somewhat when it was learned that Thanos, who appeared for all but two seconds at the very end, was not slated as the villain for Avengers 2. Instead, he appeared next in the surprise blockbuster Guardians of the Galaxy helping to underscore one of the exciting things about Marvel Studios films (as opposed to Marvel films from other studios): their interconnectivity, the ingredient that catapulted tiny Marvel Comics ahead of giant competitor DC Comics in the early 1960s.
Where will Thanos appear next? Who can tell?
The point is, the Marvel movie universe isn’t dependent on any single ingredient. Not Thanos, not Tony Stark, not Captain America, not SHIELD. Something to keep in mind as Avengers 2 rolls around along with rumors that major characters (driven by the expiration of standing contracts of the actors who play them) are soon to fall by the wayside.
Tony Stark may go off into the sunset, Cap may be killed off, Thor may end up in Valhalla leading to a possible reorganized and reconstituted Avengers team much like the epochal events that took place in Avengers #16 when Iron Man, Giant-Man, and Thor quit and were replaced by Hawkeye, Quicksilver, and the Scarlet Witch, the latter two perhaps not coincidentally, set to be introduced in Avengers 2.
Which brings us to the new, recently released Avengers 2 trailer which, if it accurately presages the events in the film, raises the bar as well as the stakes for the new film, one that promises to meet if not exceed the colossal earnings of the first.
With so much riding on the new film, not least of which is the expectation that its content tops the first, the trailer hints at less than perfection. Yeah, there seems to be plenty to like in the sample footage, but there’s also stuff that makes discerning viewers stop and wonder. Thus, in the interests of keeping fans fully informed (in no particular order) here are some reasons why they should look forward to Avengers 2 as well as a few to inspire doubt.
Those with long memories will recall that Wes Craven’s Scream, which came out way back in 1996, was praised for its hip “self-awareness,” coming as it did in a particularly “meta” era of ’90s postmodernism, full of overrated cult fare like Pulp Fiction and Clerks. The film’s edginess consisted in banging on the fourth wall without quite breaking it. In one scene, for instance, a horror-movie fanatic and video-store clerk (remember: 1996) played by Jamie Kennedy tells his fellow teenagers about the “rules” of surviving a slasher film.
One of these “rules,” which is now common knowledge, is that in order to survive one mustn’t practice the carnal arts. Those who do it always get it. What the less eloquent might call “c*ckblocking” is an established horror-movie tradition. In the first Halloween film, Michael Myers ruins one couple’s tryst by stabbing the guy and then assaulting his teenage girlfriend—which might sound like a standard Friday evening at Roman Polanski’s house, but for an audience of 1970s suburban teens it was genuinely frightening. Come to think of it, every horror movie has a boyfriend character, football letter jacket and all, who gets his head caved in while fetching a few beers from the fridge. Each series has its own tropes. The Friday the 13th movies rely on the obligatory sex-in-the-woods scene: two camp counselors set up a tent, and before long Jason shows up with his machete for an especially kinky threesome.
Twenty-four percent of married couple families with children under 15 have a stay-at-home mom. Ninety-nine percent of stay-at-home moms in the movies get a really bad rap. Search “Best Movie Moms” and you’ll get lists that include Shirley MacLaine in Terms of Endearment, Sigourney Weaver in Aliens, Shelly Duvall in The Shining, and more than a few mentions of Psycho. The majority of movie mothers are either widowed or divorced, careerists or working class, alcoholics or impregnated by UFOs. The closest you’ll get to a stay-at-home mom in post-1940s cinema is Kathleen Turner playing the psychotic Serial Mom or Michael Keaton taking on the role so his wife can pursue her career in Mr. Mom.
In fact, outside of Sandra Bullock in The Blind Side there hasn’t been a truly admirable middle-class, white, stay-at-home mother on the silver screen in over 50 years. Which is probably why Mom’s Night Out received such a negative critical reception when it premiered last spring. We have been acculturated out of believing in the power and purpose of stay-at-home moms. Yet, the criticisms leveled at Mom’s Night Out for its “depressingly regressive” spirit and “archaic notions of gender roles” were not applied to a similar film about a stay-at-home mom released only two years prior. This Is 40 received mixed reviews, but praise for yielding “…some of [Judd] Apatow’s most personal observations yet on the feelings for husbands, wives, parents, and children that we categorize as love.”
So, what made This Is 40 palatable in a way that Mom’s Night Out wasn’t? Is there, perhaps, a culturally acceptable way to be a stay-at-home mom?
Editor’s Note: Check out the previous installments in Chris’s series exploring Disney history: “10 Disney Cartoons from the 1930s that Reflect the Can-Do Spirit That Survived the Great Depression,” “10 Ways World War II Affected Disney’s Filmmaking,” “10 Examples Of How Disney’s Productions Reflected The Changing America Of The 1950s,” “Walt Disney’s 7 Most Radical Ideas From His Last Decade on Earth,” “Disney’s Wilderness Years, Part 1: How The Studio Reflected The Chaos Of The 1970s” and “Disney’s Wilderness Years, Part 2: How The Studio Navigated The Hit-Or-Miss 1980s.”
A few years after Walt Disney’s death, the studio he founded entered a creative drought of nearly 15 years. The projects Walt had his hands on had dried up, and the most creative minds in the company were working directly on the theme parks. Ron Miller, Walt’s son-in-law, oversaw the company during most of this era, and, though the studio managed to produce some underrated cartoons and live-action films during this time period, nothing matched the artistry and innovation of the years when Walt was still alive.
When Roy E. Disney and Sid Bass brought Michael Eisner over from Paramount to head Disney — along with Frank Wells — the company experienced an almost immediate injection of creativity. In the realm of animation, most everyone dubs the period beginning with 1989′s The Little Mermaid the Disney Renaissance. (Some people end the Renaissance with the execrable Tarzan from 1999, but for me, this period ends with 1995′s Pocahontas.)
A lot of exciting things took place at Disney during the first few years of the Eisner-Wells tenure, and here are the ten best of them.
10. Pocahontas (1995)
Pocahontas marked the end of the Disney Animation Renaissance of the late-’80s and early-’90s, as far as I’m concerned. And it’s nowhere near as good as the films that preceded it, largely due to its over-earnestness, Judy Kuhn’s vocal melisma, and the screenplay’s loose play with history.
However, Pocahontas deserves mention because of its firsts. It was the first Disney animated feature based on a historical person, and it also brought the Disney Princess banner to an American character (something the studio did much better in 2009 with The Princess and the Frog). Disney also deserves some credit for turning the dramatic “Colors of the Wind” into a smooth pop hit.
Even though Pocahontas isn’t the greatest of the Disney classics, it does belong among the highlights of the early Eisner-Wells era.
Editor’s Note: This is the second pre-Halloween list this year. The first was “The 10 Worst Horror Films on Netflix: Drinking Game Edition.” What would you like to see next in this series before Halloween next week?
As it is with art or humor, horror is subjective. What might frighten one person might do nothing for another. And especially today, when there are so many things in our modern world that are scary, fright has been parsed virtually to its constituent components.
What scares modern audiences is more likely to be found in threats that grow directly from real life. Thus, films of past decades, whose themes may have just rolled off the backs of viewers like water off a duck, now resonate with renewed discomfort.
A new uncertainty has gripped modern society as it struggles to meet a rising restlessness. New monsters represent the looming chaos that threatens to overturn our heretofore predictable and comfortable lives. We can sit before our theater-sized TV screens in our cozy McMansions snug in our gated communities and pretend the rising chaos of the outside world won’t effect us, but in the back of our minds we know that isn’t true. That when our leaders take their hands off the tiller, or drop the reins, control is lost and confusion ensues followed by a metaphoric zombie apocalypse. Thus, perhaps, watching our monsters where they remain safely imprisoned behind the television or movie screen, we can pretend all is fantasy and that really, there’s nothing to worry about…until the schools close due to an Ebola scare, or there’s a run at the supermarket when the power fails, or a riot breaks out at a pumpkin festival, or a bomb explodes at a marathon event…
A relative latecomer to the monster sweepstakes, the creature from the film Alien (1979) definitely deserves a place of honor among the best of all time. In a single move, the alien creature (not to be confused with Universal’s Gill Man) brought the haunted house genre into the 21st century and created a horrific being perfectly suited to an age where technology and science was reaching its apogee, threatening to get out of control on any number of fronts!
The Warner Bros. announced slate of films based on the DC Comics universe will differ significantly from the Marvel Cinematic Universe by quickly introducing a multitude of characters to be explored in latter films. For instance, the forthcoming Batman v Superman: Dawn of Justice will see cameo appearances by Wonder Woman, Aquaman, and Cyborg, each of whom have solo films slated for later in the decade.
The same holds true for the DC Comics supervillains. The next film scheduled for release after Batman v Superman is Suicide Squad, directed by Fury auteur David Ayer. Speaking to Empire, Ayer expressed enthusiasm regarding the prospect of “world creation” with ample time and money:
Money and time he’ll have plenty of – Suicide Squad is scheduled as the second DC behemoth to hit the big screen, following Batman V Superman in two years’ time – and, although he couldn’t say much, his vision for the movie should reassure fans. “I can say that it’s a Dirty Dozen with supervillains,” he said. “Then I can ask the question, ‘Does a movie really need good guys?’”
The studio is reportedly in talks with several “A list” actors to star in the film. Rumors include the likes of Will Smith, Tom Hardy, Ryan Gosling, and The Wolf of Wall Street’s Margot Robbie. The latter performer seems a good candidate to play Harley Quinn, a popular consort of the Joker originally conceived for Batman: The Animated Series who has yet to be portrayed on film.
The choice to introduce several characters right away, rather than meter them out in a phase of origin stories, indicates that Warner Bros. wants to quickly live up to the scope achieved by Marvel Studios. Whether that proves wise in the long-run is yet to be seen.
Should a character like Harley Quinn be introduced to audiences without the Joker? Will we care about a bunch of lesser known villains in a Dirty Dozen type scenario? Is Warner Bros. right to skip the origin stories and get right to the action in their cinematic DC Universe? Let us know in the comments section below.
The average wedding in America costs roughly $30,000. Egged on by countless wedding TV shows, magazines, and websites, people throw what appear to be pseudo star-studded events that aim to rival the kind of blow-out parties you only see in movies. In the end you wind up with one night of clouded memories, a ton of photos, and a group of hungover people hovering over breakfast in the hotel lobby the next day. The bills may last you months, even upwards of a year. And for what? To make your grandmother happy? Because you really liked that episode of My Fair Wedding? You can have a great, regret-free wedding without sacrificing yourself to the Wedding Idol. Here’s how.
1. Texas Chainsaw 3D (2013)
Drink through the opening montage. It contains all the awesome deaths from Tobe Hooper’s original film. The rest is nothing but garbage.
The story focuses around Leatherface’s only surviving relative, an orphan who looks like she hangs out at the food court and listens to Evanescence in her spare time. She inherits the old Sawyer house from her grandmother. What could go wrong? SPOILER ALERT: Leatherface is still living in the basement. After hacking, bludgeoning, and hanging all of her friends, Leatherface turns into a hero at the end. Avril Lavigne tosses him the fabled chainsaw and she says, “Do yer thing, cuz.” Leatherface hacks up the town’s mayor. Then they both go home and listen to Rob Zombie in the Sawyer nu-metal basement.