Anyone who ever scrolls through the occasional Business Insider article knows that disruptors — companies that enter a marketplace and change the way people do business — don’t stay disruptors for very long. Take an organization like Uber. For years, Uber was the scrappy little underdog, a technology startup that used technology to upend the established taxi market. In the past few years, however, Uber has gone from the underdog to the dominant player, the company that other technology startups are looking to take down. Success breeds imitation, and imitation breeds improvement.
Earlier this week, a few little birdies spoke with /Film about Warner Bros. standalone superhero film The Batman being rewritten completely from scratch. According to the site’s sources, the studio has chosen to start all over again with input from director Matt Reeves; additional sources also noted that Reeves wouldn’t even meet with prospective cast members until sometime this summer. This came on the heels of comments from a Variety reporter that Reeves is still under contract for War for the Planet of the Apes through the end of June, meaning The Batman was unlikely to even enter production until 2018.
If nothing else, the announcement that Warner Bros. is working on expanding the universe of The Matrix really makes me want to revisit the original films. Like most people, I was enamored with the first and disappointed by the sequels; the now-outdated CGI character modeling and frequent technobabble written by the Wachowski Sisters caught me a bit by surprise, and I was unnecessarily tough on the movies as a result. Now, though, I wonder if I might see the sequels with different eyes. When was the last time a blockbuster movie franchises so clearly marched to the beat of its own drum? Maybe this time around I will fully embrace the weird.
With all eyes on the next entry in the DC Cinematic Universe, it’s hard to say what is under more pressure: Wonder Woman, the World War II-era superhero and savior of the modern world, or Wonder Woman, the first female-directed movie in the modern blockbuster era and a stab at social relevance for the beleaguered executives at Warner Bros. The first Wonder Woman trailer that debuted at Comic-Con hit all the right notes for an exciting and female-driven superhero movie; would additional trailers walk back that promise or deliver more of the same?
As people weigh in on the popularity of Marvel and DC movies, they sometimes neglect to mention the opportunities these films create for non-superhero comic books. For every Logan, there’s a handful of smaller titles — movies like American Splendor, Ghost World, and Scott Pilgrim — that benefit from the overall popularity of the medium. Ryan Gosling, for example, recently signed on to produce a film adaptation of independent graphic novel The Underwater Welder, a melancholy story of fatherhood and mortality. Any filmmaker or actor seeking out their next comic book movie need only spend a few hours at their local library branch to see the full scope of the medium.
Isn’t it just like Ryan Reynolds to upstage a colleague? After listening to critics sing the praises of Logan for the past few weeks, fans around the country took their seats on Friday night ready to watch Hugh Jackman strap on his metal claws one last time. And so it came as quite a surprise when the first superhero to appear onscreen wasn’t Wolverine but Deadpool, everyone’s favorite violent and profane superhero — and, if we’re being honest with each other, the entire reason an R-rated Wolverine movie was greenlit by 20th Century Fox.
Hey girl, how would you like to watch a movie about someone going crazy underwater? Fresh off the success of La La Land, the internet’s boyfriend — or the internet’s ex-boyfriend, I really struggle to stay on top of these things — has turned to comic books for his next project. According to IDW Entertainment (via iO9), Ryan Gosling will produce a film adaptation of The Underwater Welder, a 2012 graphic novel by renowned comic book author Jeff Lemire.
While much has been made of Hugh Jackman’s last turn as Wolverine, as those who have seen the film can attest, many of Logan’s most haunting moments belong to Patrick Stewart’s elderly Charles Xavier. For nearly two decades, Stewart’s character has been synonymous with both control and wisdom, making his weakened state hard to watch. We’re used to watching our superheroes fight off every enemy, but seeing them eaten away from within? That’s a powerful reflection of our own mortality.
The Razzies are a tough award show to love. Oh, I’m sure plenty of people probably read the headline to this article and — depending on their opinion of both Dinesh D’Souza and the DC Cinematic Universe — found great comfort in the public mockery of Hillary’s America and Batman v Superman: Dawn of Justice. But while awards shows in general might serve the noble purpose of raising awareness about powerful films, the annual Razzies Awards often feel like you’re kicking someone when they’re already down. They’ve already flopped with audiences and critics; throwing a Razzie award at them is the Hollywood equivalent of kicking them when they’re down.
If I were a Marvel sales rep, I would get down on my knees every day and thank Thanos for the series of events that led to Baby Groot. Baby Groot might just be the pinnacle of Hollywood marketing; not only is his cute visage the perfect thing to slap on every action figure, lunch box, and stuffed animal from here to the moon, it’s also a character that sidesteps typical customer cynicism. If fans felt for one moment that Baby Groot was a thinly veiled attempt to sell them more junk, they would push back on James Gunn and Marvel with all their strength. But instead, we are treated to one of the baddest killing machines in the galaxy who happens to be totally adorable, too.
For most people, the decision to make a sequel to 2015’s Fifty Shades of Grey is probably the punchline to a bad joke. But have you actually stopped and looked at the box office numbers for Fifty Shades of Grey recently? We’re not talking about $100 million at the global box office; we’re not even talking about $200 million. We’re talking about $571 million worldwide, more than Mad Max: Fury Road and Creed combined and the eleventh highest-grossing movie of the year. With those kind of numbers, you pretty much have to make a sequel. I don’t blame them.
Cyberattacks — or, as newly elected President Trump would say, “the Cyber” — are an increasingly common part of the world we live in. With most private information and secure data now available online, one tech-savvy computer user can do more damage to an institution than hundreds of lawyers or corporate spies. And while we might think of cyberattacks as being reserved for the Big Evil Corporations of the world, it turns out that not even film festivals are immune from being targeted.
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