No-one is making a sequel to the most recent King Arthur movie.
Or to this I expect. It looks like a teen TV version with not quite enough money.
But it’s the first trailer, we’ll see what the next one looks like?
A few years ago, I got one of the treatments for the film, but not Goyer’s. It was actually pretty interesting and somewhat similar to Lord of The Rings with a bit of Conan thrown in. Essentially, Skelator was similar to Thulsa Doom and Sauron (and Thanos actually), but in the distant past, he had been the “He-Man” hero of his age.
However, to save his world and people, he had to become a tyrant to keep everything together and eventually kept giving up pieces of his soul in exchange for the power required. So, in the end, all that was left for him was to hold on to the power, but all of his followers still believed in the hero and king he had been.
He Man was the rebel (and a little bit of a terrorist, from a certain perspective) fighting to overthrow him and the oppressive order he enforced. In the end, of course, He Man prevailed, but the implication was that he was just starting down the same path Skelator had taken to its tragic end.
By the way, if you like He Man style stories, the RPG-lit/Isekai Anime (Manga/Light Novel) series OVERLORD is sort of a Skeletor series with some interesting twists.
There was really a huge diversity in films 50 years ago. The current IMDb Poll covers some. C’mon - 1968 brought us Romero’s Night of the Living Dead and Kubrick’s 2001: A Space Odyssey. How different are those? The Love Bug, The Thomas Crown Affair, Yellow Submarine and The Lion in Winter.
I don’t think there were too many remakes of old television shows.
I ended up voting for 2001, but I was mightily tempted to go for Price’s The Witchfinder General.
Question that stands out is, why? Ridley Scott’s Robin Hood movie wasn’t that long ago, and this one doesn’t look like it’s adding anything interesting. Bit of Assassin’s Creed (another failure), bit of Kingsman attitude… is that something anyone wants to see in a Robin Hood movie?
I doubt it very much. This one’s dead in the water from the start. I wonder if the people making it were expecting King Arthur to be a success and ride that wave…
Oh, also: Bad idea to give the V-for-Vendetta(movie version)-style ending away in the trailer. Tsk.
(I do like the director’s name. Just one letter away from being “Otto Bratwurst”!)
Acclaimed Director X?
‘Transformers: The Last Knight’
I’m not sure why we put this on? My friend has the blu-ray and he hadn’t watched it yet and the TV is new and…
What can I say, it’s relatively coherent… spectacular… but far too long and incredibly juvenile.
A show of hands at the end said that none of us hated it, but that’s not exactly a ringing endorsement.
I suspect my interest in something won’t feel like a hook for anyone, but the idea of focusing on the “hood” of Robin Hood is something I haven’t seen before. And the rest of it isn’t just Batman, it’s Zorro, it’s the Scarlet Pimpernel…Anyway, it appeals to me.
Shrink away! Shrink away!
That movie is basically Ant Man’s only competition in the US for all of July.
I’m somewhat interested in this one, as Tartakovsky insisted that he’d only return if he got to write the screenplay, as opposed to the Smigel-written first two films.
Though, weirdly, the first one gives a screenplay credit to Peter Baynham, probably best known as being part of the Armando Iannucci/Lee and Herring/Chris Morris group of comedy writers in the UK.
He’s got form though. Didn’t he co-write Arthur Christmas too?
Wasn’t the second almost entirely written by Sandler? I thought that came out during the Sony hacks.
I think it was more that Smigel and Sandler were a team against Tartakovsky.
Cartoon Brew: For the first film, you took over a languishing project that had passed through the hands of multiple directors. Is Hotel Transylvania 2 your film, with your stamp on it?
Genndy Tartakovsky: No. Parts of it were easier the second time around, because everyone kind of already knows what it is. We’re not trying to discover the animation style. But at the same time, I think Adam and Robert Smigel really wanted to take control of the second film, because that’s kind of what they do. It’s an Adam Sandler project, and he’s running the show, to a degree. So Hotel Transylvania 2 was more difficult that way.
Yeah, but I’m more surprised he’s the only one besides Smigel who got credit, when there were probably dozens of drafts by different writers. There were six director teams attached.
There’s a process of arbitration that determines writer’s credits (assuming people contest the ones put forward by the studio (which they usually do)), and if it’s something that’s passed through many hands, they’re looking for those most deserving of credit (or blame) for the final product.
A writer can be first on and last off, but if 90% of the plot and dialogue in the finished film come from other writers, they may not get a credit.