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I don’t understand that criticism.


Neither do I, cause I would totally see Tom Cruise



Hell, if there was a movie called Kevin Bacon, day one pre-ordered ticket.


This is true, but there’s an upper limit to revenue from various genres.

Superhero/action films can generate far more money than a horror film. Even when they make a profit, horror movies are rarely successful enough to offset the enormous costs of running a studio.


Laura and I were watching Graham Norton at the weekend, and Tom Cruise and whatshername were on promoting The Mummy. They showed a clip of them in a crashing plane and being thrown around and g-forces sending them flying. We laughed at it, thinking the harness work looked awful.

Afterwards, it turned out they shot that scene in a KC-135 to make the characters actually float. We sat corrected and agreed the scene looked shit anyway.


I have actually seen a couple of these:


It’s called the nightly news, Ronnie. Can’t get much scarier than that.


Multiple distributors are bidding for Boy Erased, a provocative drama Joel Edgerton has scripted and will direct based on the memoir by Garrard Conley. Edgerton will star with Manchester By The Sea‘s Lucas Hedges, and Edgerton is courting Russell Crowe and Nicole Kidman for supporting roles, I’m told. Edgerton is producing with Anonymous Content’s Kerry Roberts and Steve Golin. Annapurna, Netflix, Amazon, Focus are the names I’m hearing for potential landing places. The film will start production in the fall.

Edgerton, who wrote and produced the 2015 sleeper hit The Gift, has adapted the 2016 Garrard memoir of his harrowing time attending Love in Action, an entity that attempts to deprogram LGBT people. The son of a Baptist pastor in a conservative small Arkansas town, Conley was outed to his parents at age 19. Conley was faced with attending a church-supported conversion therapy program that purports to “cure” homosexuality. The alternative was to risk losing his family, friends and his religion. He entered the program, but instead of emerging from the brutal Twelve-Step Program as heterosexual, he left with the strength to embrace his true identity.

The Gift was pretty good, despite the ending.


Nothing else is known about it.


True - though I really enjoyed both King Arthur and Warcraft, they seemed like set-ups more than finished films. I think there is a better chance for the latter than the former to see a sequel though. While KONG: SKULL ISLAND really didn’t seem to be a part of a larger universe. It was fairly unified if a bit lazy.


Skull Island played to the Iron Man template, it worked as its own story with some hints at a future crossover.


Following up on this, what you’re talking about (and I’m sure you know this) is the Blumhouse model. Jason Blum is brilliantly pragmatic producer and one of my favourite Hollywood people to see or read interviews with.

He also works with Universal a lot, but his low budget, high concept, quirky and distinctive approach is not what Universal want for their legacy characters.

Which is a shame on one level, but even he knows that the Disney/Marvel game is where the bigger producers want to be, and he thinks it’s just too risky, despite the enormous upside for the hits.




More on Blomkamp:

Reading Blomkamp’s comments about all of this on Den of Geek makes me like him even more. Rather than blaming anyone for not liking these movies, he’s honest about them and about their shortcomings. Elysium, for example, he straight up says “wasn’t actually that good.” On this much, we agree. Blomkamp was happier with the results on Chappie, but he also acknowledges that it didn’t work for the audience:

“It was directed in such a way that some ideas didn’t come across. For whatever reason, there were many elements that critics in general didn’t pick up on them. One of them is that it’s an artificial intelligence film, and it isn’t. It’s not about AI. Ex Machina’s about AI. Chappie’s not about artificial intelligence - it’s meant to be asking questions about what it means to be sentient.”


That’s splitting hairs as stories centered around A.I. more commonly include crossover themes.


Yep. Filming started on the first, and most are today enjoying a 3-day weekend. Lots of merch, too - t-shirts and hoodies and signed limited postcards (which are limited because they found out how badly signing 1,500+ can hurt!).


‘Ex Machina’ isn’t “about” AI, it’s not a hard scifi look at technology, it’s driving forces are morals and emotions. It’s “about” a lot of things including freedom, sentience, manipulation, consent, and slavery.


Ex Machina is about a great script and good direction.


Ex Machina is about Oscar Isaac’s dancing.