Yesterday was Valentine’s Day, which means Joker: Folie à Deux co-writer/director Todd Phillips was duty bound to share a few new photos of the most twisted romantic partners in the game.
Phillips took to Instagram to share three new photos of DC’s most murderous lovebirds, Joker (Joaquin Phoenix) and his main squeeze, Harley Quinn (Lady Gaga). The photos include the moody, featured image, a shot from what appears to be Arkham Asylum (or prison), and a third shot of the two all dressed up and dancing on a rooftop, an homage to a famous image created by artist Alex Ross, “Tango With Evil.” They offer a little guidance, but not much, as to what Phillips, Phoenix, Gaga, and the Joker crew are cooking up in their upcoming sequel.
What we do know is Folie à Deux 2019’s Joker, the first live-action theatrical film within the Batman umbrella to receive an R-rating, and had its premiere at the Venice Film Festival, where it took home the top prize, the Golden Lion. From there, it conquered the box office and became a lightning rod of conversation within the film world and the broader culture. Joker was a film you couldn’t ignore, and Phoenix’s performance was unlike anything we’d seen in a superhero movie, or in this case, a supervillain movie. He went on to win an Oscar for Best Actor. So those are fairly big clown shoes to fill.
The last time we left Arthur at the end of Joker, he’d just gone on a killing spree in Gotham and, in the process, became a folk hero to the downtrodden, poverty-stricken denizens of the crime-ridden, perpetually gloomy metropolis. Having taken on the alter ego of the Joker, Arthur capped off his rampage with an appearance on Murray Franklin’s (Robert De Niro) TV show and shot the man dead on live TV. Gotham responded with an orgy of violence, which included the murders of two of its most prominent citizens, Thomas (Brett Cullen) and Martha Wayne (Carrie Louise Putrello)—they left behind a young son, wouldn’t you know. The film ends with Arthur locked up in a mental asylum, and there’s an insinuation there that he kills the psychiatrist working with him—it’s not shown, but he has bloody footprints as he leaves a session with her, and we see him being chased shortly thereafter.
How Phillips and his co-writer Scott Silver advance the story from here is anybody’s guess, but we know that Folie à Deux will make the most out of Lady Gaga as Harley Quinn. We also know that the title Folie à Deux refers to a medical term for two or more people suffering from the same or similar mental disorder; presumably, this would be Arthur and Harley. We also know the film has been teased as a musical and includes the return of Zazie Beetz as Sophie Dumond and the arrival of powerhouse performers like Brendan Gleeson and Catherine Keener. The rest is pure speculation, with the script locked up in Arkham Asylum for the foreseeable future.
Joker: Folie à Deux hits theaters on October 4, 2024.
A brand new trailer for Godzilla x Kong: The New Empire has stomped into view, fleshing out more of the story in director Adam Wingard’s follow-up to Godzilla vs. Kong.
The new look gives us some background on the balance that existed between the greatest of apes in Kong, the king of the Titans in Godzilla, and the rest of the world. Godzilla was a protector of nature; Kong was a protector of humanity—but now that balance is about to be obliterated. Kong, Godzilla, and the young girl Jia (Kaylee Hottle) can sense something is coming. “Something even they’re afraid of,” Ilene Andrews (Rebecca Hall) explains.
The new threat is so great, in fact, that once again, as they ultimately did in Godzilla vs. Kong to take down Mecha-Godzilla, these two legendary beasts will have to team up to take on the new threat. The new trailer reveals a Kong-like colossal ape who doesn’t appear to have any of Kong’s empathy, as well as a creature that’s even more of a challenge than Mecha-Godzilla was.
So where has this challenger been all this time? It turns out, the problems have been hidden beneath the surface of our world and are connected to the origins of both Godzilla and Kong. Brian Tyree Henry joins returning Godzilla vs. Kong stars Rebecca Hall and Kaylee Hottle. Newcomers include Dan Stevens, Alex Ferns, and Fala Chen. Wingard directs from a script by Godzilla vs. Kong scribe Terry Rossio, Simon Barrett (You’re Next), and Jeremy Slater (Moon Knight), and works once again wthGodzilla vs. Kong alums cinematographer Ben Seresin, production designer Tom Hammock, editor Josh Schaeffer, and composers Tom Holkenborg and Antonio Di Iorio.
Check out the new trailer here. Godzilla x Kong: The New Empire arrives on March 29.
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Featured image: Caption: (L to r) GODZILLA and KONG in Warner Bros. Pictures and Legendary Pictures’ action adventure “GODZILLA x KONG: THE NEW EMPIRE,” a Warner Bros. Pictures release. Photo Credit: Courtesy of Warner Bros. Pictures
Pedro Pascal has indeed been cast as Reed Richards, aka Mr. Fantastic, and he’s joined by Vanessa Kirby as Sue Storm/The Invisible Woman, Joseph Quinn as Johnny Storm/The Human Torch, and Ebon Moss-Bachrach as Ben Grimm/the Thing.
The news arrives along with new release dates for upcoming Marvel Studios films. It looks like 2025 is going to be a big year for the MCU, with Captain America: Brave New World slated for a February release, the antihero team-up film Thunderbolts now set for a May 2 premiere, followed by The Fantastic Four on July 25 and then the new Blade in November. For 2024, the only MCU film set to release is Deadpool & Wolverine, which just broke records months before it’s July 26 premiere.
WandaVision director Matt Shakman is directing The Fantastic Four, but how Marvel is going to approach re-introducing one of the most iconic super-teams in the canon, the very first superheroes created by Stan Lee and Jack Kirby, is unknown. In the comics, the Fantastic Four were astronauts-turned-superheroes after they were exposed to cosmic rays, giving them wild abilities like Reed Richard’s super elasticity and Sue Storm’s invisibility. The script for the new film comes from Josh Friedman, Jeff Kaplan, and Ian Springer.
Marvel Studios finally got the rights to Fantastic Four in 2019 when Disney acquired 21st Century Fox. Fox produced three films based on Marvel’s first family—Fantastic Four (2005), Fantastic Four: The Rise of the Silver Surfer (2007), and a reboot, Fantastic Four (2015). In that 2005 film, a future MCU star, Chris Evans, played Johnny Storm. In the 2015 reboot, another MCU star, Michael B. Jordan, played the same role.
There was a nod to Reed Richards in a recent MCU film, however—in 2022’s Doctor Strange in the Multiverse of Madness, John Krasinski appears as an alternate-universe version of the character. However, this poor version of Reed was annihilated by the Scarlet Witch (Elizabeth Olsen), whose powers of destruction are a touch greater than his bendy abilities.
Pascal’s star has been rising for some time, especially after HBO’s stellar zombie series The Last of Us. Kirby starred in The Crown as Princess Margaret, earned an Oscar nomination for her astonishing performance in Pieces of a Woman, and has been in the past few Mission: Impossible films. Quinn broke out in season 4 of Stranger Things as the beloved Eddie Munson, while Moss-Bachrach is coming off an Emmy win for his turn as Richie Jerimovich in FX’s The Bear.
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Featured image: L-r: LOS ANGELES, CALIFORNIA – JANUARY 19: Pedro Pascal attends the 26th Annual Screen Actors Guild Awards at The Shrine Auditorium on January 19, 2020 in Los Angeles, California. (Photo by Rich Fury/Getty Images). LONDON, ENGLAND – NOVEMBER 16: (EDITORS NOTE: This image has been converted to black and white.) Vanessa Kirby attends the “Napoleon” UK Premiere at Odeon Luxe Leicester Square on November 16, 2023 in London, England. (Photo by Gareth Cattermole/Getty Images)
The first cache of images from director Shawn Levy’s Deadpool & Wolverine are here, giving us just a bit more information about the long-awaited third film in the raunchy trilogy. The third film comes with some major changes, of course, beginning with the fact that it’s the first movie in the franchise to fall under the Marvel Studios banner. The second, an even larger addition, is that it arrives boasting a certain Canadian mutant with adamantium claws named Wolverine, played by an up-and-coming Australian named Hugh Jackman. The long lead-up to the release has given us plenty of time to speculate just what kind of relationship these two star-crossed superheroes will have, and while we suspect a team-up, the trailer didn’t give any bromance vibes just yet.
The interest in the newly titled Deadpool & Wolverine is so intense that Marvel and Disney call the first trailer the most-watched in cinematic history. It’s not all that surprising given the immense interest in seeing Reynolds and Jackman team up after years of banter, ribbing, and hijinx on social media. The new images tease a bit of what we learned in the trailer, which wasn’t all that much, really. We saw Reynolds’ Wade Wilson celebrate his birthday with his besties, including his girlfriend, Vanessa (Morena Baccarin), whom Wade was able to reconnect with in Deadpool 2, despite her death, thanks to some time-traveling with his new buddy Cable (Josh Brolin). Wade makes a wish, blows out the candles on his birthday cake, and voila—the hopes and dreams of a huge legion of MCU fans is swiftly brought to pass when Wade’s hauled before the Time Variance Authority and ends up, through their remit, brought face-to-claws with Wolverine.
The new images include two shots from Wade’s birthday party, where he celebrates with Vanessa, pal Blind Al (Leslie Uggams), and Dopinder (Karan Soni). There’s that shot we mentioned from the trailer, where a prone Deadpool looks up at his new bestie, Wolverine, and another of Deadpool in a snowy environment, looking a little out of place. While the trailer broke records, they’re still keeping the specifics of Deadpool & Wolverine under wraps, including how Emma Corrin’s Cassandra Nova factors in, as well as the return of Jennifer Garner as Elektra.
But we’ll take what we can get, and this is more than we’ve gotten from Reynolds and Jackman since their banter began all those years ago.
Check out the new images below. Deadpool & Wolverine slashes its way into theaters on July 26:
The Merc with the Mouth and the Mutant with the Claws sure are a popular pair.
In news that’s not all that surprising given the excitement surrounding their long-awaited pairing, the first trailer for the newly titled Deadpool & Wolverine, featuring Ryan Reynolds’ titular potty-mouthed superhero and the return of Hugh Jackman to the role that made him a global superstar, has made history. Marvel Studios dropped the trailer for their latest during the Super Bowl, and it racked up an astonishing 365 million views in the first 24 hours. According to both Marvel and Disney, this makes Deadpool & Wolverine the most-watched trailer in movie history.
It didn’t hurt that the first glimpse at what Reynolds, Jackman, and director Shawn Levy have been cooking came in the middle of the most-watched Super Bowl game ever, which drew 123 million viewers. The trailer gave us our first hint at what Deadpool & Wolverine is all about, with the black-and-red suited superhero being hauled before the Time Variance Authority (introduced during Marvel’s Loki on Disney+), where he’s asked if he wants to finally become a proper hero. Yet his training eventually leads him into a confrontation with the mighty mutant, Wolverine, with the trailer ending on the be-clawed Canadian’s silhouette standing over a prone Deadpool.
Deadpool & Wolverine is the first film in the Deadpool franchise to be properly bannered beneath the Marvel Cinematic Universe (the previous films were produced by 20th Century Fox), and will be the first R-rated film in MCU history. Marvel boss Kevin Feige has promised that Deadpool & Wolverine will feature all the raunch, hijinx, and impropriety that has made Reynolds’ and the Deadpool films such a hit. By the reaction to the first trailer, that looks like a very wise move.
Here’s that trailer again for your viewing pleasure. Deadpool & Wolverine arrives on July 26:
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For a brief moment in time, the Hulk was returning to the MCU.
A bit of confusion during a Q&A with Mark Ruffalo and moderator Anne Thompson at the Santa Barbara International Film Festival on Sunday set the Marvel-watching world afire when it seemed like Ruffalo was confirming his return as Bruce Banner in the upcoming Captain America: Brave New World. Thompson had asked Ruffalo if he was appearing in director Julius Onah’s upcoming feature, starring Anthony Mackie as the newly minted Cap. Varietyreported that Ruffalo had nodded and said, “Yeah,” and replied to Thompson’s follow-up about whether he was allowed to discuss it with, “Yeah, it’s going to be great!”
And for a while there, the MCU fans on the internet were enthused.
But Variety has subsequently learned that Ruffalo will not be in Brave New World. He thought he was agreeing with Thompson that the film is one of Marvel’s upcoming tentpoles. Dream deferred. This news seemed so right for MCU watchers because Harrison Ford, who has stepped into the late William Hurt’s role, playing President Thaddeus “Thunderbolt” Ross, might also be turning into Thunderbolt’s alter ego, Red Hulk. (Ford has denied that this is happening in the most Ford way possible, by saying “What is Red Hulk” when asked about it.)
Ruffalo has built a robust legend for his MCU-related gaffes, including accidentally giving away the ending of Avengers: Infinity War on Good Morning America, one of the all-time great accidental spoilers. Then he did it again for Avengers: Endgame. (Granted, his Endgame spoiler wasn’t quite as definitive as his Infinity War moment.)
Ruffalo is as beloved as an actor can be, yet he’s never had a chance to play the brilliant, conflicted Bruce Banner in a standalone movie. Maybe now that the reaction was so strong to the news he was going to be in Brave New World, Kevin Feige will open the door to a standalone Hulk movie. If not, the Hulk can always just smash through it.
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In 2023, Oscar-winning director Guy Nattiv helmed Golda, a biographical drama about Israeli Prime Minister Golda Meir set during the 19 days of the Yom Kippur War in 1973. As usual, Dame Helen Mirren is masterful in the title role. One key to the believability of her portrayal was visually melding Mirren and Meir together through costume, makeup, and hair.
The Academy has recognized all the attention to detail and artistry used to achieve Golda’s finished look with an Oscar nomination for best achievement in makeup and hair styling. That honor goes to hair and makeup supervisor Karen Hartley Thomas, prosthetics designer and founder of Red Girl makeup effects studio Suzi Battersby, and prosthetic makeup artist Ashra Kelly-Blue.
The Credits spoke to the newly minted Oscar nominees about how they collaborated with Nattiv and Mirren to bring such an important historical figure to life.
Karen, can you start by talking about the most important aspects of research that aided you in building Helen’s look in terms of photographs and reference materials?
Karen: When I got the job, I immediately went fully into it. We had amazing research available to us from production. I worked very closely with Sinéad Kidao, the film’s costume designer, and we also were incredibly lucky to have access to Golda’s grandson, Gideon Meir, and he gave us very insightful information about Golda, like the fact that she had a manicure every week with clear nail varnish, but she was a heavy smoker, and so had nicotine fingers. He talked about the texture of her hair and that she would wash it and leave it to dry into a massive corkscrew curl. We were incredibly lucky to have all that information, and Guy had lots and lots of pictures to show us, so there was a wealth of information right from the beginning.
L-r: Camille Cottin and Helen Mirren in Bleecker Street/ShivHans Pictures’ GOLDA Credit: Sean Gleason, Courtesy of Bleecker Street/ShivHans Pictures
How did you proceed?
Karen: We didn’t have a massive amount of time, and I had worked with Helen before, so I spoke to her and Sinéad on Zoom. Helen wasn’t so keen on having prosthetics. She thought maybe we should have just a wig or a combination of wig and eyebrows. I said to Helen, “Let’s just get everything.” So we had contact lenses, prosthetics, a wig, eyebrows, teeth, although we didn’t use the teeth, and we got together and tried it all. We really always wanted to show the essence of Golda rather than put Golda’s face onto Helen. You’ve got two massively iconic women there, so there’s a balance to be achieved. Suzi started on the prosthetics, we started on the wig, everything was made, and then it came together a week before shooting, and we did a test. It was really a matter of putting it all on, seeing what worked, and taking off what we didn’t like.
Helen Mirren in Bleecker Street/ShivHans Pictures’ GOLDA Credit: Sean Gleason, Courtesy of Bleecker Street/ShivHans Pictures
With so little wiggle room, time-wise, it was a good thing it worked!
Karen: Yes! We didn’t have the luxury of two or three tests to make many changes, although we did change the wig a little bit, and Suzi adapted the prosthetic sculpt. It was really putting it together, having a look, and seeing what Helen thought, and she loved it. We all wanted to achieve the same thing, obviously. Everyone, including Suzi and Alex Rouse, Helen’s wig maker, complemented each other in terms of collaboration, and I think the timescale probably helped us because you make decisions quickly. When you do have to focus on it so sharply, the best work comes out of it.
Suzi, in terms of the prosthetics, what were some of the keys to Golda’s look, and what were some of the technical elements used to create them?
Suzi: Our job is problem-solving. Ultimately, across all filmmaking, you’re given a brief; the job is to figure out how to make it happen. It was partly about designing a prosthetic look that we knew our actor would go for because Helen hasn’t had extensive experience with prosthetic makeup like that before, so we had to do something that wouldn’t overwhelm her face, create that essence, and bring these two women together. Helen was cast initially because Golda’s family saw her in Helen, just as she is. That inner energy that Helen Mirren has, we didn’t want to cover all that up with prosthetics. It was definitely about finding a balance in designing and sculpting it.
Helen Mirren in Bleecker Street/ShivHans Pictures’ GOLDA Credit: Sean Gleason, Courtesy of Bleecker Street/ShivHans Pictures
How was that achieved?
Suzi: We deliberately made pieces that didn’t cover her whole face. We had six pieces. We had two eye bags, a nose piece, two jowls, and the front half of the neck. By doing that, it meant that we had enough of Helen’s actual face on show, which is really important for the sake of expression, and to make sure we don’t lose our actor. It meant a huge challenge for me, Ashra, and the rest of my team, in terms of how we made the pieces, because we had to create pieces that were going to be very exposed. We had a lot of exposed edges, so our plastic had to be incredibly thin. We also had pieces that were exceptionally soft.
How are pieces that soft created?
Suzi: There’s a product called deadener that you can add to silicone, and we were really pushing the limits of the deadener that we were using to 300%, which is very, very high, but it did mean that it moved beautifully. You want mature skin to move like that, especially necks. You want to have that beautiful movement that makes you think of your grandma. To get that look, I wanted to push our workshop team to try and see what we could achieve, and they managed it brilliantly at that level.
Ashra, can you talk a bit about some problem-solving to get to that look?
Ashra: With the pieces being run at 300%, with LV (low viscosity), it just meant the pieces were going to be so much more malleable than normal, which is why, on camera, it looks just like real skin. In the workshop, touching it felt like old skin, which is why it moves so well. When it came to application, working on mature skin such as Helen’s, we just had to be really careful and super delicate because the plastic was so thin and soft. We just had to take our time, making sure we didn’t tug or pull any bit of her otherwise that would read on camera. We were meticulous when putting the neck on, going as softly as we possibly could with our fingers, making sure not to move anything or disrupt her skin. It was something we had to be mindful of every single application, and we applied that makeup for six weeks, so 30 applications. In total, we made over 200 pieces.
L-r: Rotem Keinan and Helen Mirren in Bleecker Street/ShivHans Pictures’ GOLDA Credit: Sean Gleason, Courtesy of Bleecker Street/ShivHans Pictures
Getting Golda’s hair exactly right is one of the keys to capturing her. Karen, how did you get to what we see onscreen?
Karen: As you say, she had very particular hair. It had to be right. Beyond her grandson’s help, which was essential, we studied hours and hours of footage to decide on colors and texture. We had real hair and mohair around the hairline. When I found out we had such a short time scale, I called Alex Rouse, Helen’s wig maker, who always makes her wigs, and asked if she could do a wig in four weeks. She said no, and I said, “I have three little words. Dame Helen Mirren.” And she said, “I’ll have to do it, won’t I?” because she loves Helen. And so it was just one of the elements that brought Golda and Helen together, with the prosthetics, the eyebrows, the brown contact lenses, and the wig, it really was all the components coming together perfectly through great collaborations. Helen was very happy with it.
Golda is streaming and available on demand now.
Featured image: Helen Mirren in Bleecker Street/ShivHans Pictures’ GOLDA Credit: Sean Gleason, Courtesy of Bleecker Street/ShivHans Pictures
Composer Kris Bowers has emerged as one of Hollywood’s most versatile film scorers with a stunning list of credits, including Ava DuVernay’s Origin, The Color Purple, and the upcoming Bob Marley: One Love. But Bowers is also the Oscar-nominated co-director of this year’s documentary short The Last Repair Shop, which spotlighted a story right in Bowers’s backyard.
The Los Angeles native graduated from the Los Angeles Unified School District (LA) prior to earning degrees from the Juilliard School. The Last Repair Shop, now streaming on Disney+ and Hulu, profiles four dedicated craftspeople in a downtown Los Angeles warehouse that, since 1959, has kept more than 80,000 instruments — tubas, violins, pianos, guitars, flutes — in working condition for the students of the LAUSD. Los Angeles is the largest US city providing free instrument repairs to public schoolchildren and one of the last remaining cities to offer this service.
“I didn’t know about it at all. It’s amazing to get to know these people and point a spotlight on them and what they do,” says Bowers. Profiled in the film are Steve Bagmanyan and his three musical instrument technician colleagues, Paty Moreno (brass), Duane Michaels (woodwinds), and Dana Atkinson (strings), along with several current LAUSD students whose lives have been enhanced and transformed by playing their instruments. It was Bagmanyan who tuned the LAUSD pianos that were so pivotal to Bowers’s own musical development.
“He was assigned to my elementary and middle schools, so it was amazing to be able to say thank you to him,” Bowers says.
Bowers re-teamed with Ben Proudfoot, the Oscar-winning director of the 2021 documentary The Queen of Basketball. Bowers and Proudfoot co-directed A Concerto is a Conversation in 2020, which was nominated for a Best Short Documentary Oscar. They became good friends and developed a “natural partnership,” says Bowers, that is reflected in the film’s interviewers with the four craftspeople at the shop who share their personal journeys of struggle and healing. It was Bowers’s idea to include interviews with several young LAUSD music students.
“When I watched [early] footage, I knew the kids needed to be represented,” he says. “It surprised me that these individuals who do this work with so much passion and with the kids in mind never get to hear from the kids about how much it means to them. It’s the other side of the conversation and also because I was one of those kids. I wanted to encourage them to contemplate how these instruments are repaired and taken care of. For me, it was surprising and heartwarming how much they are able to articulate what their instrument means to them.”
The personal testimony shared by Bagmanyan, Moreno, Michaels and Atkinson shaped the film’s theme of repair and restoration.
“It’s always nice when what the person’s doing becomes an externalization of what’s happening with them internally,” says Bowers. “Repair is such a beautiful metaphor for those experiences.”
That metaphor is particularly moving as the film documents the careful cleaning and fixing of the many instruments, a precise process requiring experience and knowledge. Such care seems a quaint throwback in our disposable culture. “Musical instruments actually sound better the older they get, if they’ve been played and worn in. If they’re taken care of and repaired in the right way, it ends up a richer sounding instrument,” Bowers says.
The film’s powerful finale, a performance of a Bowers composition by LAUSD students and alumni ranging in age from 7 to 70 and joined by the four craftspeople who’ve been maintaining their instruments, was a “mad dash” to complete, Bowers says.
“We submitted the film to Telluride without that ending; it was just a credit roll. We had a short window between the time [of acceptance] to when the festival was happening to do add it so we reached out to every contact we could. Peter Rotter, who is one of our executive producers, went to LAUSD and he said he could get for us LSUSD musicians working in LA who’ve been touched by this repair shop that’s been around for 65 years. Ben and I worked over several days where I wrote the score, then made adjustments as we visualized shooting it. We had three hours to record the music with everyone seeing [the score] for the first time which shows you what amazing musicians there are in this city.”
Bowers described the day long shoot of the performance as akin to a “family reunion.”
“Seeing all these people come into this space — an older musician who played on ‘Jaws’ talking to a younger one because they went to same school decades apart — that type of energy was really beautiful to be around. All the musicians said they didn’t want to be paid; they just wanted to give back to the repair shop and say thank you. There was such an outpouring of love in so many ways that day.”
Bowers sees music composition and filmmaking as twin parts of his creativity. “Everything is storytelling for me; everything I do is driven by emotion and story, so filmmaking is an extension of that,” he says. “My second language is music. Sometimes, I’m more fluent in music than verbally and I think my wife would agree with that. I love documentaries; I love animation. When I was a kid, I wanted to be an animator even more than a musician for a while, so I’d love to play with animation at some point.”
The March 10 Oscar ceremony will be Bowers’ third time at the event. He was part of the team for 2018 Best Picture winner Green Book even though his score wasn’t nominated, then came his successive nominations for the two short documentaries. This year is particularly exciting, Bowers says because he will be sharing the night with longtime friends who are also Oscar-nominated. “Danielle Brooks and Jon Batiste I’ve known since college. I can go to the Super Bowl of our industry and not only be there myself but also see the familiar faces of people I know who have put in the time and work. To know what’s transpired between then and now is an added bonus.”
Featured image: LOS ANGELES, CALIFORNIA – DECEMBER 09: Kris Bowers performs during an event for the music from “The Color Purple”and Ava DuVernay’s “Origin” Panel at GRAMMY Museum L.A. Live on December 09, 2023 in Los Angeles, California. (Photo by Unique Nicole/Getty Images for The Recording Academy)
The Kansas City Chiefs and the San Francisco 49ers weren’t the only formidable foes battling it out last night. During the Super Bowl, 20th Century Studios revealed the official trailer for Kingdom of the Planet of the Apes, which is set hundreds of years after the events in Matt Reeves’ 2017 War for the Planet of the Apes. The apes reign supreme in this latest franchise installment, with humanity reduced to a feral existence on the margins.
Another thing the trailer reinforces is that in Kingdom, the apes talk. Sure, the apes also spoke in War for the Planet of the Apes, but in director Wes Ball’s new film, they’re fluent and speak with a clarity that surpasses the humans they’ve displaced at the top of the food chain.
The new, heroic ape to root for in Kingdom is Cornelius (Owen Teague), a young ape whose quest will force him to look afresh at the ape kingdom he lives in. Cornelius’s journey will mirror, in a way, the hero of the previous trilogy, the chimpanzee Caesar (Andy Serkis), who strived to create a peaceful balance between the rising ape world and the humans. In Kingdom, the apes have built a complex society, with the cities of man now overgrown (and perhaps more beautiful because of it), and human beings have barely survived on the margins. A ferocious new leader is building a formidable empire in which compassion and kindness towards humans are signs of weakness to be crushed.
There’s a young human plays a crucial part in Ball’s new film—The Witcher‘s Freya Allan. The film’s cast also boasts William H. Macy, Dichen Lachman, Kevin Durand, Peter Macon, Sara Wiseman, and Neil Sandilands in the cast. Director Wes Ball made his name with The Maze Runner series, and he’ll bring his abilities with action set pieces and emotional stakes to bear on the new film.
Check out the trailer here. Kingdom of the Planet of the Apes arrives in theaters on May 24, 2024:
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The Big Game between the Kansas City Chiefs and the San Francisco 49ers also brought out some new trailers for this year’s biggest films. Those included Deadpool & Wolverine, Twisters, and director John M. Chu’s Wicked.
Chu’s Wicked is the first big-screen adaptation of one of the most successful Broadway shows of the 21st century, and he’s got the help of two otherworldly talents. The first is Emmy, Grammy, and Tony-winner Cynthia Erivo, playing Elphaba, a young woman who has endured plenty of poor treatment due to her unusual green skin. The second is the Grammy-winning, multiple-platinum superstar Ariana Grande as Glinda, a cosseted young woman whose popularity, secured by privilege and super-charged by her ambition, has masked her true self.
The trailer reveals Chu’s movie musical’s major number, “Defying Gravity,” Wicked‘s major anthem, as we’re introduced to Elphaba and Glinda. The two will cross paths at Shiz University in Oz, where an unlikely but profound friendship will blossom and will take on epic, potentially tragic proportions after a meeting with the Wonderful Wizard of Oz. What happens here is what ultimately sets them on the path of becoming Glinda the Good Witch and the Wicked Witch of the West.
The material is based on Gregory Maguire’s novel, set before Dorothy arrives in Oz, with a story that helps restore the Wicked Witch of the West’s humanity in the incredible person of Elphaba. Joining Erivo and Grande are Michelle Yeoh as Madame Morrible, Jonathan Bailey as Fiyero Tigelaar, Ethan Slater as Boq, Bowen Yang as Pfannee, and Jeff Goldblum as the Wizard of Oz.
Check out the trailer below. Wicked enchants in theaters this Thanksgiving:
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The first trailer for Minari director Lee Isaac Chung’s Twisters spun across TV screens throughout the United States during the Super Bowl showdown between the Kansas City Chiefs and the San Francisco 49ers.
We open, naturally, on a monstrous twister. Kate Cooper (Daisy Edgar-Jones) had a run-in with a cataclysmic twister when she was in college, and she’s been haunted by the experience ever since. Since then, she’s gone on to study the weather phenomena from the tornado-free safety of New York City. Naturally, Kate will have to face her fears eventually, which happens when Javi (Anthony Ramos) asks her to help test his ground-breaking new tracking system. Back in the field, Kate meets Tyloer Owens (Glen Powell), a social media titan who has built his social stardom by sharing his storm-chasing adventures with his many followers and fans. The man thinks of danger as a follower-accelerator; the more vicious the storm, the better for his numbers. These two will be tossed together, quite literally, during a brutal storm season that puts them in the path of multiple huge storm systems converging over central Oklahoma.
Joining Jones and Powell are Brandon Perea (Nope), Sasha Lane (American Honey), Daryl McCormack (Peaky Blinders), Kiernan Shipka (Chilling Adventures of Sabrina), Nik Dodani (Atypical) and Maura Tierney (Beautiful Boy)
Check out the trailer below. Twisters spins into theaters on July 19:
For more on Universal Pictures, Peacock, and Focus Features projects, check out these stories:
The truly wild Super Bowl game between the ultimately victorious Kansas City Chiefs and the San Francisco 49ers had plenty of thrills on the field, but for the film world, one of the night’s biggest moments opened with a birthday party. We’re talking about the first trailer for Deadpool 3, officially titled Deadpool & Wolverine, which revealed the first footage of the Super Bowl matchup of the Marvel Cinematic Universe—the clashing of Ryan Reynolds’ titular superhero and Hugh Jackman’s iconic Wolverine.
In the trailer, Wade Wilson (Reynolds) is surrounded by his friends and his beloved, back-from-the-dead girlfriend Vanessa (Morena Baccarin) on his birthday. Wade makes a wish and blows out the candle, and a knock at the door suggests the wish fulfillment center is working especially efficiently over at Disney. Only the folks who arrive on Wade’s doorstep are not there to increase his joy. In short order, Wade’s hauled before the Time Variance Authority, the main driver of the action in Disney+’s Loki, and set before one of its high suits (Succession‘s Matthew MacFayden). The TVA wants Wade to stop acting like, well, himself, and start acting like a proper hero. Cue glimpses of some of the MCU’s most beloved superheroes, including Captain America and Thor. Wade, however, makes sure his new host knows that as far as he’s concerned, he’s “Marvel Jesus.” Nice to know his sense of proportion is still functioning at Wade levels.
As Wade gets into full Deadpool mode and sets out to prove his mettle to his new interlocutors, things seem to be going his way as makes quick work of some would-be foes. But, at the end of the trailer, the film’s title is realized when Deadpool meets his match. We only see his silhouette, but that’s certainly Wolverine (Jackman) stepping over Deadpool with his claws out.
Deadpool & Wolverine is the Marvel matchup MCU-heads have been waiting for since Reynolds and Jackman created a sport between each other via banter, teasing, mocking, and appearing in each other’s social media posts. Now, the main event is finally upon us.
Check out the trailer below. Deadpool & Wolverine hits theaters on July 26:
In Juno and Jennifer’s Body, screenwriter Diablo Cody depicted the worldview of alienated teenage girls with pitch-perfect wit. Her latest film, Lisa Frankenstein (in theaters now), directed by Zelda Williams, grafts Mary Shelley’s 19th-century monster myth onto the modern horrors of high school. Set in 1989, the movie casts Kathryn Newton as depressed Goth girl Lisa Swallows, who gains a whole new perspective after a muddy corpse (Cole Sprouse of Riverdale fame) breaks out of the graveyard and into her life.
New Orleans-based costume designer Meagan McLaughlin Luster, who previously worked on True Detective and the Roots remake, came of age during the eighties so and related instantly to Cody’s period references. McLaughlin Luster says, “We’re about the same age—I might be a year or two older than Diablo—so that’s one reason I connected to this script. I knew this show had to be mine. I could feel it inside. From the second I opened the script, I was like, ‘I’m on it.'”
Speaking to The Credits from her home, McLaughlin Luster details the origins of Lisa’s “slutty pirate” dress, explains how an American beer logo wound up on a proper Victorian gown, and reveals the costume easter egg that pays tribute to Zelda William’s late father Robin Williams.
The mismatched outfits Lisa wears at the start of the film are a real hoot. What inspired those costumes?
That was basically how I dressed at the time, so Lisa’s outfits came from reference pictures of my own photographs, and my experience. There’s a lot of pattern on pattern, and the pink leggings with a denim skirt would later lead to the punk-inspired plaid pants with the black sweater.
The supporting actors also look very much of the period.
The majority of those outfits came from our personal stock. My assistant Jen and I keep ten-by-thirty storage units of mainly eighties clothes. There’s a lot of Espirit, Benneton, Outback, Resonator [T-shirts] Banana Republic.
Director Zelda Williams put together a lookbook to share her vision of the film with the department heads. What was your key takeaway?
Zelda had films she wanted us to reference; the main one for me was Tie Me Up Tie Me Down.
Tie Me Up Tie Me Down is directed by Pedro Almodóvar, and it’s not even remotely a horror movie.
But it was filmed in 1989, so that was a good reference for the costumes, like pleated jeans. And there’s a lot of red in that movie, which is also a theme for Lisa Frankenstein. Zelda wanted a lot of red.
I believe you also watched Ted and Bill’s Excellent Adventure?
Bill and Ted, Heathers, Say Anything—I re-watched all the movies that were big for me when they came out in 1989. I didn’t want to make caricatures even with the background actors, so it was important that they be spot-on. Even though I lived through that period myself, I liked seeing it again in films.
Everything changes for Lisa when she gets drugged at a party, visits a graveyard, and has this crazy dream where she’s dressed up like a Victorian lady. How did you come up with that gown?
That is probably the proudest I’ve ever been of a costume. It’s what got me the job because I rendered it for my interview.
“Rendered” meaning…
I drew it on Procreate [digital drawing program]. I still draw in a sketchbook, but for this particular design, I did it on Procreate so I could send it in an email.
A sketch of Lisa’s Victorian-era dress. Courtesy Meagan McLaughlin Luster.
In some ways, you’re dressing Lisa in a traditional Victorian gown from the 1830’s. What does that entail?
It’s right before the antebellum period so the hoop is not as big as it becomes later. And [at that time] you had to have all parts [of the body] covered, so we made a fichu.
What’s a fichu?
It’s a big handkerchief that goes across the shoulders and ties in the front. But that got nixed at the last minute.
In her dream, why does Lisa see herself in a Victorian dress?
Well, dreams to me are a VHS tape. You tape your entire day in your head with a VHS tape, and when you go to sleep, someone has taken it, cut it up, and pasted it back together. That’s how I see it. So the Pabst Blue Ribbon beer Lisa was drinking at the party is part of the dress, and she visits the Victorian guy at his grave – all these elements have been cut into one reel.
Canvas. Definitely not the fabric of Victorian times, but our reference was Gene Kelley from Singing in the Rain, where all the scenery is painted. I knew I had to paint this dress, and that’s why I made it out of canvas.
Meagan McLaughlin Luster and her Victorian dress design. Courtesy Meagan McLaughlin Luster.
Lisa wears a lot of pajamas in this movie, and they’re really cute. What was your favorite pair to source?
I’m glad the “Cathy” pajamas made it into the movie because if you grew up in the eighties, you know that [Cathy Guisewite] comic strip.
After meeting the Creature, Lisa changes her look and shows up at school in a sleek, all-black, ensemble complete with a bonnet. How did you arrive at that change of style?
There was a note in the script to dress Lisa like a “slutty pirate.” And Lisa’s hat references the Blossom hat [made famous by Mayim Bialik’s TV comedy Blossom.]
Diablo Cody put those details in her script?
Yes, one hundred percent.
The Creature goes through an even more extreme evolution in style, which is a good thing because when he first meets Lisa, he’s encrusted in mud.
Wearing his Victorian burial outfit. And then Lisa helped him modernize. It starts out with the jacket. Then, he puts on the scarf once he gets his hand.
His body parts have rotted away over the centuries, so you’re saying once The Creature acquires that other hand…
He goes back to his old Victorian stuff. He finds a waistcoat: “Okay, now I feel proper.” He steals pants from the old man because it has suspenders. By the movie’s end, he’s got a full suit of Victorian clothes. And as an homage to Zelda’s father [Robin Williams in Mork and Mindy], we gave the Creature rainbow suspenders.
That’s touching. Lisa Frankenstein filmed in and around New Orleans. As a lifelong resident of the city, how would you describe the impact of film production on your community?
Movie making means a lot to the New Orleans economy. I use local vendors, and I use local seamstresses. I work with people here like Vintage Steve, who has a house full of vintage stuff. I try to keep everything local because I want the film industry to stay here. It’s starting to come back, at least a little bit. We miss it.
HBO is perched atop another dragon circling a fresh story from Westeros.
The latest Game of Thrones spinoff in development is based on Aegon’s Conquest, an idea they’ve been workshopping for a long time. The company is partnering with screenwriter Mattson Tomlin, who helped director Matt Reeves shape his first The Batman story (he went uncredited), and is working again with Reeves on The Batman Part II.
Aegon’s Conquest would be set before the events of House of the Dragon, the only Game of Thrones spinoff to make it to air so far, itself a prequel to Game of Thrones. The new series will be centered on House Targaryen’s brutal conquest of Westeros, led by Aegon Targaryen and aided by his sister wives, Visenya and Rhaenys, and their formidable dragons. Aegon’s Conquest was a massive success, as he was able to wrest control and unite six of the Seven Kingdoms, with the lone holdout being the southernmost kingdom of Dorne.
While House of the Dragon has been a qualified success for HBO, they’ve been very careful about which Game of Thrones spinoffs they push all the way across the finish line. The next in line is A Knight of the Seven Kingdoms: The Hedge Knight, which is based on George R. R. Martin’s “Dunk and Egg” novellas and is set to go into production this year.
There have been a slew of potential GoT spinoffs that have come and gone, but considering Aegon’s Conquest has been one of the stories that has stayed afloat at HBO, there’s some cause for optimism the Targaryens will become the first family of Westeros to get two series of their own.
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At long last, the Oscars have added a category for one of the most crucial jobs there is on a film set—casting director.
The Board of Governors of the Academy of Motion Picture Arts and Sciences announced this wonderful surprise on Thursday morning, confirming that the first new competitive category in the Oscars in two decades since the Academy added Best Animated Feature Film in 2001 belonged to casting directors. The Best Achievement in Casting category will officially begin at the 98th Academy Awards for films released in 2025.
“Casting directors play an essential role in filmmaking, and as the Academy evolves, we are proud to add casting to the disciplines that we recognize and celebrate,” said Academy CEO Bill Kramer and Academy President Janet Yang. “We congratulate our Casting Directors Branch members on this exciting milestone and their commitment and diligence throughout this process.”
“On behalf of the members of the Casting Directors Branch, we’d like to thank the Board of Governors, the Awards Committee, and Academy leadership for their support,” said Academy Casting Director Branch governors Kim Taylor-Colman and Richard Hicks. “This award is a deserved acknowledgment of our casting directors’ exceptional talents and a testament to the dedicated efforts of our branch.”
The rules for eligibility and voting for the Best Achievement in Casting award will be announced in April 2025, along with the rules for the entire 98th Academy Awards. The Academy’s Board of Governors and its administrative leaders will decide on the specifics of the award’s presentation.
Proper recognition for casting directors began in the late 1990s, but there’s been a groundswell of support in recent years as it’s become harder and harder to justify why the people who help make the most important decisions about a film haven’t been recognized. This year’s crop of Oscar-nominated films offers yet more irrefutable proof of how crucial casting directors are to a film’s success, whether it’s Ellen Lewis and Rene Haynes doing historic casting calls in Oklahoma for Martin Scorsese’s Killers of the Flower Moon or Allison Jones and Lucy Bevan populating Barbie Land, some of the most beloved films of the year boasted stellar ensemble casts that relied primarily on the talent of the people who search, spot, and nurture talent.
Now their work will get the recognition it has so richly deserved.
For some of our favorite interviews with casting directors, check out these stories:
Featured image: Caption: (L-r) ANA CRUZ KAYNE as Barbie, SHARON ROONEY as Barbie, ALEXANDRA SHIPP as Barbie, MARGOT ROBBIE as Barbie, HARI NEF as Barbie and EMMA MACKEY as Barbie in Warner Bros. Pictures’ “BARBIE,” a Warner Bros. Pictures release. Photo Credit: Courtesy of Warner Bros. Pictures
The official trailer for The Regime has arrived, with Kate Winslet returning to HBO after her stunning performance in the 2021 HBO series Mare of Easttown. In The Regime, however, Winslet trades her pitch-perfect Philadelphia-adjacent accent as a dutiful detective for the Queen’s English (although she’s certainly putting a twist on her normal speaking voice) as she plays a morally flexible Chancellor with a thirst for power. Winslet’s senior state official finds herself infatuated with Corporal Zubak (Matthias Schoenaerts), a man with a history and disposition that has earned him the moniker the Butcher. Their unusual relationship rattles her subordinates and threatens to upend more than just their working lives. Considering The Regime comes from veterans of Succession, you can rest assured knowing the palace intrigue will be bountiful and the banter lacerating, especially with Winslet leading the charge.
The trailer gives us a glimpse of the turmoil to come, with Corporal Zubak feeding the Chancellor’s ego and desire for more power. As their relationship intensifies, so does the unrest surrounding her regime. It’s a toxic relationship, with much of the toxicity flowing outward into the body politic. Heads will roll, figuratively, and perhaps literally, given the Butcher’s reputation.
Joining Winslet and Schoenaerts in the cast are a slew of top-flight performers, including Andrea Riseborough, Hugh Grant, Martha Plimpton, and Guillaume Gallienne. The series comes from executive producer and showrunner Will Tracy (Succession, The Menu) and executive producers Frank Rich (Succession, Veep), Tracey Seward, and Kate Winslet. The series’ directors, Stephen Frears (The Queen) and Jessica Hobbs (The Crown), also executive producers. The writers are Seth Reiss, Sarah DeLappe, Gary Shteyngart, Jen Spyra and Juli Weiner.
Check out the trailer below. The Regime arrives on HBO Max on March 3:
For more on Warner Bros., Max, and more, check out these stories:
In a delightful surprise for Moana fans, Disney revealed that the long-awaited sequel is getting a November 27, 2024 release date on the big screen.
Disney CEO Bob Iger revealed the news on CNBC before Disney discussed their fiscal earnings for 2024’s first quarter. Originally, Moana 2 was conceived as a TV series, but once Iger got a look at the impressive footage, the move was made to return Moana to the seas and the skies of the big screen.
“Moana remains an incredibly popular franchise,” Iger said in a statement. “We can’t wait to give you more of Moana and Maui when Moana 2 comes to theaters this November.”
The sequel is being billed as a fresh adventure for Moana and Maui, along with a new group of “unlikely seafarers” after Moana receives a message from her ancestors. That message compels Moana, along with her trusty sidekick Maui (but don’t tell him that), and this new crew to sail to the far seas of Oceania on an adventure “unlike anything she’s ever faced.”
The original Moana was a massive hit for Disney, sailing past $680 million globally. The success of Moana also led to the development of a live-action Moana with Maui himself, Dwayne Johnson. As for the animated sequel, Auli’i Cravalho is expected to reprise her role as Moana, although there’s no word yet whether Johnson will return to voice Maui. Carvalho won’t star in the live-action film, but she will executive produce and be an active part of finding the next actress to play Moana.
For Moana 2, Dave Derrick Jr. directs, with music from Emily Bear and Abigail Barlow, alongside original Moana alums Opetaia Foa’i and Mark Mancina.
Check out the teaser below. Once again, Moana 2 sets sail for theaters on November 27.
For more stories on 20th Century Studios, Searchlight Pictures, Marvel Studios and what’s streaming or coming to Disney+, check these out:
One of the hottest and most mysterious movies in development has found its home at Warner Bros.
That movie is Ryan Coogler’s secret project, which he wrote, will direct, and stars his longtime collaborator Michael B. Jordan. Coogler is producing through his company, Proximity Media, alongside Zinzi Coogler and Sev Ohanian.
Warner Bros. came out on top after three weeks of interest from several studios, topping Universal in the final round. The film reunites Coogler and Jordan, who first broke out with Coogler’s star-making 2013 directorial debut Fruitvale Station, which he wrote on spec. This time around, studios were vying for a chance to work with the star auteur on his latest.
The duo also worked together on Coogler’s world-beating 2018 entrance into the Marvel Cinematic Universe, Black Panther, the Creed franchise, and 2022’s Black Panther: Wakanda Forever.
Reports suggest that Coogler and Jordan are ready to start filming soon in New Orleans—in April. Unlike some of the other major projects that have recently found a home, including Danny Boyle’s 28 Years Later, which finds Boyle, writer Alex Garland, and star Cillian Murphy returning to the zombie franchise they rejuvenated with the original 28 Days Later in 2002, Coogler’s project is brand new, has franchise potential of its own, and marks his first post-MCU film after 2022’s Wakanda Forever, which grossed $859.2 million globally.
The details of the script are being guarded, but the bits that have been revealed thus far describe a possible period thriller with anime influences (Coogler’s a huge fan) and a connection to the undead.
The one thing that we do know for sure is that this secret film will be one of the most closely watched projects in Hollywood.
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We saw what the world was like on day 472 of the reign of the sound-hunting aliens in John Krasinski’s 2018 original A Quiet Place. At that point, the Abbott family (played by Krasinski, Emily Blunt, Millicent Simmonds, and Noah Jupe) had already figured out how to survive in their new world—the answer was right there in the film’s title. They’d already suffered a horrific loss when their youngest son, Beau (Cade Woodward), was killed by one of the aliens. Throughout Krasinski’s excellent film and his killer follow-up Part II (2020), we only saw brief glimpses, via flashbacks, of what it was like when the aliens first arrived—until now. Paramount has dropped the first official trailer for A Quiet Place: Day One, which will take us back to the beginning of the alien scourge.
The trailer for Day One (the prequel is directed by Pig helmer Michael Sarnoski) opens on another busy day in New York City, with Lupita Nyong’o’s character front and center when the first wave of alien ships crashlands in the city. In short order, she has to reckon with the unbelievable sight of murderous alien creatures hunting down people with a speed and ferocity that we all remember well from the first two films. Only here, these aren’t hardened survivors well versed on the hunting methodology of the blind predators, but rather terrified, confused masses of people trying and failing to stay alive.
The promise of Day One is it might explain why these monsters arrived on Earth in the first place. And Day One isn’t the only film in the franchise currently in the works—there’s a third installment of the main arc of the series, set after the events in Part II, that will show us how humanity might ultimately survive.
Joining Nyong’o in the cast are Djimon Hounsou (reprising his role from Part II), Alex Wolff, and Joseph Quinn.
Check out the trailer below. A Quiet Place: Day One hits theaters on June 28:
For more on the A Quiet Place franchise, check out these stories:
The Super Bowl is this coming Sunday, which means football fans (especially fans of the Kansas City Chiefs and San Francisco 49ers) will be enjoying three hours of heaven, but there’s another subset of fans that enjoy the big game—those who tune in for the highly produced ads often boasting major stars. And while you can already watch some of these spots, including Booking.com’s ad featuring Tina Fey using a body double to test-run travel experiences (her double is fellow 30 Rock star Jane Krakowski), Anheuser-Busch’s Clydesdales-meets-adorable Labrador retriever commercial or BIC lighter’s star-studded ad featuring Willie Nelson, Snoop Dogg, and Martha Stewart, there’s a slew of big spots that you won’t be able to see until the game—and those include all the movie trailers and teasers.
The game is being broadcast on CBS and Paramount+ (so is Nickelodeon, which has its slimecast broadcast skewed toward younger viewers), and we already know that Paramount has booked three spots. Those will promote John Krasinski’s IF (May 17), starring Ryan Reynolds, Reinaldo Marcus Green’s biopic Bob Marley: One Love (February 14), and Michael Sarnoski’s prequel A Quiet Place: Day One (June 28), starring Lupita Nyong’o.
Universal has several big blockbusters on the slate they can promote, including Lee Isaac Chung’s Twisters (July 19), a sequel to the 1996 classic, DreamWorks Animation’s Kung Fu Panda 4 (March 8), Dev Patel’s directorial debut Monkey Man (April 5), and David Leitch’s The Fall Guy (May 3), starring Ryan Gosling and Emily Blunt. You can also expect the Super Bowl-loving Minions to appear in a spot for Despicable Me 4(July 3).
Over at Disney, there’s a good chance we’ll see a spot for Pixar’s Inside Out 2 (June 14), the follow-up to their 2015 classic, and the hotly-anticipated first trailer for Marvel Studios’ Deadpool 3(July 26), which stars Ryan Reynolds as the titular loudmouth superhero and the return of Hugh Jackman as Wolverine. There’s also a good chance we’ll get another peek at 20th Century Fox’s Kingdom of the Planet of the Apes (May 10), which will likely drop its second trailer.
Sony and Warner Bros. haven’t secured any Super Bowl slots, even though Warner Bros. has Denis Villeneuve’s Dune: Part Two (March 1), easily one of the year’s biggest titles. Amazon MGM is also sitting this Super Bowl out, and it’s unclear whether Netflix or Apple will promote any of their big titles.
Featured image: Ryan Gosling is Colt Seavers in THE FALL GUY, directed by David Leitch
