Hulu October 2021 Schedule: New TV & Movie Additions

The schedule for the new movie and TV titles coming to Hulu in October 2021 has been revealed, which you can view below, along with the titles that are set to leave from the streaming service next month. This includes the series debut of the new Hulu original limited drama series Dopesick, which will feature Michael Keaton and Rosario Dawson. All eight seasons of ABC’s hit crime comedy Castle starring Nathan Fillion will also be making its streaming debut.

In time for this year’s Halloween season, horror films such as 1987’s Dead of Winter, 1990’s Flatliners, 2002’s Queen of the Damned, 2004’s Madhouse, 2004’s The Village, all four films of Species and more will also be available for streaming next month along with supernatural films like 1985’s Teen Wolf, and 2015’s Victor Frankenstein.

RELATED: David S. Goyer Confirms Hulu’s Hellraiser Remake Has Begun Filming

Here’s What is Coming to Hulu in October 2021: 

Available October 1

• Big Sky: Season 2 Premiere (ABC)
• Cake: Season 5 Premiere (FXX)
• Grey’s Anatomy: Season 18 Premiere (ABC)
• Station 19: Season 5 Premiere (ABC)
• The Bachelorette: Complete Season 13 (ABC)
• A.I. Artificial Intelligence (2001)
• Air Force One (1997)
• Ali (2001)
• Blippi’s Spooky Spells Halloween (2021)
• Boxcar Bertha (1972)
• Cedar Rapids (2009)
• Chasing Papi (2003)
• Class (1983)
• Clifford (1994)
• Clockstoppers (2002)
• Code 46 (2004)
• Crimson Tide (1995)
• Date Night (2010)
• Dead of Winter (1987)
• Diary of a Wimpy Kid: Rodrick Rules (2011)
• Double, Double, Toil and Trouble (1993)
• Dr. No (1962)
• Edge of the World (2021)
• Escape from Alcatraz (1979)
• Exorcist: The Beginning (2004)
• The Extreme Adventures of Super Dave (2000)
• Flatliners (1990)
• From Russia with Love (1964)
• GoldenEye (1995)
• Goldfinger (1964)
• Happy Feet (2006)
• Happy Feet Two (2011)
• The Holiday (2006)
• House of Games (1987)
• The Hunger Games (2012)
• The Hunger Games: Catching Fire (2013)
• The Hunger Games: Mockingjay Part 1 (2014)
• The Hunger Games: Mockingjay Part 2 (2015)
• Hunt for the Skinwalker (2018)
• Intersection (1994)
• Licence to Kill (1989)
• Light It Up (1999)
• Lost In Space (1998)
• The Love Guru (2008)
• Mad Max (1980)
• Madhouse (2004)
• The Mask of Zorro (1998)
• Maze (2017)
• Mean Creek (2004)
• Meet The Spartans (2008)
• My Best Friend’s Wedding (1997)
• The Offence (1973)
• Peeples (2013)
• The Perfect Holiday (2007)
• Queen of the Damned (2002)
• Racing with the Moon (1984)
• The Recruit (2003)
• Remo Williams: The Adventure Begins (1985)
• Resident Evil: Retribution (2012)
• Road Trip (2000)
• Rushmore (1999)
• The Saint (1997)
• Signs (2002)
• Sleeping with the Enemy (1991)
• Sleepless In Seattle (1993)
• Snatch (2000)
• Species (1995)
• Species II (1998)
• Species III (2004)
• Species: The Awakening (2007)
• The Spy Who Loved Me (1977)
• Star Trek: The Motion Picture (1979)
• Star Trek II: The Wrath of Khan (1982)
• Star Trek III: The Search for Spock (1984)
• Star Trek IV: The Voyage Home (1986)
• Star Trek V: The Final Frontier (1989)
• Star Trek VI: The Undiscovered Country (1991)
• Star Trek: First Contact (1996)
• Star Trek: Generations (1994)
• Star Trek: Insurrection (1998)
• Star Trek: Nemesis (2002)
• Still (2018)
• Sweet Home Alabama (2002)
• Sweet Land (2006)
• The Taking of Pelham 1 2 3 (2009)
• Teen Wolf (1985)
• Theater of Blood (1973)
• Tooth Fairy (2010)
• Total Recall (2012)
• The Untouchables (1987)
• Victor Frankenstein (2015)
• Vigilante Force (1976)
• The Village (2004)
• The Vow (2012)
• Waitress (2007)
• What About Bob? (1991)
• When A Man Loves A Woman (1994)
• Within (2016)
• Wolves at the Door (2016)
• Wrong Turn 2 (2007)

Available October 3

• Saturday Night Live: Season 47 Premiere (NBC)
• Finding Your Feet (2018)

Available October 4

• America’s Funniest Home Videos: Season 32 Premiere (ABC)
• Maggie’s Plan (2015)
• The Program (1993)
• Unfaithful (2002)

Available October 6

• Castle: Complete Series (ABC)

Available October 7

• Baker’s Dozen: Complete Season 1 (Hulu Original)

Available October 8

• Jacinta (2021) (Hulu Original)
• Cannabis Evolution (2019)

Available October 9

• Shark Tank: Season 13 Premiere (ABC)

Available October 10

• G.I. Joe: Retaliation (2013)
• Rogue Hostage (2021)

Available October 11

• Gunda (2020)
• Madonna and the Breakfast Club (2019)

Available October 12

• Champaign ILL: Complete Series (Sony)
• The Loneliest Whale (2021)

Available October 13

• Dopesick: Series Premiere (Hulu Original)
• CHiPS (2017)

Available October 14

• Real Housewives of Orange County: Complete Season 15 (Bravo)
• Censor (2021)
• Out of Death (2020)

Available October 15

• America’s Book of Secrets: Complete Season 2 (History)
• Beyond Oak Island: Complete Season 1 (History)
• Beyond Scared Straight: Complete Seasons 4, 5, 6 (A&E)
• Hoarders: Complete Season 3 (A&E)
• Little Women: Atlanta: Complete Seasons 1, 2 (Lifetime)
• Married at First Sight: Couples Cam: Complete Season 10 (Lifetime)
• Marrying Millions: Complete Season 2 (Lifetime)
• Nightwatch: Complete Season 1 (A&E)
• Seven Year Switch: Complete Season 3 (Lifetime)
• Swamp People: Complete Seasons 1, 2 (History)
• A Murder to Remember (2020)
• Cheer Camp Killer (2020)
• Miss India America (2015)
• Sleepwalker (2017)

Available October 16

• Home Sweet Home: Series Premiere (NBC)

Available October 18

• Dream Horse (2020)

Available October 20

• The Bachelorette: Season 18 Premiere (ABC)
• Queens: Series Premiere (ABC)

Available October 21

• The Next Thing You Eat: Complete Season 1 (Hulu Original)
• The Evil Next Door (2021)

Available October 22

• The Blacklist: Season 9 Premiere (NBC)
• Gaia (2020)

Available October 23

• The Marksman (2021)
• Silent Night (2021)

Available October 25

• Come Away (2020)

Available October 26

• Maybe Next Year (2020)

Available October 27

• For Madmen Only (2021)

Available October 28

• First Date (2021)
• Smelliville (2021)

Available October 30

• Catfish: The TV Show: Complete Season 8D (MTV)

Available October 31

• Spirit Untamed (2021)

Here’s What is Leaving Hulu in October 2021: 

Leaving October 16

• The Skeleton Twins (2014)

Leaving October 23

• An American Haunting (2006)

Leaving October 25

• The Artist (2011)

Leaving October 26

• Good Deeds (2012)

Leaving October 30

• Slumdog Millionaire (2008)

Leaving October 31

• 12 Years a Slave (2013)
• 21 (2008)
• 30 Days Of Night (2007)
• 30 Minutes Or Less (2011)
• 71 (2015)
• Air Force One (1997)
• Ali (2001)
• An Elephant’s Journey (2018)
• Are We There Yet? (2005)
• Attack The Block (2011)
• Beats, Rhymes & Life: The Travels Of A Tribe Called Quest (2011)
• Blast From The Past (1999)
• Bound (1996)
• Boxcar Bertha (1972)
• Chaplin (1992)
• Class (1983)
• Clifford (1994)
• Code 46 (2004)
• Dead of Winter (1987)
• Dr. No (1962)
• El Dorado (1967)
• Exorcist: The Beginning (2004)
• The Extreme Adventures of Super Dave (2000)
• The Final Girls (2015)
• First Knight (1995)
• Flatliners (1990)
• Frankenstein and the Monster from Hell (1974)
• Freelancers (2012)
• From Russia with Love (1964)
• Fun in Acapulco (1963)
• GoldenEye (1995)
• Goldfinger (1964)
• Hanging Up (2000)
• Hondo (1953)
• Hoosiers (1986)
• The Hot Chick (2002)
• House of Games (1987)
• Hud (1963)
• I Spit On Your Grave (2010)
• I Spit On Your Grave 2 (2013)
• I Spit On Your Grave 3 (2015)
• The Indian in the Cupboard (1995)
• The Last Stand (2013)
• Licence to Kill (1989)
• Mad Max (1980)
• Madhouse (2004)
• The Man Who Shot Liberty Valance (1962)
• The Manchurian Candidate (2004)
• The Mask of Zorro (1998)
• McLintock! (Producer’s Cut) (1963)
• Mud (2013)
• New Year’s Eve (2011)
• The Offence (1973)
• Paws P.I. (2018)
• Planes, Trains and Automobiles (1987)
• The Perfect Holiday (2007)
• Remo Williams: The Adventure Begins (1985)
• Revolutionary Road (2008)
• Road Trip (2000)
• Romy And Michele’s High School Reunion (1997)
• Rules of Engagement (2000)
• Rushmore (1999)
• Safe (2012)
• Sleeping with the Enemy (1991)
• Sleepless In Seattle (1993)
• Snatch (2000)
• Spare Parts (2015)
• The Sons of Katie Elder (1965)
• Species (1995)
• Species II (1998)
• Species III (2004)
• Species: The Awakening (2007)
• The Spy Who Loved Me (1977)
• Sweet Land (2006)
• The Taking of Pelham 1 2 3 (2009)
• Teen Wolf (1985)
• The Thin Red Line (1998)
• Theater of Blood (1973)
• They Came Together (2014)
• To Die For (1995)
• Total Recall (2012)
• Transcendence (2014)
• Under The Tuscan Sun (2003)
• Vigilante Force (1976)
• Walking Tall (1973)
• Watchmen (2009)
• We Were Soldiers (2002)
• What About Bob? (1991)
• White Nights (1985)

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Sam Raimi Thought He Was Done With Superhero Movie After Spider-Man 3

Director Sam Raimi is often credited with making some of the best comic book films ever in the form of Spider-Man and Spider-Man 2, but following Spider-Man 3, Raimi was unsure he’d ever return to the world of comic book movies.

RELATED: Actor’s Website Reveals Possible Doctor Strange 2 Villain

Speaking to Collider in a recent interview, Raimi was asked why he would want to get back into the world of comics with the upcoming Doctor Strange in the Multiverse of Madness, especially after Spider-Man 3 was widely panned by both critics and fans alike.

“I didn’t know that I could face it again because it was so awful, having been the director of Spider-Man 3,” Raimi said. “The Internet was getting revved up and people disliked that movie and they sure let me know about it. So, it was difficult to take back on. But then, I found out that there was an opening on Doctor Strange 2. My agent called me and said, ‘They’re looking for a director at Marvel for this movie and your name came up. Would you be interested?’ And I thought, ‘I wonder if I could still do it.’ They’re really demanding, those types of pictures.

“And I felt, ‘Well, that’s reason enough.’ I’ve always really liked the character of Doctor Strange. He was not my favorite, but he was right up there with the favorites. I loved the first movie, I thought [director] Scott Derrickson did a wonderful job, an incredible job. So, I said, ‘Yeah.’ They left the character in a great place. I didn’t think I would be doing another superhero movie. it just happened.”

While it remains to be seen if Raimi will succeed with the upcoming Doctor Strange film, the stories that have come out regarding the behind-the-scenes issues with Spider-Man 3 have been enough for most fans to ease up on blaming the director for the film. Now, he’ll have another chance to wow audiences with another comic book film entry.

RELATED: Doctor Strange 2 Writer Teases a ‘Very Sam Raimi’ MCU Sequel

Described as the first MCU horror film, Doctor Strange in the Multiverse of Madness sees the return of Cumberbatch as he reprises his role as Dr. Stephen Strange. This time the Sorcerer Supreme will be joined by Wanda Maximoff/ Scarlett Witch, portrayed by Elizabeth Olsen, who is coming off from the critical success of WandaVision. The sequel is expected to tie into the events from WandaVision, Loki and Spider-Man: No Way Home.

Doctor Strange in the Multiverse of Madness is currently slated to debut on March 25, 2022, as part of Marvel Cinematic Universe’ Phase 4.

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The Art of gen:LOCK Art Book Set to Release in October

Viz Media and Rooster Teeth are partnering together to release The Art of gen:LOCK, a hardcover companion to the hit animated mecha series.

MORE: Disney+’s Just Beyond Trailer: Enter a World of Fantasies & Fears in New R.L. Stine Series

The artbook comes from New York Times bestselling author Daniel Wallace, and will release on October 12, 2021. The 160-page book aims to offer an exclusive, “behind-the-scenes look at the show,” and will include a variety of artwork, including concept sketches, full-color artwork, and insightful commentary from artists, animators, producers, and writers from the series. The Art of gen:LOCK is available to pre-order now and will retail for $30.

“Rooster Teeth has some of the most passionate and dedicated animation fans,” said Ryan P. Hall, Head of Rooster Teeth Studios & executive producer of the series. “The Art of gen:LOCK is meant to give back to the fans and explore the gen:LOCK universe in ways beyond what we see on-screen.”

MORE: Exclusive The Ghost and Molly McGee Clip Showcases Molly’s Optimism

Set 50 years in the future, gen:LOCK tells the story of a dystopian future, where oppressive authoritarian forces are threatening to conquer the world. The resistance forces looking to stop them find a new recruit in the form of Julian Chase (Michael B. Jordan), who joins team gen:LOCK and becomes a pilot for a new form of weaponized mechs. The second season for the series will premiere on HBO Max this fall before moving to Rooster Teeth’s FIRST subscription streaming service.

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Regé-Jean Page Set to Star in Netflix Heist Thriller From Noah Hawley

Regé-Jean Page is set to star in an upcoming heist thriller for Netflix, according to a recent report from The Hollywood Reporter.

MORE: The Last Duel Clip Features Matt Damon and Jodie Comer

The upcoming project will come from writer-director Noah Hawley (Fargo, Legion), who will produce the film via his 26 Keys production company. Joe and Anthony Russo and Mike Larocca also attached as producers via AGBO. Page will also get an executive producer credit for the film, with Angela Russo-Otstot also attached as an executive producer.

Plot details for the upcoming film are currently unknown, but The Hollywood Reporter notes that it comes from an “original idea” from Hawley. Given his track record and pedigree in the world of television, though, it isn’t shocking to see Netflix being excited about the opportunity to work with the director.

This will be just the second film Hawley has directed, with the first being 2019’s Lucy in the Sky. Prior to that, he has worked mainly in the world of television, where he also is working on an upcoming Alien series for FX. 

MORE: WB’s The Bodyguard Remake to Feature a Young Latina Protagonist

“AGBO was originally founded to allow us to collaborate with artists we greatly respect and admire. We are very happy to continue to fulfill that pledge by supporting this new film from Noah Hawley and Regé-Jean Page,” said AGBO’s Larocca in a statement.

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Latest Guardians of the Galaxy Trailer Highlights PC Features

Ahead of its release next month on October 26, another trailer for the upcoming Marvel’s Guardians of the Galaxy has been released. But this one hones in one platform and highlights some of the biggest features that players on the PC version of the game will be able to benefit from.

RELATED: Interview: Guardians of the Galaxy Devs Speak About Going From Stealth to Marvel-Level Action

The trailer didn’t have many new scenes or bits of gameplay, but it did show what PC players can look forward to. PC users will be able to have some incredible visual features like DLSS AI performance boost, real-time ray tracing, diffuse illumination lighting, up to 8K resolution, full HDR, and wide color gamut support. You can check out the new trailer below:

RELATED: Guardians of the Galaxy Preview: It’s Not Like Avengers & That’s a Good Thing

Guardians will have HDR on other platforms, too. The PlayStation 5 and Xbox Series X versions will also have ray tracing but Eidos Montreal was not sure if it will come at launch or not.

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Exclusive Curious George: Cape Ahoy Clip From Peacock’s Animated Film

ComingSoon is excited to debut an exclusive Curious George: Cape Ahoy clip from the family film, which is now available to stream on Peacock. The animated movie adds a new adventure to the iconic story of Curious George, and stars Frank Welker (Scooby-Doo and Guess Who?) and Jeff Bennett (The Loud House).

MORE: Under Wraps Director Alex Zamm on Remaking the First Disney Channel Original Movie

ComingSoon’s clip shows off some of the big names returning to the film with Welker and Bennett both back in their roles as Curious George and The Man with the Yellow Hat, respectively. Rita Moreno (West Side Story) also stars in the film as Gertrude St. John.

Check out the exclusive Curious George: Cape Ahoy clip below:

“When Ted takes George to his favorite vacation spot along the coast, he’s disappointed when things don’t go as planned,” says the official synopsis of the upcoming film. “Not to worry, George’s inquisitive nature leads them on an unexpected quest for the long-lost shipwreck of legendary sea captain Trumpet Tooter. With help along the way from a local fisherman, his niece, and an adorable baby seal, George leads the crew through a series of exciting adventures as they explore the ocean in their search for the sunken ship.”

MORE: Fresh Prince of Bel-Air Reboot Enlists Newcomer Jabari Banks as Will

Curious George: Cape Ahoy is available now on Peacock.

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Grand Theft Auto: The Trilogy Remasters Listed on South Korean Ratings Board

Rumors of a remastered version of three classic Grand Theft Auto titles have been floating around for some time, but a recent listing may have confirmed that the games are in the works.

RELATED: The Forgotten City Is a Clever GOTY Contender You Shouldn’t Miss

Recently, a listing for Grand Theft Auto: The Trilogy – The Definitive Edition was spotted on South Korea’s game rating board’s site (via Nibel on Twitter). The details of the listing reveal that the application for an official rating was made by Take-Two Interactive, with the game being rated “18 or unavailable” for youth in South Korea.

The listing comes just a month after a report from Kotaku stated that Rockstar was planning on rolling out remastered versions of Grand Theft Auto III, Grand Theft Auto: Vice City, and Grand Theft Auto: San Andreas. According to the report at the time, these remasters would apparently have a mix of “new and old graphics,” and would look like more heavily modded versions of the games.

RELATED: Grand Theft Auto V PS5 and Xbox Series X|S Release Date Announced

Rumors have also been swirling about the unannounced Grand Theft Auto 6. And while those rumors point to that game being far away, remasters of older and beloved titles might be a decent stopgap for fans desperate for more of Rockstar’s open worlds.

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Disney+’s Just Beyond Trailer: Enter a World of Fantasies & Fears in New R.L. Stine Series

Disney+ has dropped the official Just Beyond trailer for the upcoming anthology series adaptation of R.L. Stine’s horror graphic novels of the same name. All eight episodes will be available for streaming on Wednesday, October 13 as a part of the streaming service’s Hallowstream.

The video, which you can check out below, teases the eight unique supernatural stories that will haunt viewers this Halloween season including stories about witches, aliens, and ghosts. Just like R.L. Stine’s previous novels such as Goosebumps, each episode will be centered around young protagonists.

RELATED: 20th Century Studios’ Home Alone Reboot Sets Disney+ Debut 

Based on the 2019 best-selling BOOM! Studios graphic novel series from Goosebumps and Fear Street author R.L. Stine, Just Beyond stars Emmy nominee McKenna Grace (The Haunting of Hill House), Lexi Underwood (Little Fires Everywhere), Nasim Pedrad (Aladdin), Megan Stott (Little Fires Everywhere), Cedric Joe (Space Jam: A New Legacy), Jack Gore (Rim of the World), Gabriel Bateman (Child’s Play), Riki Lindhome (Another Period), Christine Ko (Dave), Malcolm Barrett (Timeless), Sally Pressman (Army Wives), Tim Heidecker (Bridesmaids), Izabela Vidovic (Wonder), Henry Thomas (The Haunting of Hill House), and more.

Click here to purchase the first novel in Stine’s series, The Scare School!

“The eight-episode anthology series tells astonishing and thought-provoking stories of a reality just beyond the one we know,” reads the synopsis. “Each episode introduces viewers to a new cast of characters who must go on a surprising journey of self-discovery in a supernatural world of witches, aliens, ghosts and parallel universes.”

RELATED: Haunted Mansion: Tiffany Haddish & LaKeith Stanfield in Talks for Disney Film

Just Beyond is created and written by Seth Grahame-Smith who is also serving as a showrunner, with Marc Webb set as its director. Executive producers are Stine, Grahame-Smith, Webb, David Katzenberg, Aaron Schmidt, David Walpert, Mark Ambrose, Stephen Christy, David Walpert, and Ross Richie. The series is a 20th Television production.

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Robert Pattinson Teases The Batman ‘Surprises’ at DC FanDome

Fans are anxiously awaiting any information they can get on Warner Bros.’ upcoming The Batman film ahead of its March 4, 2022 premiere, and according to star Robert Pattinson, they won’t have to wait too long for some surprises.

RELATED: The Batman: Robert Pattinson & Colin Farrell Set for Glasgow Re-Shoots

Speaking to Variety during a recent red carpet event for the Academy Museum’s premiere party, Pattison noted that he and The Batman co-star Zoë Kravitz had already filmed some content for the upcoming DC FanDome event.

“Me and Zoë [Kravitz] did some stuff. It’s a fun little thing,” Pattinson said. “There are lots of little surprises for it.”

Pattinson also said that he had seen some of the film already, and that he thought it was “really cool” as it stood.

MORE: DC FanDome 2021 Teases Movie & TV Lineup For Second Virtual Event

Fans looking to get information on The Batman likely won’t have to wait too long, as DC FanDome is set to take place on Saturday, October 16, 2021, and will feature a ton of huge DC properties. The film will be directed by Matt Reeves, who has directed a number of films, including Cloverfield, Let Me In, and War for the Planet of the Apes. It will star Pattinson in the titular role, Farrell as Oswald Cobblepot, also known as the Penguin. Zoë Kravitz and Paul Dano will also star as Catwoman and the Riddler, respectively.

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The Guilty Interview: Jake Gyllenhaal & Antoine Fuqua Discuss Netflix Thriller

Acclaimed director Antoine Fuqua’s latest film The Guilty arrives on Netflix on October 1. The thriller is a remake of the 2018 Danish film of the same name and stars Jake Gyllenhaal in the lead role.

“The film takes place over the course of a single morning in a 911 dispatch call center,” reads the official logline. “Call operator Joe Baylor (Gyllenhaal) tries to save a caller in grave danger—but he soon discovers that nothing is as it seems, and facing the truth is the only way out.”

ComingSoon Editor-in-Chief Tyler Treese spoke with The Guilty director Antoine Fuqua and star Jake Gyllenhaal, who also produced the film, about its unique story, how the film was shot, and the difficult acting challenge that excited Gyllenhaal.

Tyler Treese: Jake, Jake, I was so impressed by your performance and this seemed like such an interesting challenge for an actor to be in a film where your performance isn’t just so pivotal, but it’s largely you having these phone conversations while looking at a monitor. It’s almost like a play to an extent. How intriguing and difficult was this role for you?

Jake Gyllenhaal: I just love the whole idea that at a certain point, the movie required a deep imagination from the audience that challenges your perception of who was calling in, what they looked like, just because of how they sounded, were they, this person, that person, who were they? To me, it just challenged all the things we’re so used to seeing. We’re so used to seeing everything. We’re shown everything in movies at this point. The frame is packed with stuff and the more, the better. I just felt like the story was so strong that you could rely on it completely.

All I had to do is really sit there and listen. I just loved that idea. It was about listening, not just the audience listening, but the characters, too. I didn’t really have to do a whole lot. We just had to hire great actors to listen to, which we did and that’s what happened. But if I’m really honest about it, listening is a whole lot harder than I thought it was going to be for all hours of the day, but it was quite an interesting experience.

Antoine, what was the biggest challenge in making the film visually interesting throughout? Do you feel like the plot’s confines made you be more creative as a director?

Antoine Fuqua: Yeah. I’m always trying to be more creative as a director. It all comes from the material. It all starts with the material. And then of course the actor you have in front of you that inspires you to be more creative as well, you know? But yes, the environment was limited, which was part of the story. So as a director, you have to find ways to keep it interesting for the audience.

What I discovered about it was less was more when you have a great actor like Jake and other great actors on the phone because you don’t want to do anything to distract from the story and the performance. And part of what was fun about it was to constantly check myself to do less so that the audience can enjoy the story and the journey of the characters.

Jake, while this abduction is happening, your character’s own court case is looming. You’re clearly seen as struggling. What went into portraying this character that’s very stressed out and dealing with his own demons while trying to save a life?

Gyllenhaal: What I loved about the movie was that it was about not earthly redemption. It was about a sort of spiritual redemption in that way in the end. In the end, the truth is not gonna always be easy and may not provide comfort in the reality that we’re in, but it’s essential to making the systems work and healing the systems and I think that was what I loved about it. It’s hard for me to make a film where there’s not another undercurrent. I like a number of different layers and at the first layer of this movie is this crazy thriller. And then as it reveals itself, it ends up being about going back inward.

I just love it is like this big wave that comes at you and then it comes right back at you. That’s how I always felt about it, and it just felt so important to transpose even the original film into an American context, because I think a lot of the things that are undercurrents in this movie, we’re dealing with as a culture as well and it’s so important to kind of start to begin to speak about in an artistic way.

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The Last Duel Clip Features Matt Damon and Jodie Comer

20th Century Studios has released the first clip from acclaimed filmmaker Ridley Scott’s upcoming medieval epic drama The Last Duel, which is currently slated to arrive in theaters on Friday, October 15.

The Last Duel clip, which you can check out in the player below, features Matt Damon’s Jean and Jodie Comer’s Marguerite as they argue about the dire consequences of Jean’s potential defeat. Marguerite makes him realize that she will also face death and their child will become an orphan if he loses the duel.

Watch the first clip of #TheLastDuel featuring Jodie Comer and Matt Damon. See it only in theaters October 15. pic.twitter.com/Zb47BpRCfS

— The Last Duel (@TheLastDuelFilm) September 30, 2021

RELATED: House of Gucci Trailer Teases A Legacy Worth Killing For

Based on Eric Jager’s novel of the same name, the film brings the turbulent Middle Ages to life. When etiquette, social aspirations, and justice were driven by the codes of chivalry, the consequences for defying the institutions of the time – the Church, the nobility at court, a teenage king – could be severe. For a woman navigating these violent times, one who had no legal standing without the support of her husband, the stakes were even higher.

The Last Duel is being led by Jodie Comer (Killing Eve) as Marguerite de Carrouges, and Oscar nominee Adam Driver (Marriage Story) as Jacques Le Gris, along with Oscar-winning duo Matt Damon (Good Will Hunting) as Jean de Carrouges, and Ben Affleck (Argo) as Count Pierre d’Alençon. It also features Harriet Walter, Nathaniel Parker, Sam Hazeldine, and Michael McElhatton.

“The historical epic is a cinematic and thought-provoking drama set in the midst of the Hundred Years War that explores the ubiquitous power of men, the frailty of justice and the strength and courage of one woman willing to stand alone in the service of truth,” reads the official synopsis. “Based on actual events, the film unravels long-held assumptions about France’s last sanctioned duel between Jean de Carrouges and Jacques Le Gris, two friends turned bitter rivals. Carrouges is a respected knight known for his bravery and skill on the battlefield. Le Gris is a Norman squire whose intelligence and eloquence make him one of the most admired nobles in court. When Carrouges’ wife, Marguerite, is viciously assaulted by Le Gris, a charge he denies, she refuses to stay silent, stepping forward to accuse her attacker, an act of bravery and defiance that puts her life in jeopardy. The ensuing trial by combat, a grueling duel to the death, places the fate of all three in God’s hands.”

RELATED: Jodie Comer to Play Josephine in Ridley Scott’s Napoleon Bonaparte Film Kitbag

The Last Duel is directed and produced by visionary filmmaker and four-time Oscar nominee Ridley Scott (Gladiator) from a screenplay adapted by Affleck, Damon, and Oscar nominee Nicole Holofcener (Can You Ever Forgive Me?). Producers are Affleck, Damon, Holofcener, Kevin J. Walsh, Jennifer Fox, with Kevin Halloran, Drew Vinton, Madison Ainley serving as executive producers.

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WB’s The Bodyguard Remake to Feature a Young Latina Protagonist

In a recent interview with Variety, Tony winner Matthew López (The Inheritance) opened up about Warner Bros. Pictures’ upcoming The Bodyguard remake of the 1992 romantic drama thriller, revealing some new details about its’ potential story. The scribe went on to confirm that unlike the original film which centered around an established singer, the upcoming project will instead be led by a young Latina protagonist who is trying to deal with her newfound fame.

“When Warner Bros. approached me about the idea, I quickly said I would but I wanted the protagonist to be Latina,” López said. “They agreed to that.”

He also talked about the remake’s more timely and modern story, while also expressing how it was important for him to be able to give more Latin representation on screen.

“Instead of focusing on an established star like the one Whitney Houston played, this is about a young Latina performer who has just become famous,” López revealed. “It’s about how her life has changed because she is an overnight sensation. In the 21st century, that means she’s in immediate need of protection. It was important to me to use this opportunity to get Latin faces up on that screen and to get their stories told in a big way.”

RELATED: I Wanna Dance With Somebody: Kasi Lemmons to Helm Whitney Houston Biopic

Described as a reimagining, The Bodyguard remake will be written by Matthew López (The Inheritance). It will once again be produced by the original film’s producer and writer Lawrence Kasdan for Kasdan Pictures, along with Dan Lin & Jonathan Eirich for Rideback. It will be executive produced by Rideback’s Nick Reynolds.

Further details about the plot and characters are still being kept under wraps, but the project has been in the making for over a decade now, with Lin attached to the project since 2011. It remains to be seen if the remake would also cast a prominent singer or not, just like the first film with award-wining singer Whitney Houston.

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1992’s The Bodyguard was directed by Mick Jackson, from a screenplay written by Lawrence Kasdan. The film starred Houston and Kevin Costner, where it followed the story of a former Secret Service agent who gets hired to protect a famous personality from a stalker. Interestingly, Kasdan originally wrote the film in the 1970s as a Steve McQueen and Diana Ross-led project.

The film was best known for its original soundtrack which includes the songs “I Will Always Love You,” “I Have Nothing,” and “Run to You,” which were all performed by Houston. The latter two earned the film an Academy Award nomination for Best Original Song.

The post WB’s The Bodyguard Remake to Feature a Young Latina Protagonist appeared first on ComingSoon.net.

Exclusive The Ghost and Molly McGee Clip Showcases Molly’s Optimism

ComingSoon is excited to debut a The Ghost and Molly McGee clip from Disney Channel’s new animated series. The show is intended for kids six through 11 and stars Ashly Burch (Mythic Quest) as Molly and Dana Snyder (Aqua Teen Hunger Force) as a grumpy ghost named Scratch.

RELATED: Under Wraps Director Alex Zamm on Remaking the First Disney Channel Original Movie

“When one of Scratch’s curses backfires, he finds himself forever bound to Molly, creating an unlikely friendship that leads to humorous misadventures as they navigate Molly’s new school and town,” says the official synopsis. ComingSoon’s clip shows the duo’s unique brand of chemistry and the optimistic energy that Molly has compared to Scratch’s negativity.

Check out the exclusive The Ghost and Molly McGee clip below:

MORE: Marvel Studios is Currently Developing 31 MCU Projects

Burch’s involvement even changed the character of Molly as the team decided to incorporate her biracial heritage (Burch is half-Thai and half-Irish).

The Ghost and Molly McGee is set to premiere on Disney Channel on October 1. Guest stars for the first season include Kelsey Grammer, Natasha Rothwell, Greta Gerwig, Yvette Nicole Brown, and Jane Lynch. It has already been renewed for a second season.

The post Exclusive The Ghost and Molly McGee Clip Showcases Molly’s Optimism appeared first on ComingSoon.net.

Interview: Lamb Star Noomi Rapace & Director Valdimar Jóhannsson Talk Dark Folktale

Valdimar Jóhannsson’s slow-burn feature directorial debut Lamb, written by Jóhannsson and Icelandic author Sjón and starring Noomi Rapace, Hilmir Snær Guðnason, and Björn Hlynur Haraldsson, is a uniquely bizarre and moving supernatural thriller examining grief, parenthood, family, hope, loss, betrayal, and the unforgiving wild encompassed by an escalating tension that promises an unexpected reckoning on the desperate couple at the center of the dark (and occasionally humorous) folktale.

“In the isolated depths of rural Iceland, a childless couple, Maria (Rapace) and Ingvar (Guðnason), make an alarming discovery one day in their sheep barn: a newborn unlike anything they’ve seen before,” reads the official synopsis for the film, releasing in U.S. theaters on October 8. “They decide to raise the girl, Ada, as their own, but sinister forces — including one very pissed-off ewe — seem determined to return Ada to the wilderness that birthed her.”

Following the film’s screening at Fantastic Fest in Austin, Texas, ComingSoon’s Senior Movie & TV Editor Kylie Hemmert spoke with director and co-writer Valdimar Jóhannsson and star Noomi Rapace about the character of Maria, borrowed happiness, violence feeding violence, Lamb 2: Welcome to Ram World, and more.

*Warning: This interview contains major spoilers for Lamb*

Kylie Hemmert: One of the things that I really love about the movie is how it sticks with you long after you’ve seen it, because it is so original and unique. When you were filming the movie, did you know you had something special on your hands?

Valdimar Jóhannsson: We were just planning to make a film that we really wanted to see and have not seen.

Noomi Rapace: I mean, I knew that we were filming something that I haven’t seen and that I would like to go and see. And I felt like every day on set, uh, I had this sensation of like, wow, I did not expect this or this … this is a weird, uncomfortable, and beautiful feeling. [laughs]

What was your favorite part about playing Maria?

Rapace: Oh, wow. Good question. I love her … you know what was really hard for me, ’cause she doesn’t show a lot of emotions in the beginning, she’s quite plain, almost, you know? And to trust the journey, trust the film, to not let my own desperate need to be liked or to connect with the audience or to let it slip, to not start to bleed out a little bit of emotions too early, or too soon, to really trust the journey, to trust the story, that was like — some days I was like, maybe they won’t understand. Maybe you can’t read what’s going on. Maybe I will lose the audience when it’s like, you know, will they be able to wait for this? Like in the second chapter, [or] third chapter before they get the reward of what’s going on and what happened to her.

And then I made a decision. I was like, you know what? It’s not about me. This film is about this family drama. It’s a story; I’m just one player. And it was such a beautiful realization of feeling like I belong to this group of people and animals and I’m just a background player. And that is something I carry with me now, doing press, doing other — I’m filming in Romania — like that kind of sensation. It’s not about me. And it just allows you to exist without all this, like, self-obsessive behavior. [laughs]

So, the hybrid lamb, Ada, is being raised human and behaves like a human child. But is there any part of her that experiences the world from the perspective of an animal or is she mostly just human?

Jóhannsson: I think, you know–

Rapace: So interesting you say that. A lot of people say that she’s more animal, right?

Jóhannsson: Yeah, but I was … I think, you know, for me, I’m always trying to reach into her mind, you know, what she’s thinking about. And I somehow also feel that she understands everything, what is going on. But yeah, you know, I don’t know … somehow I feel that she’s just almost 50/50, you know?

For a story like this, was it inevitable that it was going to end tragically in the way that it did?

Jóhannsson: Uh, yeah, I think so. Or, you know, it depends on how you look at it. But, I think it was really early on, you know, that was how we planned to have the end. We wanted to have it open and that people would maybe read different things out of it.

And where do you think Maria would go from here? Like, do you think she would go search for Ada or just try and process more tragic losses that she’s now going through?

Rapace: I think she knows that Ada is not coming back. I mean, if there was a chance for her to bring her back, she would go straight away. I think she always knew that it would come to an end and that she was lended happiness, or like a borrowed happiness, and a possibility to come back to life. It’s almost like, you know, you’re on medication for a year and then you have to stop the medication and be on your own and make it yourself.

And I feel like, you know, when we first meet her, as I said, it was kind of like her life was on hold. And then in the last chapter, she comes back to life. She makes love to Ingvar and she’s dancing, she’s drinking, she’s vibrant. She, she gets colors, you know? She’s breathing again. And then when this very last thing happens, it’s like her pain is finally visible and her pain is finally out there and released. And that’s the beginning of healing, I think. The real healing. You have to allow yourself to really feel and to open that. Otherwise, it will be no … you know, it’s like emotional oxygen into your scar tissue and then you can start to heal.

Jóhannsson: I also think that, because you know that it will not last forever — it would probably be like only for a short while or something — I think that is also the reason why everything that is, uh, what is it? Disturbing their [gravity]–

Rapace: A threat. Like Pétur (Haraldsson) was coming in and he’s threatening my happiness ’cause I know it won’t last. So there can’t be any disturbing moments or elements.

Jóhannsson: Yeah, so you try to work on all the elements, you know?

Rapace: Yeah. I’m protecting my happiness and this gift I have been given, or taken. [laughs]

I’m glad you mentioned the dancing ’cause I was going to ask, how much fun did you have filming watching the game, the dancing, all that happiness in that moment? 

Rapace: Oh, I loved it. I loved it. I want to do more dancing videos.

Jóhannsson: Yeah, I think we should make a dance film.

Rapace: Yeah, we should. Valdimar directed a music video within it ’cause he wants to be a music video director, too.

Jóhannsson: [laughs]

Rapace: And that’s his like, that’s his new message to the world. [laughs]

Jóhannsson: Finally, a dream come true.

I love that. So, what was the most challenging part about working with all the animals?

Jóhannsson: Uh, yeah, there’s a lot of [challenges], but somehow, you know, I think how we treated them and our amazing crew … somehow it just, what do you say, went correct? You know, it worked.

Rapace: I mean, you also created a method of work that embraced the unknown, you know, the unknown of working with animals and kids. They won’t do what you want them to do. You have to, you know, you have to build it around so you can use whatever comes and let them be them, ’cause then you will get the most authentic moments.

Yeah, it looked really seamless.

Rapace: Thank you.

When they first see that the lamb is born and they realize that it is, like, a hybrid being and they immediately take her, is part of that because they’re worried about her survival, or is it only that they’re desperate to have [a] child back after such a loss that they just jump on the opportunity?

Rapace: I think it’s quite egocentric. It’s not about her not surviving. It’s about our need to heal and to be parents again, and to be a mother again.

Jóhannsson: Yeah, I agree.

And going back towards the end, that is Ada’s biological father coming back for her, correct?

Rapace: Yeah.

Jóhannsson: Yeah, could be, you know.

That’s one of the possibilities, yeah.

Rapace: [laughs]

Because I was going to ask, he never tries to approach them to say, “Hey, I want her back.” Or, you know, it just is violent. Do you think part of that is the result of Maria’s actions when she chooses to kill, uh, the sheep mother, that because she responds violently, he responds violently, or are they not really connected?

Rapace: Wow, this is so interesting. Good question.

Jóhannsson: Yeah, you know, there’s an old story from Iceland [that] it was very normal that you maybe, uh, took your child to another home. And then you came back when it had grown up and–

Rapace: When it was convenient.

Jóhannsson: Yeah. So, you know, that could be part of it.

Rapace: But also, I do think like, you know, violence will always feed violence and if you start a circle of violence, you will get it back. So, there is that aspect as well, you know, when you break that golden rule.

Jóhannsson: Yeah.

I was curious, have you thought more about the mythology of Ada’s species, like if there’s a whole group of them out there, or is it just the two of them?

Jóhannsson: I have met a lot of people that think, you know, uh, we will make another film and that we will start in this world of ram society. [laughs]

Rapace: Yeah, Lamb 2: Welcome to Ram World.

I’d be excited to see it.

Rapace: Like Maria going into Ram Land, finding Ada. [laughs]

Jóhannsson: You would be the only human.

Rapace: I’m the only human, yeah.

Jóhannsson: [laughs]

I think that would be amazing. 

Jóhannsson: Yeah, we’ll have to think about it.

---

This interview has been lightly edited for clarity.

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Under Wraps Director Alex Zamm on Remaking the First Disney Channel Original Movie

Under Wraps, a remake of the first Disney Channel Original Movie, will premiere Friday, October 1 on Disney Channel before arriving on Disney+ a week later on October 8. The film follows three students that come across an ancient reawakened mummy that they quickly become friends with. Directed by Alex Zamm, it stars Malachi Barton, Christian J. Simon, Sophia Hammons, and Phil Wright in the main roles.

“The story follows three 12-year-old friends, Marshall, Gilbert, and Amy, as they happen upon and awaken a mummy, which they affectionately name Harold, and must rush to return him to his resting place before midnight on Halloween,” says the official synopsis. “Along the way, the team narrowly escapes a nefarious group of criminals who are intent on selling the mummy to the highest bidder. When Harold is inevitably captured, Marshall, Gilbert, and Amy must band together to stand up to the criminals, face their fears, and rescue their new—but rather ‘ancient’—friend.”

ComingSoon Editor-in-Chief Tyler Treese spoke with Under Wraps director Alex Zamm about the film, how he chose to update the original, and what went into the grunt language that Harold speaks.

Tyler Treese: What was the process like updating this film and choosing what story beats to keep? Because it’s very faithful, but you do update the story in some really smart ways.

Alex Zamm: Thanks so much. I’m really happy to hear you say that. My first and foremost intent was to be faithful to the original and to honor it because I loved it and I grew up with it and I feel very privileged to introduce this story to a new generation. I’m a huge fan of monster movies, but I wanted to really find more and more moments to humanize Harold. So the whole Roomba sequence and the honey and him in the mirror were chances to find new colors for Harold to play. So instead of him just grunting. He was always gonna be a fish outta water, but it was really fun to have him be at odds with the modern world in different ways. We kept certain beats like him being a fish outta water and going into the world.

I love what the first one did with the hospital sequence, where they used the paddles on him, and he goes to the fast food restaurant window. Love those sequences. But we wanted to also say, “They did those well, what can we do?” So we gave Harold agency when he sees the picture of the princess, we say, “Oh, why is he after finding out about her?” It gives him a mystery to follow and it gave us a fun sequence for him being dragged by a bus.

Another one was Kubat’s fantastic in the first one, I love that he disappeared and then he pretends he’s dead. Then he shows up in the first one. In this one, I thought let’s make him more present. Let’s just try something different where he’s actively trying to find out who stole his mummy, tracking down the inhaler clue, tracking down the kids, finding out that they’re at the carnival. So it makes him a more present antagonist. Another one was, Harold is just a fantastic dancer. Phil Wright, who plays Harold, is just a world-class gifted choreographer. So leaning into his abilities to express movement and to dance. Why not use that? So that gave us a chance for him to take his 4,000-year-old creaky bones, start to stretch him out a little bit, and then to become the life of the party and to finally belong.

I thought Phil Wright was so great as the mummy and it’s an interesting role for him because he grunts, but it’s largely a nonverbal role. It’s so much about his movement and giving context through that. As a director, what challenges come with one of the main characters, not really speaking in a way that we can understand?

It’s almost like doing Harpo Marx. You watch the Marx Brothers and you go, this guy communicated so much through [body movement], or the great silent comedians. So Phil and I watched a lot of Harpo, the Marx brothers. We watched Buster Keaton. We watch a lot of Chaplin. We watched some of the great scenes with Lucy and Harpo Marx in the mirror and her doing the candy conveyer belt. I think the biggest challenge for me was I wanted to humanize a mummy and to do that, there was a lot of elements at wanting to build the character. I thought if we humanize the mummy, everything’s gonna come into place for this movie.

So we spent a lot of time with the prosthetic special effects makeup department to make a suit that moved fluidly with Harold. So he could play stiff, but then he could become fluid and comedic. Then we made sure that he had prosthetics that weren’t latex like the one 20 years ago, but silicone, which wasn’t available back then, so that all his performance comes through. Every facial expression comes through that silicone and it moves with him.

Then the grunt language was important. So I would go through with Phil on every line of dialogue and write subtitles for him. So he’d say, okay, so the kids are saying this and you’re grunting here. You’re saying something specific. You’re not just going [grunts], you have something in your mind that you’re saying. So every line of dialogue was written out for him to a interpreting grunt language. We would spend a lot of time figuring out which sounds would make the most sense for those emotions.

We did that, not just in production, but all the way through post. Like I was doing them in the microphone, in the editing room, just so we would have reference. Then we’d say, oh, that’s an opportunity. There’s comedy here. There’s drama. There’s emotiveness here. We did that throughout, even right up through the end of post, like little things. I’ll give you an example they’re in Buzzy’s shop, and she tries to look at his amulet and he is very protective because without the amulet he deactivates completely. So she tries to touch it, and he snarls at her and then he gets admonished by the friends who say, listen, she’s a friend. Instead of him saying nothing, we had him go like [grunts sadly]. Like my bad, I’m sorry. It made such a difference in humanizing him that he feels bad about his behavior, as opposed to you can’t tell me what to do or whatever you could interpret from those grunts. So we were very specific and I was really proud of what we all built together, the whole team.

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Maya and the Three Trailer Teases Netflix’s 9-Part Animated Event

Netflix has debuted the full trailer Jorge R. Gutiérrez’s upcoming animated event titled Maya and the Three, which is set to be told in nine epic chapters in a new hybrid format. Featuring the voices of Zoe Saldaña, Gabriel Iglesias, Allen Maldonado, and Stephanie Beatriz, the series will be available for streaming on Friday, October 21.

The Maya and the Three trailer, which you can check out below along with the poster, introduces a brave warrior princess named Maya as she leads three outcasts in an epic journey to save the world. The video also gives us a preview of all the obstacles they must face including monsters and evil gods.

Who are “The Three” joining our Teca Eagle Warrior (@zoesaldana)?

Meet Rico the Rooster Wizard (@AMiseverywhere), Picchu the Barbarian Puma (@fluffyguy) and Chimi the Skull Archer (@iamstephbeatz)!!! pic.twitter.com/PH7r4KuWUq

— Jorge R. Gutierrez (@mexopolis) September 30, 2021

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Maya and the Three hails from creator and director Jorge R. Gutiérrez, who is the genius behind Nickelodeon’s El Tigre series, and 20th Century Fox’s The Book of Life film which are both inspired by the Mexican culture, with the latter earning a Golden Globe nomination for Best Animated Feature Film. The film is an adventure full of heart and humor, inspired by a rich, vibrant mixture of Aztec, Maya, and Inca mythology, and modern-day Caribbean culture.

“In a fantastical world, where magic turns the world and four kingdoms rule the lands, a brave and rebellious warrior princess named Maya is about to celebrate her fifteenth birthday and coronation,” reads the official synopsis. “But everything changes when the gods of the underworld arrive and announce that Maya’s life is forfeit to the God of War — a price she must pay for her family’s secret past. If Maya refuses, the whole world will suffer the gods’ vengeance. To save her beloved family, her friends, and her own life, Maya embarks on a thrilling quest to fulfill an ancient prophecy that foretells the coming of three great warriors who will help her defeat the gods and save humankind.”

Joining Saldaña in the animated event’s ensemble cast is Gabriel Iglesias as Picchu, Allen Maldonado as Rico, Stephanie Beatriz as Chimi, Diego Luna as Zatz, Gael García Bernal as The Jaguar Triplets, Alfred Molina as the God of War, Kate del Castillo as the Goddess of Death, Danny Trejo as the God of Earthquakes, Cheech Marin as the Gods of Wind & Storm, Rosie Perez as the Goddess of Gators, Queen Latifah as Gran Bruja, Wyclef Jean as Gran Brujo, Jorge R. Gutiérrez as King Teca, Sandra Equihua as Queen Teca, Isabela Merced as the Widow Queen, Chelsea Rendon as the Goddess of Tattoos, Joaquín Cosío as the God of Bats, Carlos Alazraqui as the God of Dark Magic, Eric Bauza as the God of Jungle Animals and Rita Moreno as Ah Puch.

RELATED: Netflix Unveils Fall Release Dates for 42 Movies Including Don’t Look Up 

Maya and the Three is written by Gutiérrez, Silvia Olivas, Doug Langdale, Candie Kelty Langdale, with Jeff Ranjo serving as the Head of Story. It is executive produced by Gutiérrez, Ranjo, and Silvia Olivas, with Tim Yoon set as a producer. Candie Kelty Langdale and Doug Langdale are also acting as consulting producers for the project.

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PlayStation Acquires Bluepoint Games, New Game Won’t Be a Remake

Sony accidentally let it slip that it was purchasing Bluepoint Games near its acquisition of Housemarque and now it has made the deal more official. Bluepoint Games is now a first-party Sony studio and, more surprisingly, the next game for the team won’t be a remake; a second for the team that was established in 2006.

PlayStation announced this on the PlayStation Blog. Bluepoint Games President Marco Thrush spoke briefly on the topic, saying that it had grown to over 70 people since its inception but kept its culture of having fun making games. Sony shared these ideals, making for a fitting partnership.

“PlayStation has such an iconic gaming catalog and for us there’s been nothing better than to bring some of gaming’s masterpieces to new players,” he said. “Becoming a part of PlayStation Studios, empowers our team to raise the quality-bar even further and create even more impactful experiences for the PlayStation community.”

RELATED: Report: Twisted Metal Game in Development From Destruction AllStars Team

Thrush and Head of PlayStation Studios Hermen Hulst spoke to IGN more about the deal. They led with the team’s next game, which is still a secret since Bluepoint only launched the Demon’s Souls remake on PlayStation 5 in November 2020, but is planned to be an original title.

“Our next project, we’re working on original content right now. We can’t talk about what that is, but that’s the next step in the evolution for us,” said Thrush.

The studio has only made remakes like Shadow of the Colossus or less intensive remasters like the God of War Collection since its first game, Blast Factor, one of the PS3’s few digital games at launch and the only original title it has made. Given this pattern, a new game is unexpected, especially as Bluepoint put out an odd cryptic tweet on Halloween in 2019 that hinted at something else. This tweet seemingly contained cheeky references to Castlevania: Symphony of the Night, Resistance, Syphon Filter, Metal Gear Solid, and ICO, just to name a few, and gave the impression that it was at least remaking or remastering at least one of those classic titles.

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And while remakes weren’t completely ruled out for the future, Thrush said that remaking games like Demon’s Souls and Shadow of the Colossus already takes a lot of original work so a wholly original game just the next step. After all, the studio is filled with people who have made games that aren’t remakes. Sony also isn’t pressuring Bluepoint to get a game out as Sony has games in the meantime to keep players satisfied. Hulst said Sony was in it for the long haul.

“It’s always about making quality games in a way that’s sustainable for the teams, for the individuals on the teams. Because obviously when we acquired team like Bluepoint, this is a long-term play for us, right? We’re not in it to get some quick results,” said Hulst.

The two also agreed that the two entities worked better together as Bluepoint now has access to Sony’s resources and doesn’t need to balloon up to a huge size; Sony will fill in those gaps. And, of course, this affords Bluepoint some security as an independent studio has to focus on staying afloat in addition to actually making games. Hulst, as a former leader of Guerrilla Games, said he could empathize with that struggle.

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Marvel Studios is Currently Developing 31 MCU Projects

In a recent interview with Argentinian radio station 221 Radio, Marvel Studios’ long-time producer Victoria Alonso, who has recently been promoted as the studio’s President of Physical, Post Production, VFX & Animation, has opened up about the future of the expanding Marvel Cinematic Universe.

Alonso confirmed that the blockbuster studio currently has 31 MCU projects in development. It’s unclear if the said number pertains to projects that haven’t been announced yet or if the total also includes previously confirmed projects such as the Blade and Fantastic Four films.

RELATED: Two Untitled Marvel Films Get 2024 Release Dates

Despite a full-year delay caused by the ongoing pandemic, Marvel Studios has still successfully managed to kick off their Phase 4 to a great start. So far, the company has already released four Disney+ series and two films, which have been well-received by critics and fans, who are excited with the direction that the franchise is going.

The blockbuster studio currently has three remaining releases for this year including Disney+ Hawkeye series, Chloe Zhao’s star-studded Eternals film, and Spider-Man: No Way Home starring Tom Holland and Benedict Cumberbatch.

For other upcoming projects that Marvel Studios had already confirmed, you can check them out below along with their release dates and status:

SERIES

• Ms. Marvel – 2022 (Post-Production)
• Moon Knight – 2022 (Filming)
• She-Hulk – 2022 (Filming)
• Secret Invasion – 2022 (Pre-Production)
• The Guardians of the Galaxy Holiday Special – December 2022
• Ironheart – TBA
• Armor Wars – TBA
• Loki Season 2 – TBA
• What If…? Season 2 – TBA

FILM

• Doctor Strange in the Multiverse of Madness – March 25, 2022 (Post-Production)
• Thor: Love and Thunder – May 6, 2022 (Post-Production)
• Black Panther: Wakanda Forever – July 8, 2022 (Filming)
• The Marvels – November 11, 2022 (Filming)
• Ant-Man and the Wasp: Quantumania – February 17, 2023 (Filming)
• Guardians of the Galaxy Vol. 3 – May 5, 2023 (Pre-Production)
• Fantastic Four – TBA
• Blade – TBA
• Deadpool 3 – TBA

RELATED: Chloé Zhao Says Eternals Will Have ‘Very Big Effect’ on MCU

The said 31 projects might potentially include Anthony Mackie’s Captain America 4, the Hawkeye spin-off Echo series, and the Wakanda-centered series, which still haven’t been confirmed by Marvel Studios. However, in a previous interview, executive producer Brad Winderbaum teased that the company is already developing multiple animated projects as well.

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The Promised Neverland Illustrator Creates Gorgeous Dune Poster, Draws Praise From Villeneuve

With the release of Denis Villeneuve’s Dune right around the corner, the illustrator of The Promised Neverland manga series, Posuka Demizu, has created a spectacular Dune poster in celebration. The film is set to hit Japan on October 15, one week before it launches in theaters in the United States on October 22. 

The poster, of course, bears a striking similarity to the art style of The Promised Neverland, and it even drew praise from Villeneuve himself. “It’s very meaningful to me that other artists can draw inspiration from my work and incorporate it into their own,” said Villeneuve. “I consider it a beautiful gift. There is something so special about using gravity in such a dynamic way to enhance the drawing. I think it’s very beautiful and very poetic.”

Check out The Promised Neverland illustrator’s Dune poster below:

The Promised Neverland’s original manga run lasted from August 2016 through June 2020 and consisted of twenty volumes. The series has since ended, but was given an anime adaption in 2019. While the first season of the show was met with rave reviews, the second season had less than stellar reception from fans due to animation quality and some pretty major changes to the source material. 

Meanwhile, Dune is the second feature film adaptation of the prolific sci-fi book series, with the first being David Lynch’s Dune released in 1984. At the moment, Warner Bros. has not greenlit a sequel for the 2021 film. 

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Five Anime Series That Are Due for a Remake

Remakes have been a trend for quite a while and have shown little signs of slowing down as nostalgia continues to grow. From recent anime examples like Fruits Basket, FullMetal Alchemist, and Sailor Moon, it’s clear it’s not just for western media. Many of these anime remakes are more faithful adaptations, while others update the material in a fresh way. With some surprise announcements like the upcoming Tokyo Mew Mew series, I decided to take a look at some of the animes that are most deserving of their own second chances.

Black Cat

The Black Cat anime isn’t quite as bad as some others on this list (looking at you, Rave Master), but it still deserves a hearty “yikes.” The manga, originally published from 2000 to 2004 is an absolute masterpiece by author Kentarou Yabuki. On the other foot, the anime, released from 2005 to 2006 is an unqualified disaster. Changing the story for no apparent reason – remember, the manga was completely finished by the time the anime was released – it lacks the heart, charm, warmth, and comedy of its source material.

Cut out the utterly bizarre last arc of the anime that was tacked on, don’t rush the character development and the plot, write it better, and hopefully animate it better too, and you’d have at the very least a cult classic if not a big enough hit to warrant a sequel to the manga. Besides, who doesn’t want to see more of Train and Creed?

Groove Adventure Rave

If you’ve never seen Groove Adventure Rave aka Rave Master, please don’t. I say this as someone who watched the dub on Toonami on Saturday nights, who then got into the manga because of it. Please don’t watch the anime.

With that out of the way, where to begin? The animation and the art is absolutely atrocious, the voice acting is poor at best, and the plot of the manga is butchered to try and fit more content into the episodes. There’s really nothing good I can say about it, except it thankfully ended earlier than the manga, and the English version had a catchy theme tune. By comparison, the manga is a pretty epic 35 volume journey of friendship and determination and is often considered a classic by shounen fans.

Redoing the anime would allow the entire story of Rave to pan out on the screen and correct the mistakes of the first series, which unfortunately is what a lot of people know Rave from, as the manga wasn’t a super hit at the time. Admittedly, 298 chapters is a lot of ground to cover, but they adapted all 549 of Fairy Tail and included filler arcs, so c’mon!

Ouran High School Host Club

Unlike our first two entries on this list, the original Ouran High School Host Club anime was excellent. It was funny and witty and brought the manga to the screen with fluidity and a clear understanding of the source material. However, like many shojo animes, it ended too soon. The manga was still in production at the time, so the anime ended after 26 episodes, rather than the 18 volumes or 87 chapters of the manga.

So, there’s a lot to catch up on! I see this as a very similar case to the recently redone Fruits Basket. Nothing wrong with the first go, but the number of characters missed and the plot development and arcs in the later volumes of the manga would be a delight to watch play out on the screen. Basically, there are only good things to be gained from redoing Ouran, and there’s still a number of fangirls ready and waiting in the wings to pounce on the Host Club again. If they can get the original Japanese voice actors to reprise their roles again, so much the better.

Air Gear

Air Gear is actually my favorite anime series ever (it’s on Hulu if you want to check it out). Something about a bunch of lunatics running around on flying rollerblades is really fun to watch and the animation of it is amazing. The soundtrack by Skankfunk as a backdrop to the entire series does not hurt either. Like Ouran, however, the Air Gear anime barely scratched the surface of what the manga covered. In 25 episodes they could never hope to cover 358 chapters worth of material, even if it had been fully released at the time.

That being said, Air Gear, both the manga and the anime, are much more niche than something like Ouran, so why the remake? Like I said, lunatics on flying rollerblades. While the manga goes through a lot of character and emotional arcs and there’s plenty of twists and turns, as well as fanservice, I don’t think that’s the mainstream appeal of it, as opposed to the insane action shots and the typical shounen practice of pulling power-ups out of (literally, sometimes) thin air. The bizarrely short OVA collection released in 2010 shows what it can look like with some really excellent animation quality as well. Still, I would absolutely picket protest to get Skankfunk back on the soundtrack again.

Ultra Maniac

From the creator of Marmalade Boy, Ultra Maniac is the story of a hilariously inept witch who goes to stay on Earth to study abroad and ends up causing a bunch of trouble in the process. Yes, this is absolutely a shojo series. It’s light, fluffy, and a lot of fun, capping out at 25 chapters. The original anime lasted for 26 episodes and while it was fine, and a bit of a cult classic, it was hindered by the fact that it was made in the middle of the manga’s run.

It should be noted that creator Wataru Yoshizumi did have input on the anime, the different changes they made, and she explicitly designed several of the new outfits, but it’s also very clear that the anime is trying to be something very different from the manga. Rather than a slice of life with light romance and comedy magic, it turned into a magical girl rivalry series with strange hats.

The biggest gripe to be had about Ultra Maniac’s anime is the ending, which totally missed out on the happy endings for everyone that are to be found in the manga. Not to say that it ended on a melancholic note, but Nina, Ayu, and the gang all deserved better like the characters in many anime remakes.

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Venom: Let There Be Carnage Review: Woody Harrelson Thrives in Blockbuster

After three years, audiences are getting a sequel to the 2018 superhero film, Venom. The sequel called Venom: Let There Be Carnage is directed by Andy Serkis, the motion capture and voice behind Gollum, Snoke, King Kong, Caesar, and he has previously stepped into the Marvel universe with his portrayal of Ulysses Klaue in the MCU. Getting an icon of pop culture to helm a superhero flick was a fantastic idea that worked marvelously. This is a wickedly entertaining movie that moves at a breakneck pace, and it will give fans of the first Venom more of what they loved from the first.

This sequel picks up where the first left off, with Eddie Brock (Tom Hardy) living with Venom in his body. Their dynamic has always been the best aspect of the character. The first film had moments of excellent banter as Eddie was terrified of his situation, but Venom was always in control, which led to a funny contrast. But this time around, their relationship has strained. The two feel like a couple whose relationship has long departed the honeymoon phase and has weakened over the years. This leads to some quite hilarious scenes where the fact that they are so different and at odds is precisely why they are perfect for each other.

As far as the laughs, this movie delivers. This sequel doubles down on the humorous moments of the first, ramping up the hilarity for a film that never stops being entertaining for a second. The concept of this protagonist is absurd, and this movie takes that and embraces it. The way Eddie and Venom bicker like a married couple while also feeling like two warring sides of Eddie’s brain is effortlessly enjoyable. Hardy’s passion for the project shows not only in his dedicated comedic performance but also in that he helped write the film’s story.

Our film has Eddie trying to get his journalism career back on track by interviewing a serial killer named Cletus Kasady (Woody Harrelson). However, after Cletus bites Eddie’s hand, he becomes the host of the villainous symbiote known as Carnage. Harrelson does an excellent job in this role. He feels like a better villain casting choice than Riz Ahmed, who played Riot in the first film. While Ahmed is a terrific actor, he felt out of place as the antagonist of a superhero film. But Harrelson chews up every bit of the scenery he has, and he’s mesmerizing in Let There Be Carnage.

The thing with films like Venom: Let There Be Carnage is that they are not trying to be anything more than entertaining. Some blockbusters tend to take themselves seriously, using a mainstream formula to shed light on political issues and mature themes. But this movie doesn’t care about maturity. Instead, it’s a big CGI-fueled romp where two monsters fight each other. The film’s breezy 97-minute runtime allows for a tight, minimal story that can be summed up in one sentence: “the good guy has to fight the bad guy.”

As the supporting characters have nearly nothing interesting to do for the entire narrative, the movie is a straightforward series of scenes leading up to a final battle. There is nothing sophisticated about the film’s writing, nor are there standout action sequences beyond the ending. It has no lofty ambitions besides throwing a bunch of cool stuff at the screen. Essentially, this movie is all killer, no filler, and it doesn’t waste a single second on any character depth that may have made the film better or worse.

Although the villain of the movie is named Carnage, Let There Be Carnage is free of any blood, adhering to the PG-13 nature of a majority of mainstream action movies. The film could have used an R rating which may have helped the action scenes have more staying power. There’s also a police officer character named Mulligan (Stephen Graham), who is quite dull and never gets fleshed out.

With a finale that uses an action movie trope that has been consistently recycled for decades, Venom: Let There Be Carnage ends weakly. It’s disappointing that the film lacked the ingenuity to change up a formula and instead went with what has been seen repeatedly before. Nevertheless, this is a lean, mean action machine that delivers on the laughs and action we expect from a superhero film. The mid-credits scene is one of the best we’ve seen from Marvel yet, and you cannot miss it. This is a ferociously fun movie with great performances and a nonstop sense of entertainment.

SCORE: 7/10

As ComingSoon’s review policy explains, a score of 7 equates to “Good.” It’s a successful piece of entertainment that is worth checking out, but it may not appeal to everyone.

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Disclosure: The critic went to a press screening of the film for our Venom: Let There Be Carnage review.

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Apple Wins Rights to George Clooney & Brad Pitt Thriller

Following an intense bidding war against multiple major competitors including Netflix, Amazon, Sony Pictures, and Warner Bros. Pictures, Deadline brings word that Apple Studios has successfully won the rights to Spider-Man: Homecoming director Jon Watts’ high-profile project. The deal also reportedly includes a theatrical release component. The untitled thriller film is set to reunite Oscar winners George Clooney and Brad Pitt after 13 years since The Coen Brothers’ 2008 black comedy crime pic Burn After Reading.

The project will be part of the streamer’s growing list of upcoming star-studded films which includes: Martin Scorsese’s Killers of the Flower Moon starring Leonardo DiCaprio; Antoine Fuqua’s Emancipation starring Will Smith; the musical comedy Spirited starring Will Ferrell & Ryan Reynolds; and  Raymond and Ray starring Ewan McGregor & Ethan Hawke.

RELATED: Amazon’s The Tender Bar Sets Date For George Clooney-Directed Pic

Further details about the untitled film’s plot and characters are still being kept under wraps, but it’s being described as a thriller centered around two lone wolf fixers, who wind up getting assigned to the same job.

The project will be written, directed, and produced by Jon Watts. This marks the filmmaker’s first non-Marvel project in a long while after only working on the Tom Holland-led Spider-Man films for the last six years. In addition to the untitled thriller, Watts is also currently working on two other major projects including Spider-Man: No Way Home which is set to debut this December, and Marvel Studios’ long-awaited Fantastic Four reboot.

RELATED: Sony’s Brad Pitt-Led Action Pic Bullet Train Sets 2022 Release Date

The thriller pic will be produced by Clooney through his Smokehouse Pictures banner, and Pitt through his Plan B Entertainment. The outlet notes that the potential acquisition deal might result in an eight-figure range payday for both A-listers.

Clooney and Pitt’s incredible chemistry was first seen in the blockbuster Ocean’s 11 films, where they portrayed the roles of heist masterminds Danny Ocean, and Rusty Ryan, respectively. Steven Soderbergh’s heist comedy trilogy had earned a combined gross of over $1 billion at the worldwide box office.

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