Alan Thicke, best known for his role as Jason Seaver on Growing Pains, has died at the age of 69.
According to TMZ, he died of a heart attack after being taken to Providence St. Joseph medical center in Burbank, California. The actor was reportedly playing hockey with his 19 year old son when the heart attack occured.
Thicke’s most recent work was on the Netflix exclusive Fuller House; he even tweeted about the show’s second season a mere hours before his death.
He leaves behind his wife, Tanya, and his children Brennan, Carter and Robin.
A positive among critics and fans from the divisive Batman v Superman: Dawn of Justice was Jeremy Irons’ unique portrayal of Bruce Wayne’s butler, Alfred Pennyworth. Speaking on the topic, Comingsoon.net asked the actor if he changed his portrayal in Justice League based on the negative reception to BvS.
“No, Alfred is a stickler for staying the same. He tries to modulate everybody else. In a very gentle, English way he tries to deal with these people who can do all these extraordinary things in a very calm way, a very grounded way. He does not modulate at all. He sometimes lets Bruce Wayne out a bit on the lead, but he’s still attached.”
Did you enjoy his performance as Alfred? Let us know your thoughts in the comments section down below.
“Fueled by the hero’s restored faith in humanity and inspired by Superman’s selfless act, ‘Justice League’ sees Bruce Wayne enlist the help of his newfound ally, Diana Prince, to face an even greater enemy. Together, Batman and Wonder Woman work quickly to find and recruit a team of metahumans to stand against this newly awakened threat. But despite the formation of this unprecedented league of heroes—Batman, Wonder Woman, Aquaman, Cyborg and The Flash—it may already be too late to save the planet from an assault of catastrophic proportions.”
Justice League hits theaters on November 17, 2017.
The Hollywood Reporter just revealed that both Harley Quinn and Deadshot are getting solo spin-off movies, but what about the Squad? Well don’t worry too much, THR also states that Warner Bros. is developing a sequel to David Ayer’s Suicide Squad.
Suicide Squad was met with mixed critical reception but was a major financial success, especially when you factor in the unknown element of this property. The film grossed $745.6 million worldwide, becoming the 13th highest-grossing comic book movie of all time.
There is no official word on when the Squad sequel will land but it’s likely that we’ll see the Deadshot and Harley Quinn movies first due to the current popularity of those characters.
Are you excited to see a Suicide Squad sequel in the DC Extended Universe? Be sure to let us know in the comments section below.
It feels good to be bad…Assemble a team of the world’s most dangerous, incarcerated Super Villains, provide them with the most powerful arsenal at the government’s disposal, and send them off on a mission to defeat an enigmatic, insuperable entity. U.S. intelligence officer Amanda Waller has determined only a secretly convened group of disparate, despicable individuals with next to nothing to lose will do. However, once they realize they weren’t picked to succeed but chosen for their patent culpability when they inevitably fail, will the Suicide Squad resolve to die trying, or decide it’s every man for himself?
Warner Bros. certainly seems to be banking on the characters introduced in Suicide Squad. According to The Hollywood Reporter, Harley Quinn isn’t the only character getting the spin-off treatment, but Will Smith’s Deadshot is also getting a solo movie.
Will Smith’s Deadshot was easily one of the highlights Suicide Squad, creating a genuinely torn character with much more story to tell. Not much else is known about this spin-off movie, with no official release date announced.
This goes side by side with the report that Margot Robbie will reprise her role as Harley Quinn in a David Ayer-directed Gotham City Sirens movie.
If you were one of the many people who loved Margot Robbie’s portrayal of Harley Quinn, then the future of the DC Extended Universe just got much brighter. The Hollywood Reporter has revealed that the Harley Quinn spin-off movie will be titled Gotham City Sirens, and will be helmed by Suicide Squad director David Ayer.
Gotham City Sirens is also the name of a popular DC Comics series that featured Harley, Catwoman, and Poison Ivy. A Harley Quinn spin-off movie was mentioned almost immediately after the release of Suicide Squad, with audiences clearly having a love for the villainous girlfriend of The Joker.
Geneva Robertson-Dworet will write the script for Gotham City Sirens with Margot Robbie and David Ayer producing. Suicide Squad was challenged critically but went on to become a major financial success for Warner Bros. reaching $745.6 million worldwide.
Warner Bros. hasn’t set a release date for Gotham City Sirens but after the success of Suicide Squad and love for Harley Quinn we;re sure the project will be a top priority for the studio.
Are you excited to see a female team-up movie in the DC Extended Universe? Be sure to let us know in the comments section below!
The Walking Dead’s midseason finale began the process of delivering on its set-up. Since season seven began, the show has dedicated a lot of time to moving pieces into place. Recently, the season has had several one-off episodes, dedicated to less relevant characters. It’s been an elaborate set-up to what is known in the comics as “All Out War.” Now, we finally see the fruits of the show’s labor blossom.
What makes “Hearts Still Beating” such a welcome change of pace is the actions of the protagonists. Not that there’s a massive gun battle or anything. But the good guys, particularly the protagonists, are finally doing things again. Too much of this season has been Negan doing things to characters, repetitive of what we’ve already seen. Going beyond the “Negan is evil” and bringing the main characters back into the foreground makes for a more exciting show.
The deaths of Spencer and Olivia aren’t too shocking, but they fit the pace of the episode well. Character deaths have always been a part of the show’s formula since day one. They may not be as dynamic or sudden as the deaths in the premiere, but that arguably makes them better. Spencer’s death feels especially warranted, not just because he hates Rick, but because he was never going to join the main squad. Likewise, Olivia’s death wasn’t as satisfying, but it feels par for the course of the precedent The Walking Dead has set. They were never the center of attention, despite getting some generous screen time. They functioned well in their secondary roles, but they have now been ushered unceremoniously into the afterlife.
Speaking of the primary characters, it’s nice to see the gang get re-assembled. There have been too many episodes this season solely focused on side characters. It’s more fun to get glimpses into everyone’s lives, so it doesn’t get too boring. The Daryl episode worked okay, but the Carol and Tara episodes got boring very quickly. This episode, worked really well by giving the side characters equal representation. It’s the kind of balanced storytelling that makes Game of Thrones work so well.
The question, then, becomes what happens next. Rick has reassembled the team, but there’s still a lot of legwork to be done. Especially since Negan has poached Eugene, they’ll need a better source of bullets. Carol and Morgan may not want to fight now, but they’re likely to come in at some point. Likewise, Tara will probably bring out Heath and the Amazons soon. Negan is still a bloodthirsty man, but seeing him as a more strategic leader will likely be fantastic.
It’s easy during awards season, when audiences are bombarded with all the “important” films and “awards hopefuls,” to overlook or completely forget certain movies that filled up the calendar from January to November.
2016 has been a weird year is so many ways, and the overwhelmingly backloaded slate of great films feels even more pronounced this season. While La La Land, Manchester by The Sea, and Moonlight all jockey for position in the Oscar race (and seem to be the three shoe ins for Best Picture), let us not forget some of those other great movies the year has given us. I know people have, these days, a What Have You Done For Me Lately mindset, but try and think back all the way to November, to August, hell to March if you can, and let’s appreciate some of the 2016 movies we may have already forgotten.
The Invitation – Way back at the beginning of the spring, Alamo Drafthouse released the best thriller of 2016, and one of the four or five best movies of the entire year. The Invitation, directed by relative newcomer Karyn Kusama, will get under your skin and unnerve you more than just about anything else from this calendar year.
Logan Marshall-Green, who’s gone a long way this year to make sure people realize he’s actually a good actor and not just The Guy Who Looks Like Tom Hardy, completely owns this paranoid thriller. It’s a dinner party full of old friends, but the wounds from a past tragedy are still fresh, and some who were directly involved in said tragedy have decided to fall into a new avant garde “religion” to find comfort. The film is patient, and that’s part of its brilliance; because that patience builds to the most incredible final act in 2016 cinema.
Everybody Wants Some!! – Somehow, a new Richard Linklater film on the heels of Boyhood – not to mention a film the director called a “spiritual sequel” to both that film and his masterpiece, Dazed and Confused – came and went without much fanfare. The story itself, about the lazy college days of a university baseball squad, didn’t have the same reach as Boyhood, but it still had the same lived in care and attention which permeates all of Linklater’s films.
Everybody Wants Some!! is absolutely a bro comedy flick, but it has such an ear for honest conversation and truth in its characters, it deserves a little more credit than being some Todd Phillips retread.
Green Room – This isn’t nearly as forgotten as some films on this list, but Jeremy Saulnier’s sophomore follow up to Blue Ruin still isn’t getting the sort of high praise it deserves. The story of a punk rock band witnessing a murder in the green room of a neo-Nazi club tucked away in the Oregon wilderness is certainly a niche story. But the execution is near transcendent in its ability to build and release tension over and over.
This is not a film for the squeamish – just ask the mangled arm of the late Anton Yelchin in, sadly, his greatest performance of his tragically short life – but anyone who can stomach the brutality will witness one of the best thrillers of the decade. And not to mention, it seems to have a certain resonance these days, given its Nazi ties…
A Bigger Splash – You won’t find Luca Guadagnino’s white hot, sexually charged thriller in any awards categories this season, but it is still one of the most well-acted films of the year. Ralph Fiennes dominates as Harry Hawkes, a loose cannon producer and former lover of Marianne Lane, a glam-rock goddess played by Tilda Swinton who does an incredible job in a role where she is mostly mute.
Taking place almost exclusively at an Italian villa, A Bigger Splash is all about sideways glances, betrayal, and desire, and should be admired for somehow getting a captivating performance out of Dakota Johnson. It’s the sort of film Adrian Lyne might have made in his heyday.
Born to Be Blue – Music biopics are one of the tougher genres to inject originality into these days. The mid 2000s saw an onslaught of Tortured Musician films, and since then biopics in the vein of Walk the Line and Ray have felt too flat and too structured. Then there’s Born to Be Blue, Ethan Hawke’s Chet Baker biopic.
While Born to Be Blue might not be the greatest movie out there, Hawke delivers a captivating performance in a film that approaches its subject in an inventive way. It captures the frenetic rhythms of Baker’s jazz, and the messy life he lived. For a fresh take on a tired sub-genre, this one is worth your time.
The Neon Demon – Nicolas Winding Refn is an acquired taste. His best movie, Drive, may also be his most reserved, especially given the two films he’s made since: Only God Forgives and this, The Neon Demon. It isn’t for anyone, or for most really, but this story of Hollywood models devouring each other in some sort of fever dream gone awry is a star-making turn for Elle Fanning, who continues to push limits and challenge herself as an actor.
Hunt for The Wilderpeople – It took some diligence to seek out Taiki Waititi’s clever coming-of-age adventure, but it was certainly worth the effort. It’s always nice to see Sam Neill, who seems to be in fewer and fewer films these days, pop up in something special like this. But it’s the performance of Julian Dennison as Ricky, the plucky youngster adrift in the New Zealand wilderness with his eccentric pops, that steals the show and makes it something more.
This is a rare smart comedy, one of the toughest things to pull off these days, and a perfect blend of familial truths and zany adventure. Quite the follow up for Waititi, who brought us the brilliance of What We Do in The Shadows in 2014.
The Edge of Seventeen – This pitch perfect teen dramedy only came out just about a month back, but somehow it’s drifted out of view. At least more than it ever should have drifted out of view.
Try and remember the last time an honest, well-crafted teen film really blew you away. They’ve all been raunchy comedies or forgettable, sappy (i.e. fake) Nicholas Sparks drivel. But here, thanks to a wonderfully complicated performance from Hailee Steinfeld and brilliant supporting work from the adults in this world, Woody Harrelson and Kyra Sedgwick, director Kelly Fremon Craig shows us the clumsy romantic confusion and the way molehills can be built into mountains for teenagers in a terrific movie anchored by some real truth.
Allied – Even more recent than Edge of Seventeen is Robert Zemeckis’ prestige spy thriller, a film that floundered at the box office despite its impeccable art design and the presence of powerhouses Brad Pitt and Marion Cotillard. It may not be anything groundbreaking, but Allied deserves more credit than what it’s received.
Despite the conventional nature of the plot – an airman’s new wife with whom he met on an assassination mission may or may not be a German spy – Zemeckis directs every frame with wonderful care and attention and, amazingly, restraint. That’s not what Zemeckis does. Allied is wonderful to simply observe, don’t worry about getting too involved in the mechanical plot or try and find some monumental twist. That’s not what he’s doing here.
No Jedi mind trick here. Rogue One: A Star Wars Story simply IS the Star Wars film you’ve been waiting for.
Yes, the film takes audiences back to the time frame in the saga fans love most, that of the original trilogy. That means all the classic Star Wars toys — X-Wing fighters, Star Destroyers, even the first Death Star — are all here to enjoy again.
But Rogue One never feels “been there, done that.” Instead, the film reinvigorates the classic imagery with dynamic cinematography and creative action choreography.
Put another way: you’ve never seen the Empire battle the Rebellion quite like this. It’s vibrant, compelling, and ultimately you’ll feel like a kid again watching it.
What’s it about?
Rogue One: A Star Wars Story fits in between Episodes III and IV in the full Star Wars saga. From the opening crawl of Episode IV, audiences learned that Rebel spies had transmitted plans for the Empire’s new superweapon, the Death Star, to Princess Leia so that she could get them to the Alliance.
But who were those Rebel spies? Just how did they get the plans for the Emperor’s secret weapon, the Empire’s most closely guarded secret?
The answer starts with a young woman named Jyn Erso (Felicity Jones). Jyn isn’t part of the Rebellion against the Empire – she’s just a rebel. Haunted by her past, she’s just trying to survive, and cares nothing for politics and galactic struggles.
But while she may have no need of the Rebel Alliance, the Alliance needs her. Rebel intelligence operative Cassian Andor (Diego Luna) and his droid, K-2SO (Alan Tudyk) “recruit” Jyn for a mission only she can complete, one tied to her family name and its connections to top secret Imperial development of a so-called “planet-killer.”
Putting the band together
Along the way, Jyn and Cassian pick up allies. A monk with fervent belief in the Force (Donnie Yen), a sharpshooter (Jiang Wen), a former Imperial cargo pilot (Riz Ahmed), and an outcast rebel (Forest Whitaker) all have roles to play in the effort to stop the Empire’s ultimate achievement.
To save the Rebellion, they’ll face Imperial Director Orson Krennic (Ben Mendelsohn), the mastermind of the Death Star project. Krennic’s out to prove the Death Star is all it was promised to be – his career depends on it.
Oh, and there’s also a certain Dark Lord of the Sith waiting to deal with him if his efforts fail.
Find redemption for past sins and lost faith. Find hope in the darkest of hours. Save the galaxy from cruelty and tyranny.
No pressure.
A dirtier, grittier Star Wars story
Part of what sets Rogue One: A Star Wars Story apart from the films of the Skywalker Saga is its overall look and tone. Yes, the ships, uniforms and weapons all look familiar here, but they’re not nearly as bright and shiny as audiences may be used to.
Neither are the characters, who are far more nuanced than the archetypes George Lucas used in his iconic films. No room for dashing scoundrels and wide-eyed young heroes here. The characters in this story all have weight to them, and their interaction adds much needed dramatic tension to balance the action.
That’s not to say the film doesn’t dazzle when it has to. In fact, director Gareth Edwards (Godzilla) delivers breathtaking visuals both large and small throughout the film. The space battles alone should have even the most seasoned Star Wars fan on the edge of their seat.
An improvement over “The Force Awakens”
Now, here’s the part of the review where hardcore Star Wars fans may cry “heresy.” So be it.
Rogue One: A Star Wars Story is arguably a stronger, more satisfying film overall than last year’s Star Wars: The Force Awakens.
The difference is intent. J.J. Abrams made essentially a love letter to the 1977 original and its fans with The Force Awakens. The familiarity, the echoes of the original film in terms of plot beats, character arcs and production design were by design.
Clearly, the effort yielded massive rewards. The film steamrolled the box office and got a whole new generation of fans excited about Star Wars‘s future.
What Gareth Edwards delivers, in contrast, is something that feels fresh and new. From camera angles to staging to plot pacing, there’s no effort to mimic what’s past.
The results should be invigorating for longtime fans and utterly thrilling for newbies. It’s a remarkable feat, especially considering he’s using the elements made so familiar by the saga’s beginnings.
Worth seeing?
Without question, Rogue One: A Star Wars Story should be seen on the big screen. In fact, it should be in the conversation for “Best Star Wars film of all”, or at the very least the strongest film since 1980’s The Empire Strikes Back.
But even if Star Wars is all new to you, there’s lots to enjoy in this film. You may need your nerd friends to explain later why they gasped or cheered at certain moments, but you’ll still have fun.
Rogue One: A Star Wars Story
Starring Felicity Jones, Diego Luna, Ben Mendelsohn, Donnie Yen, Mads Mikkelsen, Alan Tudyk, with Jiang Wen and Forest Whitaker. Directed by Gareth Edwards.
Running Time: 133 minutes
Rated PG-13 for extended sequences of sci-fi violence and action.
Here’s One Of The Most Bizarre “Best Films of 2016” Lists You’ll Ever See!
It’s the end of the year and so many “Best Of 2016” lists have been published. As one of the outsiders in the critic world, I decided to compile a list of the best films I’ve seen in 2016. From different countries and every genre, there’s something for everyone here. Don’t expect to find ‘Manchester By The Sea‘ and ‘Hell Or High Water‘ on this list. I’m throwing out for the most unusual picks you’ll ever see.
Let me know if any of your favorites make this list!
Honorable Mentions:
‘The Wailing‘
‘Tickled‘
10. ‘Blair Witch’ (Dir: Adam Wingard)
You know this is for outsiders when ‘Blair Witch‘ kicks things off. A recurring theme on my list is my views being the complete opposite of the average movie critic’s opinion. Adam Wingard’s ‘Blair Witch‘ is the first example of that. While most found it to be just another found footage film, I took it as the next step. The film pushes the genre conventions just enough but stays true to tropes we all expect. Also, that snapping in half scene is one of the year’s most brutal kills!
9. ‘The Girl On The Train’ (Dir: Tate Taylor)
Before going into this film, I had no idea what to expect. ‘The Girl On The Train‘ is another best-selling novel turned big-screen adaption. Without reading the source material, I jumped into an pulpy novella told by a drunken wife. The filmmakers and actors knew the exact tone it was going for and sold it! Other critics found this erotic thriller to be exploitive & melodramatic. Those critiques are exactly what I loved about ‘The Girl On The Train‘.
8. ‘The Shallows’ (Dir: Jaume Collet-Serra)
Is this the best shark movie since ‘Jaws‘? Who cares! ‘The Shallows‘ is just insane cinematic fun for everyone. Undeniably bonkers and very well made, it was great to see this horror film do well during the summer box office season. Not only that but it was also well received by most critics! Blake Lively handles the material well and even the seagull credited as Steven Seagull delivers a memorable performance. Welcome to 2016 in film…
7. ‘The Neon Demon’ (Dir: Nicolas Winding Refn)
Like his films, Nicolas Winding Refn has slowly been building to something bigger. ‘The Neon Demon‘ feels like a great next level for him as a filmmaker. While films like ‘Drive‘, ‘Bronson‘, and ‘Only God Forgives‘ have been very male dominated, this makes a complete 180 degree turn. Starring Elle Fanning and Jenna Malone, ‘The Neon Demon‘ tells the sad story of a model looking for fame in a world of beauty & torture. The end result feels like ‘Showgirls‘ mixed with ‘Hostel‘.
I couldn’t ask for anything more of my animated films than an epic food orgy finale! ‘Sausage Party‘ comes at a time where many are striving for 100% political correctness and blows that idea out the water. I haven’t seen something this outwardly offensive and gleefully bizarre since early John Waters films. Coming from two directors with experience at Dreamworks and Disney, there has been no better parody of animation ever.
5. ‘Moonlight’ (Dir: Barry Jenkins)
‘Moonlight‘ could possibly be one of the most raw pieces of cinema of 2016. You will find this on many “Best Films of 2016” list and it has a place on mine. The Barry Jenkins-directed movie is a wonderful look at masculinity as well as sexuality. While 3 different actors played the lead role of Chiron, it was Ashton Sanders that carried the film to another level. He brought something unique to the screen this year and let’s hope he gets many Best Actor nominations!
4. ’10 Cloverfield Lane’ (Dir: Dan Trachtenberg)
The unexpected sequel that shocked everyone with how great it is. ‘10 Cloverfield Lane‘ was announced just months before its release and no one was ready for it. Critics and fans alike agree that this is undoubtedly one of the best films of the year. Part of that is from the great direction of Dan Trachtenberg and the other majority of the praise goes to John Goodman. Those two combined with the script’s stellar tension makes this so special.
3. ‘Batman v Superman: Dawn Of Justice’ (Dir: Zack Snyder)
I’ve personally never loved a superhero movie this much since ‘Watchman‘. In a genre filled with either extremely realistic pieces or kid-friendly adventures, ‘Batman v Superman‘ is refreshingly in the middle. The amount of hate it got upon release shocked me but then it became fun to love this polarizing piece. Zack Snyder has his insane visual storytelling and heavily relied on a great cast of talented actors to carry it. I love this film so much that I can defend the infamous “Martha” line.
2. ‘Arrival’ (Dir: Denis Villeneuve)
Nothing could prepare me for how beautiful ‘Arrival‘ is. Never expected to even enjoy this film let alone consider this one of the top 2 best films from the entire year. I shouldn’t have doubted Denis Villeneuve after ‘Sicario‘ and ‘Prisoners‘ but I paid for it by having my mind melted by the sheer beauty of this piece. On top of how amazingly well-crafted this is, Amy Adams delivers the performance of her career. If there was any other time for her to win an Oscar, it’s now!
1. ‘The Handmaiden’ (Dir: Park Chan Wook)
South Korean director Park Chan-wook released one of his best films to date with ‘The Handmaiden‘. Not only do I think that this is Park Chan-wook’s best film but it’s also the most outstanding cinematic experience I had this year. From the first frame, I was engrossed into this world and never wanted it to end. Another film that deals with sexuality, this one is even darker than ‘Moonlight‘. This hyper-sexual horrifying revenge tale is what filmmakers should strive for.
The crew at Monkeys Fighting Robots and our good friend T.M. Powell from CW 44 went to the pressing screening of ‘Rogue One: A Star Wars Story’ Monday morning.
The video below takes place two minutes after the last credit of the film.
Rogue One: A Star Wars Story is directed by Gareth Edwards from Chris Weitz’s screenplay, and stars Felicity Jones, Diego Luna, Ben Mendelsohn, Donnie Yen (IP Man), Jiang Wen, Forest Whitaker, Mads Mikkelsen of Hannibal fame, Alan Tudyk (as a motion capture character), and Riz Ahmed. The film is a prequel to the original 1977 Star Wars, dealing with rebel efforts to convey Death Star blueprints to Leia Organa.
