The CW Network announced its Fall 2017 premiere dates Thursday, and the network’s entire primetime line-up will debut the week of Monday, October 9.
The biggest change is the move of ‘Arrow’ to Thursday night. The series averaged 1.755 million viewers last season, down almost 30% compared to season four. ‘Arrow’ will look to rebound in season six.
THE CW NETWORK TO PREMIERE ENTIRE FALL LINE-UP DURING THE WEEK OF OCTOBER 9
Supergirl Returns Monday, October 9,
Followed by the Exciting New Military Drama Valor
The CWs Highest-Rated Series, The Flash, is Back Tuesday, October 10,
Followed by the Return of DCs Legends of Tomorrow
Riverdale Premieres Wednesday, October 11, Paired with the Series Premiere
Of the All-New Dynasty
Supernatural and Arrow Team-Up for The CWs New Thursday Night on October 12
Crazy Ex-Girlfriend and Jane The Virgin Are Back-to-Back on Friday, October 13
What CW show are you most excited for? Comment below.
Asking me to list my Top 5 flicks from the year I was born is like asking me to name my favorite Ghostbusters film. Some days I find myself gushing over the first movie and other days it’s me ranting and raving about the second one and how those who don’t agree are fools.
FOOLS I SAY!
So, let’s see what I picked for my top five and hopefully by the time you get to the end of this you will agree with me and I won’t have regretted every choice I made. No man or woman (that loves film) should be asked to make this difficult decision.
IT’S CRUEL!
5. THE FOG
This and the Prince of Darkness are to me the films that don’t get enough love when Carpenter fans sound off on some of their favorite flicks from his catalog. Somebody will of course mention Dark Star or Someone’s Watching Me and the Elvis picture he did with Kurt Russell and the less we speak of The Ward the better but to me, The Fog represents the horror genre at its most pure. It’s the quintessential ghost story.
The kind of urban legend passed down from generation to generation or told from one person to a group of others during a rainy get together when the powers out. Definitely one of the first films you should watch when the horror bug bites you. Unless you mistakenly purchase or rent the remake and well after that’s it’s understandable if you stop watching horror films altogether.
4. CADDYSHACK
To me, the 80’s is the pinnacle of comedic cinema. Just think of all the movies that came out back then. From National Lampoon’s Vacation to Ferris Bueller’s Day Off to Coming to America. There is no other decade in film history that has that many amazing comedies. Especially with the amount of talent that was at the top of their game. You can try all you want but you will never prove me wrong.
This film has some of the best and most talented comedians of all time. You got Chevy Chase, Bill Murray, his brother Brian Doyle-Murray, Rodney Dangerfield, and Ted Knight. Plus, you know a movie is good when decades later it’s central concept is borrowed and repackaged as the excellent Amazon Original Series Red Oaks.
3. THE BLUES BROTHERS
What did I say? THE BEST DECADE! In one year, we got Caddyshack and The Blues Brothers. If I could list 5 more films those next five would be mostly comedy. This is also another flick in a long line of the less said about the sequel the better. Another great thing about 80’s comedies is how quotable they are.
“There’s 106 miles to Chicago, we’ve got a full tank of gas, half a pack of cigarettes, it’s dark out, and we’re wearing sunglasses.”
2. FLASH GORDON
Flash, a-ah, savior of the universe…
It’s got a freaking soundtrack by QUEEN! Nuff Said.
1. FRIDAY THE 13TH
My LOVE of horror films is all thanks to my mother. The First horror film I remember seeing was either A Nightmare on Elm Street or The Lost Boys. This was the 80’s where parents didn’t care what you watched as long as it didn’t have nudity in it and if it did they made you shut your eyes when those scenes popped up. My favorite horror film series of all time is Friday the 13th and Jason is the greatest slasher of all time. Funny enough, people always seems to forget that Jason didn’t appear in this film until the end in a WTF moment.
The remake is a pretty bad ass film as well. GREAT opening. Had a great time seeing that with some friends and a crowd at the midnight showing back in 2009.
And those are my five favorite films from the year I was born. Not bad if I do say so myself. Didn’t feel the need to change out a single one. Anyway, I hope you enjoyed reading this and I can’t wait to vomit forth more articles for your enjoyment.
Pixar and Disney released the first trailer for ‘Coco’ Wednesday night. This film has the potential to rip your heart out and let a teddy bear massage it for a bit before they give it back to you.
“Despite his family’s baffling generations-old ban on music, Miguel (voice of newcomer Anthony Gonzalez) dreams of becoming an accomplished musician like his idol, Ernesto de la Cruz (voice of Benjamin Bratt). Desperate to prove his talent, Miguel finds himself magically transported to the stunning and colorful Land of the Dead following a mysterious chain of events. Along the way, he meets charming trickster Hector (voice of Gael García Bernal), and together, they set off on an extraordinary journey to unlock the real story behind Miguel’s family history.”
ANTHONY GONZALEZ (Ice Box, TNT’s The Last Ship) lends his voice to MIGUEL, a 12-year-old aspiring musician who struggles against his family’s generations-old ban on music. When a magical mishap lands him in the Land of the Dead, Miguel seeks out his idol, Ernesto de la Cruz, to help him return to the Land of the Living before it’s too late.
ANA OFELIA MURGUÍA (Amazon’s Mozart in the Jungle, Bandidas) voices Miguel’s cherished great-grandmother MAMÁ COCO. She is very old and fragile, but that doesn’t stop Miguel from sharing his daily adventures with her.
RENÉE VICTOR (Weeds, The Apostle) provides the authoritative voice of ABUELITA, Miguel’s grandmother and the ultimate enforcer of the Rivera family’s ban on music. She loves her family very much and will do anything to protect them. But when she gets angry, she wields a mean slipper.
JAIME CAMIL (CW’s Jane the Virgin, Disney Junior’s Elena of Avalor, Secret Lives of Pets) is the voice of PAPÁ, Miguel’s supportive father who hopes that someday Miguel will join him in the family shoemaking business. SOFÍA ESPINOSA (Gloria) provides the voice of Miguel’s loving MAMÁ who gently encourages her son to embrace their family’s traditions.
LUIS VALDEZ (Which Way Is Up, director La Bamba & Cisco Kid) is the voice of TÍO BERTO, Miguel’s uncle, a hard worker in the Rivera family shoemaking business. LOMBARDO BOYAR (Happy Feet, TNT’s Murder in the First) lends his voice to a friendly MARIACHI who Miguel encounters in Santa Cecilia Plaza.
FROM THE LAND OF THE DEAD
GAEL GARCÍA BERNAL (Amazon’s Mozart in the Jungle) helps bring to life HECTOR, a charming trickster in the Land of the Dead who is forced to enlist help from Miguel to visit the Land of the Living.
BENJAMIN BRATT (FOX’s Star, Doctor Strange) is the voice of Miguel’s idol ERNESTO DE LA CRUZ, the most famous musician in the history of Mexico. Revered by fans worldwide until his untimely death, the charming and charismatic musician is even more beloved in the Land of the Dead.
EDWARD JAMES OLMOS (Blade Runner, Stand and Deliver) lends his voice to CHICHARRÓN, a curmudgeonly friend of Hector’s who is sadly being forgotten—an unfortunate condition in the Land of the Dead.
ALANNA UBACH (Meet the Fockers, Bravo’s Girlfriends’ Guide to Divorce) provides the voice of MAMÁ IMELDA, Miguel’s great-great-grandmother, the matriarch of the Rivera family and the founder of their successful shoemaking business. Miguel meets Mamá Imelda in the Land of the Dead and discovers she does not share his passion for music.
SELENE LUNA (My Bloody Valentine, Celebrity Wife Swap) voices TÍA ROSITA, Miguel’s late aunt who resides in the Land of the Dead.
ALFONSO ARAU (Three Amigos, director/producer Like Water for Chocolate, director A Walk in the Clouds) is the voice of PAPÁ JULIO, Miguel’s late great-grandfather who he meets in Land of the Dead.
HERBERT SIGUENZA (Larry Crowne, Ben 10: Alien Swarm) lends his voice to both TÍO OSCAR and TÍO FELIPE, Miguel’s late identical twin uncles who he meets in the Land of the Dead.
OCTAVIO SOLIS playwright Lydia, Santos & Santos) is the voice of an ARRIVAL AGENT in the Land of the Dead’s Grand Central Station.
GABRIEL IGLESIAS (Planes, The Nut Job, The Nut Job 2: Nutty by Nature) provides the voice of the HEAD CLERK in the Land of the Dead’s “Department of Family Reunions.”
CHEECH MARIN (Cars 3, Tin Cup, CBS’ Nash Bridges) is the voice of a CORRECTIONS OFFICER in the Land of the Dead.
BLANCA ARACELI (The Bridge) voices the EMCEE for a colorful talent show in the Land of the Dead.
24: Legacy, FOX’s freshman reboot series, has officially been cancelled. Legacy sought to breathe new life into the 24 series. The original show starred Kiefer Sutherland, but the reboot did not. Corey Hawkins starred in Legacy, as Sutherland was busy with ABC’s Designated Survivor. Presumably, FOX wanted to wait on pulling the plug until the last minute possible. Seems the clock on Legacy has finally run out.
Plenty of shows have already gotten the axe over the past few months. FOX has cancelled other freshman series like APB, Pitch, and Shots Fired. The network also cancelled new comedies like Son of Zorn and Making History. Prison Break was FOX’s other revival, and though it hasn’t been cancelled, it’s not coming back soon.
However, all may not be lost for the franchise. Reportedly, 20th Century Fox is exploring making a 24 anthology show. Producers are already working with the network to plan it out. Whether any of the 24: Legacy cast or creative team will be involved remains to be seen.
There are several different avenues an anthology series could go down. It’s helpful that 24: Legacy already has the subtitle format. The general premise of 24 isn’t reliant on the star, per se, but anti-terrorism. FOX’s cable partner, FX, has several successful anthology series to its name. The American Crime/Horror Story shows are both big successes. Not to mention Fargo, the Midwestern crime series based off the Coen Brothers movie. The anthology format is proven to be successful for FOX’s friends.
Are you a fan of the original? Did you watch the reboot? Do you think 24 should stop trying to come back? Let us know your thoughts!
War for The Planet of The Apes is a little over a month away now, and there isn’t a more thrilling sequel/reboot/remake franchise on the summer slate. Let’s just try and make it through the garbage we have in June, because this one looks just as incredible as the last entry.
We have a new trailer, which is really an extended clip montage of sorts, and it’s all about Nova, Caesar and the apes’ human girl they reluctantly take in. Check it out:
Caesar (Andy Serkis) and his apes are forced into a deadly conflict with an army of humans led by a ruthless colonel (Woody Harrelson). After the apes suffer unimaginable losses, Caesar wrestles with his darker instincts and begins his own mythic quest to avenge his kind. As the journey finally brings them face to face, Caesar and the colonel are pitted against each other in an epic battle that will determine the fate of both of their species and the future of the planet.
Of all the awesome trailer and all the anticipation around War for The Planet of The Apes, I think personally Woody Harrelson’s Colonel is what I am most looking forward to. He really looks like he is going to be overacting in the best possible way, hamming it up as the villain. And I am here for it.
After the messy Brian Michael Bendis era of Guardians Of The Galaxy comics, writer Gerry Duggan has come in to right the ship with All-New Guardians Of The Galaxy. In the third issue, artist Frazer Irving contributes a chilling visual triumph.
In just three issues, Duggan and company have turned Guardians back into a fun and enjoyable comic book. While it’s still nothing like the perfect Abnett/Lanning run, this is the best book of the post-MCU era.
If GOTG comics absolutely HAVE to be like their movie counterparts, this is by far the best version.
Artist Aaron Kuder and colorist Ive Svorcina did a spectacular job with the first two issues. They play just as important of a role as Duggan in resurrecting these previously floundering characters.
Frazer Irving takes over and delivers a truly haunting visual display. Readers take a break from the vibrant colors of the previous issues and instead take a trip down a very dark path.
All-New Guardians Of The Galaxy #3 is a solo Gamora journey. Revisiting the characters twisted beginnings and sordid past. At the center of this creepshow is the Soul Stone and Gamora’s connection to it. Long lost allies Adam Warlock and Phyla Vell make an appearance as well.
Irving grabs readers by the eye balls and drags them into the darkest depths of weird and creepy. The first page with Thanos is legitimately chilling, showcasing The Mad Titan in his own horror scene.
Reminiscent of Arkham Asylum‘s most disturbing scenesor when Jason Aaron takes Thor through his stunning mythology. Irving deserves major praise for this effort.
Even abstract versions of Rocket and Groot show up by the issues end, as Gamora sets off to find the Soul Stone.
This standout issue, from a series quickly establishing itself as something special, will stick with me for a long time. Irving’s work here warrants paying closer attention to his future work.
In theaters this Thursday, The Mummy is hampered by its lack of an identity and Tom Cruise’s overacting.
Summary
Universal’s brand new Dark Universe starts in Iraq as a couple of United States soldiers, Nick Morton (Tom Cruise) and Chris Vail (Jake Johnston), are 100 miles away from their unit looking for ancient artifacts to sell on the black market. They encounter a group of insurgents who Morton feels they can sneak around and continue their quest for artifacts to sell. The insurgents quickly spot them and they take heavy fire. Left with no options, Vail calls in an airstrike in the hopes of driving back the enemy. His plan is not only successful, but the aftermath of the bombing also revealed a massive Egyptian tomb. Nick and Chris see dollar signs, but Jenny Halsey (Annabelle Wallis) arrives and has her own agenda. Halsey is the head of the United States efforts to preserve any artifacts found in Iraq.
This isn’t the first time Jenny and Nick have met one another. Apparently, it was Nick who stole a map from Jenny (during a sexual encounter) that lead them to this site. The group quickly realizes that this is not any ordinary tomb. Jenny immediately declares that contents of the tomb must be taken back for further study. Of course, this decision doesn’t end well as Chris ends up possessed and kills an officer on the plane, and an engine blows out, plus a flock of ravens crash into the plane causing it to spiral out of control. The plane crashes into the English countryside. The mummy (Sofia Boutella) is freed, and somehow Nick survives the wreck. We come to learn that Nick survived for the sole purposes of being ritually sacrificed by this mummy. The film then dissolves into chase scene after chase scene that was reminiscent of most any Mission Impossible film.
What Worked
Russell Crowe’s portrayal of Dr. Jekyll is one of the highlights of this movie. He was able to demonstrate the duality of this character and was entertaining. The only downside is that Crowe’s character wasn’t supposed to overshadow both Cruise and Boutella.
The discussions of Prodigium or the Dark Universe were some of the most compelling moments of the movie. What’s Prodigium? They are similar to S.H.I.E.L.D. in the Marvel Universe, but instead, deal with the forces of darkness.
Director Alex Kurtzman didn’t shy away from making this version of The Mummy his own. I loved seeing Tom Cruise be the one who was being chased by the Mummy. Instead of being the solution in the film, he was the one searching for answers. My only wish is that he would have taken more chances like this one.
What Didn’t Work
Tom Cruise was a poor choice to help usher in this new era of “Gods and Monsters.” His role didn’t call for that same intense tone he takes every time we see accept another impossible mission. This is a world that no one understands and nothing can change that. A more nuanced approach to the role would have gone a long way.
Jake Johnston’s character was incredibly pointless and should have been killed off when the plane crashed in London.
Why would you introduce a whole new Dark Universe to fans yet not take the time to lay the groundwork for future films?
Why was there a need to deviate from the movie’s most intriguing moments to have another sequence with Cruise was being chased?
At times the narrative was trying to be too witty and even a bit comedic as well.
Overall
This version of The Mummy is the tale of two different stories. The first being your typical Cruise film with an ending that will leave audiences seeking refunds. The other being a unique approach to laying the foundation for a brand new cinematic universe. Had the film just stuck to building this new world, then maybe Cruise’s latest movie would have come across as good summer fun instead of something typical and full of tedium. One can hope that the films in the Dark Universe will improve, but after The Mummy, that’s far from a sure thing.
Think about the first installment in your favorite film franchise. You’re probably thinking about Star Wars or Iron Man, maybe Raiders of the Lost Ark. These movies set the tone for their respective universes. They’re appetizers, giving you a taste and making you want more. It’s crucial to start a franchise off right, otherwise you can spend years trying to regain your footing. That’s a lot of pressure riding on The Mummy, the first film in Universal’s Dark Universe. Unfortunately, things aren’t starting off so great.
There is nothing original about this movie; it’s just another watered down action/horror. Granted, it’s a big budget tent-pole movie, so no one expects it to reinvent the wheel. But even blockbusters should try and do something new once in a while. Here, the story is predictable, as are the “scares,” and the characters are typical archetypes that we see way too often.
Speaking of the characters, there’s not an interesting one in this bunch. It’s no fault of the actors, but there’s just nothing to make the audience care about them. They’re all shallow, underdeveloped bores. Any major character moments fall flat because they’re not earned. Tom Cruise’s Nick is supposed to have an arc, but there’s no evidence to support it. We only know he has an arc because characters tell us.
And really that’s the problem at the heart of this movie – poor writing. We’re TOLD that characters have arcs. In fact, we’re TOLD everything. There’s more clunky, exposition-laced dialogue in the first hour of The Mummy than there should be in a whole film. Not only that, but the script suffers from terrible tonal issues as well. It tries to be scary, thrilling, and funny all at once, and it falls flat. The humor is forced in way too often, and at the worst moments, for no reason at all. Even worse, the jokes aren’t funny. This movie feels like it doesn’t know what it wants to be.
Then, as if this script isn’t bad enough, it commits the cardinal sin of shared universe films. It breaks from the story it’s telling to set up future installments. When will studio execs learn? Focus on the story at hand. Make a good Mummy movie first and foremost, and then audiences will want to see more of the Dark Universe naturally. Forcing in an unrelated scene just disrupts the flow of an already shaky narrative.
As far as redeeming qualities go, this movie looks pretty good. There’s some beautiful cinematography, especially early in the film when it’s set in the desert, and the action sequences are kind of fun to watch. But that’s about it.
The Bottom Line
If the first film in a franchise is meant to be the appetizer, than The Mummy is just bread. It’s fine and you’ll pick at it if you’re hungry, but ultimately it’s bland and unfulfilling. You’ve seen this movie before. Go see Wonder Woman this weekend if you want action. Go see It Comes At Night if you want horror. Just don’t support cookie-cutter schlock like The Mummy.
A new Spider-Man: Homecoming TV spot features Spidey getting snacks for Tony Stark’s party, and coincidentally, runs into DJ Khaled himself. Watch it down below.
https://www.youtube.com/watch?v=tjbjAeGm3k8
Khaled posted a photo with Stan Lee and Tom Holland back in April, and many speculated it to be a cameo from the film. Now, we know it was for this piece of NBA Finals marketing.
Spider-Man: Homecoming features Tom Holland, Michael Keaton, Donald Glover, Zendaya, Marisa Tomei, Robert Downey Jr., Jon Favreau, Tyne Daly, Tony Revolori, Bokeem Woodbine, and Hannibal Buress.
“A young Peter Parker/Spider-Man (Tom Holland), who made his sensational debut in Captain America: Civil War, begins to navigate his newfound identity as the web-slinging super hero in Spider-Man: Homecoming. Thrilled by his experience with the Avengers, Peter returns home, where he lives with his Aunt May (Marisa Tomei), under the watchful eye of his new mentor Tony Stark (Robert Downey, Jr.). Peter tries to fall back into his normal daily routine – distracted by thoughts of proving himself to be more than just your friendly neighborhood Spider-Man – but when the Vulture (Michael Keaton) emerges as a new villain, everything that Peter holds most important will be threatened.”
Interview Magazine had Zendaya hold an interview with her Spider-Man: Homecoming co-star Tom Holland, and in the discussion, he expressed interest in playing Batman. Read an excerpt of their chat below.
ZENDAYA: I feel like I know the answer to this, but what role in an iconic movie do you wish that you could have played?
HOLLAND: James Bond. Or maybe I’ll do Batman.
ZENDAYA: It would be a little unfair if you got to play Spider-Man, James Bond, and Batman, Tom.
HOLLAND: It would be so unfair. But life isn’t fair, Zendaya.
While obviously a joke, I’m sure some fans would actually like to see this happen. When Ben Affleck hangs up the cowl down the line, should Holland replace him? Sound off in the comments below.
And really that’s the problem at the heart of this movie – poor writing. We’re TOLD that characters have arcs. In fact, we’re TOLD everything. There’s more clunky, exposition-laced dialogue in the first hour of The Mummy than there should be in a whole film. Not only that, but the script suffers from terrible tonal issues as well. It tries to be scary, thrilling, and funny all at once, and it falls flat. The humor is forced in way too often, and at the worst moments, for no reason at all. Even worse, the jokes aren’t funny. This movie feels like it doesn’t know what it wants to be.